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[ [ "MIN.\n And that some minister or other had told him, in confidence, that your\n business was likely to have the very best termination. A letter from\n the king must now be on its way to you.", "FRAN.\n Yes; and here I bring you...\n (holding out a letter).\n\n MAJ. T.\n An answer!", "ORD.\n I am looking for Major von Tellheim. Ah! you are the Major, I see. I\n have to give this letter from his Majesty the King\n (taking one out of his bag).", "(While he opens and reads the letter, the Landlord comes stealthily on\n the stage.)", "ORD. (whilst Tellheim takes the letter).\n I beg your pardon, Major; you should properly have had it yesterday,", "forces told me that the king had set aside all the evidence offered\n against me, and that I might take back my promise, which I had given\n in writing, not to depart from here until acquitted. But that will be", "MIN.\n If it affords you pleasure, Major.\n (Takes the letter and reads.)\n\n \"My dear Major von Tellheim,", "that I have not received the letter. Behold my only answer to it!\n (About to tear it up.)", "allowed herself to be persuaded either to increase or to assuage the\n misfortune of her friend through herself.... He must have seen,\n before the arrival of that letter, which has again destroyed all", "coeur bien place! He assure me au reste, if de Major has not recu\n already une lettre de la main--a royal letter, dat to-day\n infailliblement must he receive one.", "talking again, of things which I would willingly forget. There, give\n it to her!\n (He turns the letter in giving it to her, and sees that it has been\n opened.)", "let me hear from you. Your news might come to me when it might be of\n little use to me. There is yet one thing, Madam; I had nearly", "MAJ. T.\n I cannot keep you any longer: I must learn to manage without servants.\n (Opens the paper, and reads.)", "of your taking active service again. I can ill spare a man of your\n courage and sentiments. I am your gracious King,\" &c.", "MAJ. T.\n Well, if I must come, Franziska, just see that your mistress reads my\n letter beforehand? That will spare me the pain of thinking again--of", "SCENE I.\n The Parlour. Just (with a letter in his hand)", "MAJ. T. (after reading the letter, with much emotion.)\n Ah! nor has he herein belied himself! Oh! Minna, what justice! what", "(Looking at the letter, as if to convince himself.)\n No, no delusion born of my own desires! Read it yourself, Minna; read\n it yourself!", "MIN.\n So much the better! His letter! oh! his letter! Each line spoke the\n honourable noble man. Each refusal to accept my hand declared his love", "FRAN.\n Pray, my lady, do not make the man embarrassed. Your servant, Mr.\n Sergeant; what news do you bring us?" ], [ "thing your Minna was--is. She allowed--allows herself, to imagine that\n she makes your whole happiness. Declare all your misery at once. She", "SCENE I.\n Minna's Room.\n\n Minna (dressed handsomely and richly, but in good taste), Franziska\n (They have just risen from a table, which a servant is clearing.)", "my own again. Now, my dear unfortunate, you love me still, and have\n your Minna still, and are unhappy? Hear what a conceited, foolish", "(Minna turns away uneasily, and endeavours to hide her emotion.)", "MIN.\n At first, only with a trifle.\n (Opens her desk and takes out some money.)\n\n RIC.\n Ah! Mademoiselle, que vous etes charmante!", "torturing!--If she is in earnest, she will not refuse to forgive me.\n Now I want your aid, honest Werner!--No, Minna, I am no deceiver!\n (Rushes off.)", "he was a beggar!\n (Minna pours out the coffee herself.)\n Who would give such a sum to a beggar? And to endeavour, into the", "MIN.\n Pray go quickly. I will set all that right again.\n (Exit the Landlord.)\n Franziska, run after him, and tell him not to mention my name!\n (Exit Franziska.)", "MIN.\n Equality is the only sure bond of love. The happy Minna only wished to\n live for the happy Tellheim. Even Minna in misfortune would have", "return mistaken by the beggar. It serves you right, my lady, if he\n considers your gift as--I know not what.\n (Minna hands a cup of coffee to Franziska.)", "MIN.\n See there! Do you begin to pity him again already! No, silly girl, a\n man is never discarded for a single fault. No; but I have thought of a", "service of the great is dangerous, and does not repay the trouble, the\n restraint, the humiliation which it costs. Minna is not amongst those\n vain people who love nothing in their husbands beyond their titles and", "FRAN.\n Do not detain me any longer. I must see what she is about. How easily\n something might happen to her. Go now, and come again, if you like.\n (Follows Minna.)", "FRAN.\n That is just what I wished to hear.\n\n MIN.\n Wait, Franziska; I am wrong. He often talks of economy. Between\n ourselves, I believe he is extravagant.", "without humiliation. I am this cause; through me, Minna, have you lost\n friends and relations, fortune and country. Through me, in me, must", "MIN.\n Thank you for your trouble. I am glad to have made your acquaintance.\n Franziska has spoken in high praise of you to me.\n (Werner makes a stiff bow, and goes.)", "he loves to take part in his misfortune... Oh! how difficult is\n this victory!... Since reason and necessity have commanded me to\n forget Minna von Barnhelm, what pains have I taken! I was just", "MAJ. T. (walks in, and the moment he sees Minna rushes towards her).\n Ah! my Minna!\n\n MIN. (springing towards him).\n Ah! my Tellheim!", "SCENE I.\n Minna's Room. Minna, Franziska", "MAJ. T. (to Just).\n What do you say?... That is not possible!... You?\n (Looking fiercely at Minna.)\n Speak it out; tell it to her face. Listen, Madam." ], [ "he loves to take part in his misfortune... Oh! how difficult is\n this victory!... Since reason and necessity have commanded me to\n forget Minna von Barnhelm, what pains have I taken! I was just", "The importance of Lessing's masterpiece in comedy, \"Minna von\nBarnhelm,\" is difficult to exaggerate. It was the beginning of", "worthy, in the eyes of the world, of being yours. Minna von Barnhelm\n deserves an irreproachable husband. It is a worthless love which does", "End of Project Gutenberg's Minna von Barnhelm, by Gotthold Ephraim Lessing", "Am I to pardon you because I am still your Minna? Heaven pardon you,\n that I am still Fraulein von Barnhelm!", "MIN.\n Fraulein von Barnhelm.\n\n LAND. (writes).\n \"Von Barnhelm.\" Coming from.... where, your ladyship?", "MIN.\n Equality is the only sure bond of love. The happy Minna only wished to\n live for the happy Tellheim. Even Minna in misfortune would have", "MAJ. T. (letting fall her hand).\n What is this? I see Fraulein von Barnhelm, but I do not hear her.--You\n are pretending.--Pardon me, that I use your own words.", "MAJ. T. (walks in, and the moment he sees Minna rushes towards her).\n Ah! my Minna!\n\n MIN. (springing towards him).\n Ah! my Tellheim!", "JUST.\n The Landlord says, that Fraulein von Barnhelm has taken the ring which\n I pledged to him; she recognised it as her own, and would not return\n it.", "MIN.\n You know that, my father!--And was my love blind?\n\n COUNT.\n No, Minna, your love was not blind; but your lover--is dumb.", "MAJ. T. (starts suddenly, and draws back).\n I beg your pardon, Fraulein von Barnhelm; but to meet you here!!!!!", "\"Fraulein von Barnhelm, coming from her estate in Thuringia, together\n with her lady in waiting and two men servants.\"", "MINNA VON BARNHELM\n\nor, THE SOLDIER'S FORTUNE\n\n\nBy Gotthold Ephraim Lessing", "MAJOR VON TELLHEIM, a discharged officer.\n MINNA VON BARNHELM.\n COUNT VON BRUCHSAL, her uncle.", "SCENE VIII.\n Major von Tellheim, Landlord, Minna, and Franziska", "MIN.\n I take it upon myself. Go!\n\n (Exit Landlord.)\n\n\n\n SCENE IX.\n Major von Tellheim, Minna, Franziska", "talk about me, and say. \"That is she, that is the Fraulein von\n Barnhelm, who fancied that because she was rich could marry the noble", "MIN.\n Pray go quickly. I will set all that right again.\n (Exit the Landlord.)\n Franziska, run after him, and tell him not to mention my name!\n (Exit Franziska.)", "SCENE I.\n Minna's Room. Minna, Franziska" ], [ "you, Tellheim. And if our government has the least sentiment of\n honour, I know what it must do. But I am foolish; what would that\n matter? Imagine, Tellheim, that you have lost the two thousand", "MIN.\n Tellheim! Tellheim!\n (Tellheim, biting his fingers with rage, turns away his face, without\n listening.)", "Tellheim; as if such men were to be caught with money.\" That is what\n they would say, for they are all envious of me. That I am rich, they", "MIN.\n That sounds very tragic... Yet, Major Tellheim, until I find the\n former one again--I am quite foolish about the Tellheims--the latter", "more nearly so. This Tellheim I am now, as little as I am my own\n father. They both have been. Now I am Tellheim the discharged, the", "FRAN.\n Major von Tellheim? Yes, indeed, I do know that good man.\n\n WER.\n Is he not a good man? Do you like him?", "MIN.\n Guess who it is?\n\n COUNT.\n Not your Tellheim, surely!\n\n MIN.\n Who else!--Come, Tellheim\n (introducing him).", "MIN.\n And do you know why I consider it so good? It applies to my Tellheim.\n\n FRAN.\n What would not, in your opinion, apply to him?", "SCENE VII.\n Major von Tellheim", "MIN.\n You can. You must know what passes in your heart. Do you love me\n still, Tellheim? Yes, or No?\n\n MAJ. T.\n If my heart!!!!!", "MIN. (stopping him).\n What are you going to do, Tellheim?\n\n MAJ. T.\n Obtain your hand.\n\n MIN.\n Stop!", "SCENE IV.\n Major von Tellheim", "LAND.\n Yes, Tellheim. Do you know him?", "sovereign, Tellheim; you want no other master. To find you discharged,\n is a piece of good fortune I dared scarcely dream of! But you are not", "SCENE VIII.\n Major von Tellheim", "about Tellheim. Franziska, my heart tells me my journey will be a\n successful one and that I shall find him.", "SCENE II.\n Major von Tellheim", "MIN. (calling after him).\n Let you go, Minna? Minna, let you go? Tellheim! Tellheim!\n\n\n\n\nACT III.", "yourself. I do love you still, Tellheim, I love you still; but\n notwithstanding!!!!!", "SCENE X.\n Major von Tellheim, Just" ], [ "MIN.\n Tellheim! Tellheim!\n (Tellheim, biting his fingers with rage, turns away his face, without\n listening.)", "MIN.\n Guess who it is?\n\n COUNT.\n Not your Tellheim, surely!\n\n MIN.\n Who else!--Come, Tellheim\n (introducing him).", "FRAN.\n Major von Tellheim? Yes, indeed, I do know that good man.\n\n WER.\n Is he not a good man? Do you like him?", "SCENE IX.\n Servant, Major von Tellheim, Just\n\n SER.\n I say, comrade!\n\n JUST.\n What is the matter?", "FRAN. (entering).\n Are you there still, Mr. Sergeant?\n (Seeing Tellheim.)\n And you there too, Major? I will be at your service instantly.\n (Goes back quickly into the room.)", "MIN.\n That sounds very tragic... Yet, Major Tellheim, until I find the\n former one again--I am quite foolish about the Tellheims--the latter", "FRAN. (running to the window).\n It is! it is he!\n\n MIN.\n Is it? Now, Tellheim, quick!", "MAJ. T.\n Listen then, Madam. You call me Tellheim; the name is correct. But\n suppose I am not that Tellheim whom you knew at home; the prosperous", "Tellheim; as if such men were to be caught with money.\" That is what\n they would say, for they are all envious of me. That I am rich, they", "FRAN.\n A strange face! I do not know him.\n\n MIN.\n Friend, do you live with Major von Tellheim?\n\n JUST.\n Yes.", "you, Tellheim. And if our government has the least sentiment of\n honour, I know what it must do. But I am foolish; what would that\n matter? Imagine, Tellheim, that you have lost the two thousand", "MIN.\n Come, Tellheim!\n\n MAJ. T.\n I will follow you in an instant, Minna. One word first with this man\n (turning to Werner).", "MIN. (calling after him).\n Let you go, Minna? Minna, let you go? Tellheim! Tellheim!\n\n\n\n\nACT III.", "more nearly so. This Tellheim I am now, as little as I am my own\n father. They both have been. Now I am Tellheim the discharged, the", "have heard of Major von Tellheim, if he has not heard of Paul Werner,\n his late sergeant. Our affair at Katzenhauser!!!!!", "sovereign, Tellheim; you want no other master. To find you discharged,\n is a piece of good fortune I dared scarcely dream of! But you are not", "MIN. (stopping him).\n What are you going to do, Tellheim?\n\n MAJ. T.\n Obtain your hand.\n\n MIN.\n Stop!", "about Tellheim. Franziska, my heart tells me my journey will be a\n successful one and that I shall find him.", "LAND.\n Yes, Tellheim. Do you know him?", "SCENE II.\n Major von Tellheim" ], [ "MIN.\n If it affords you pleasure, Major.\n (Takes the letter and reads.)\n\n \"My dear Major von Tellheim,", "you, Tellheim. And if our government has the least sentiment of\n honour, I know what it must do. But I am foolish; what would that\n matter? Imagine, Tellheim, that you have lost the two thousand", "ORD. (whilst Tellheim takes the letter).\n I beg your pardon, Major; you should properly have had it yesterday,", "MIN.\n All officers are not Tellheims. To tell you the truth, I only sent him\n the message in order to have an opportunity of inquiring from him", "MAJ. T.\n Presume! The letter is to me; to your Tellheim, Minna. It contains--\n what your uncle cannot take from you. You must read it! Do read it.", "ORD.\n I am looking for Major von Tellheim. Ah! you are the Major, I see. I\n have to give this letter from his Majesty the King\n (taking one out of his bag).", "Tellheim; as if such men were to be caught with money.\" That is what\n they would say, for they are all envious of me. That I am rich, they", "MIN.\n Guess who it is?\n\n COUNT.\n Not your Tellheim, surely!\n\n MIN.\n Who else!--Come, Tellheim\n (introducing him).", "MIN.\n Tellheim! Tellheim!\n (Tellheim, biting his fingers with rage, turns away his face, without\n listening.)", "MIN. (stopping him).\n What are you going to do, Tellheim?\n\n MAJ. T.\n Obtain your hand.\n\n MIN.\n Stop!", "FRAN. (running to the window).\n It is! it is he!\n\n MIN.\n Is it? Now, Tellheim, quick!", "MIN.\n You can. You must know what passes in your heart. Do you love me\n still, Tellheim? Yes, or No?\n\n MAJ. T.\n If my heart!!!!!", "MIN.\n Come, Tellheim!\n\n MAJ. T.\n I will follow you in an instant, Minna. One word first with this man\n (turning to Werner).", "more nearly so. This Tellheim I am now, as little as I am my own\n father. They both have been. Now I am Tellheim the discharged, the", "MIN. (alarmed).\n Of what are you thinking, Tellheim? It is time to break off. Come!\n (taking him by the hand).\n Franziska, let the carriage be brought round.", "SCENE VII.\n Major von Tellheim", "MIN.\n That sounds very tragic... Yet, Major Tellheim, until I find the\n former one again--I am quite foolish about the Tellheims--the latter", "FRAN.\n Major von Tellheim? Yes, indeed, I do know that good man.\n\n WER.\n Is he not a good man? Do you like him?", "MIN.\n Do I know him! He is here! Tellheim here! He had this room! He! he\n pledged this ring with you! What has brought him into this", "sovereign, Tellheim; you want no other master. To find you discharged,\n is a piece of good fortune I dared scarcely dream of! But you are not" ], [ "MIN.\n If it affords you pleasure, Major.\n (Takes the letter and reads.)\n\n \"My dear Major von Tellheim,", "(While he opens and reads the letter, the Landlord comes stealthily on\n the stage.)", "MAJ. T.\n Presume! The letter is to me; to your Tellheim, Minna. It contains--\n what your uncle cannot take from you. You must read it! Do read it.", "you, Tellheim. And if our government has the least sentiment of\n honour, I know what it must do. But I am foolish; what would that\n matter? Imagine, Tellheim, that you have lost the two thousand", "Tellheim; as if such men were to be caught with money.\" That is what\n they would say, for they are all envious of me. That I am rich, they", "ORD. (whilst Tellheim takes the letter).\n I beg your pardon, Major; you should properly have had it yesterday,", "ORD.\n I am looking for Major von Tellheim. Ah! you are the Major, I see. I\n have to give this letter from his Majesty the King\n (taking one out of his bag).", "MIN.\n Tellheim! Tellheim!\n (Tellheim, biting his fingers with rage, turns away his face, without\n listening.)", "LAND.\n Yes, Tellheim. Do you know him?", "talking again, of things which I would willingly forget. There, give\n it to her!\n (He turns the letter in giving it to her, and sees that it has been\n opened.)", "FRAN. (running to the window).\n It is! it is he!\n\n MIN.\n Is it? Now, Tellheim, quick!", "MIN.\n That sounds very tragic... Yet, Major Tellheim, until I find the\n former one again--I am quite foolish about the Tellheims--the latter", "more nearly so. This Tellheim I am now, as little as I am my own\n father. They both have been. Now I am Tellheim the discharged, the", "MIN. (stopping him).\n What are you going to do, Tellheim?\n\n MAJ. T.\n Obtain your hand.\n\n MIN.\n Stop!", "MIN.\n You can. You must know what passes in your heart. Do you love me\n still, Tellheim? Yes, or No?\n\n MAJ. T.\n If my heart!!!!!", "yourself. I do love you still, Tellheim, I love you still; but\n notwithstanding!!!!!", "SCENE X.\n Franziska (with a letter in her hand), Major von Tellheim, Paul Werner\n\n FRAN.\n Major!!!!!", "MIN.\n I take it upon myself. Go!\n\n (Exit Landlord.)\n\n\n\n SCENE IX.\n Major von Tellheim, Minna, Franziska", "about Tellheim. Franziska, my heart tells me my journey will be a\n successful one and that I shall find him.", "SCENE VIII.\n Landlord, Major von Tellheim, Minna, Franziska\n\n LAND. (to Franziska.)\n Hist! my pretty maid! A word!" ], [ "FRAN.\n Major von Tellheim? Yes, indeed, I do know that good man.\n\n WER.\n Is he not a good man? Do you like him?", "SCENE VII.\n Major von Tellheim", "SCENE II.\n Major von Tellheim", "SCENE IV.\n Major von Tellheim", "SCENE VIII.\n Major von Tellheim", "ORD.\n I am looking for Major von Tellheim. Ah! you are the Major, I see. I\n have to give this letter from his Majesty the King\n (taking one out of his bag).", "MAJOR VON TELLHEIM, a discharged officer.\n MINNA VON BARNHELM.\n COUNT VON BRUCHSAL, her uncle.", "SCENE X.\n Major von Tellheim, Just", "MIN.\n If it affords you pleasure, Major.\n (Takes the letter and reads.)\n\n \"My dear Major von Tellheim,", "have heard of Major von Tellheim, if he has not heard of Paul Werner,\n his late sergeant. Our affair at Katzenhauser!!!!!", "MAJ. T.\n Listen then, Madam. You call me Tellheim; the name is correct. But\n suppose I am not that Tellheim whom you knew at home; the prosperous", "ACT V.\n\n\n\n SCENE I.\n Major von Tellheim (from one side), Werner (from the other)", "you, Tellheim. And if our government has the least sentiment of\n honour, I know what it must do. But I am foolish; what would that\n matter? Imagine, Tellheim, that you have lost the two thousand", "MIN.\n That sounds very tragic... Yet, Major Tellheim, until I find the\n former one again--I am quite foolish about the Tellheims--the latter", "SCENE IX.\n Servant, Major von Tellheim, Just\n\n SER.\n I say, comrade!\n\n JUST.\n What is the matter?", "FRAN.\n A strange face! I do not know him.\n\n MIN.\n Friend, do you live with Major von Tellheim?\n\n JUST.\n Yes.", "more nearly so. This Tellheim I am now, as little as I am my own\n father. They both have been. Now I am Tellheim the discharged, the", "when you will be obliged to go and beg!\" And then I thought again--\n \"No, you will not be obliged to beg: you will go to Major Tellheim; he", "SCENE VI.\n An Orderly, Major von Tellheim, Minna, Franziska\n\n FRAN. (seeing the Orderly).\n Hist, Major!", "MIN.\n Tellheim! Tellheim!\n (Tellheim, biting his fingers with rage, turns away his face, without\n listening.)" ], [ "Persia, and will break into the Ottoman Porte in a few days? Thank\n God, there is still war somewhere in the world! I have long enough", "LAND.\n They would have been rewarded if they had lived so as to deserve it.\n But they lived during the war as if it would last for ever; as if the", "WER.\n Oh! my dear Major! The day after to-morrow! Why not to-morrow? I will\n get everything ready. In Persia, Major, there is a famous war; what do\n you say?", "hoped it would break out here again. But there they sit and take care\n of their skins. No, a soldier I was, and a soldier I must be again! In", "which the latter, its opposite, may have occasioned. Peace should not\n be so capricious!... How long have we had peace? The time seems", "WER.\n Really? But where there is war, Major!\n\n MAJ. T.\n To be sure. Go, Werner, we will speak of this again.", "FRAN. (running to the window).\n It is! it is he!\n\n MIN.\n Is it? Now, Tellheim, quick!", "MAJ. T.\n It has happened, as it must happen. The great ones are convinced that\n a soldier does very little through regard for them, not much more from", "A well-to-do man, and a bachelor still. He has a nice little freehold\n three miles from here. He made prize-money in the war, and was a", "Brother, I believe you read the newspapers as little as the Bible. You\n do not know Prince Heraclius. Not know the brave man who seized", "FRAN.\n We had agreed not to mention him during dinner. We should have\n resolved likewise, not to think of him.\n\n MIN.\n Indeed, I have thought of nothing but him.", "RIC.\n Si, le ministre of de war departement. Dere I have eat my dinner; I\n ordinary dine dere, and de conversation did fall on Major Tellheim; et", "you Landlords, so civil during the war? Why was every officer an\n honourable man then and every soldier a worthy, brave fellow? Does\n this bit of a peace make you so bumptious?", "ORD.\n I am looking for Major von Tellheim. Ah! you are the Major, I see. I\n have to give this letter from his Majesty the King\n (taking one out of his bag).", "MIN.\n You see, we have not yet had an opportunity of mentioning the most\n important matters even. He is coming here to-day. It was accident that\n brought me here without him, a day sooner.", "JUST.\n Have no fear, Major!\n\n MAJ. T. (comes back).\n Above all things, do not let my pistols be forgotten, which hang\n beside the bed.", "FRAN.\n Compose yourself, my lady, I hear footsteps.\n\n MIN.\n Compose myself! What! receive him composedly?", "LADY.\n I have just risen from a sick bed, to which grief on the loss of my\n husband brought me. I am troubling you at a very early hour, Major von", "MIN.\n Well, what then?\n\n LAND.\n Who is almost done for.\n\n MIN.\n So much the worse! He is said to be a very deserving man.", "MAJ. T.\n We will think of it. Only go, Werner!\n\n WER.\n Hurrah! Long live Prince Heraclius!\n (Exit.)" ], [ "FRAN.\n Major von Tellheim? Yes, indeed, I do know that good man.\n\n WER.\n Is he not a good man? Do you like him?", "SCENE VII.\n Major von Tellheim", "SCENE II.\n Major von Tellheim", "SCENE IV.\n Major von Tellheim", "SCENE VIII.\n Major von Tellheim", "ORD.\n I am looking for Major von Tellheim. Ah! you are the Major, I see. I\n have to give this letter from his Majesty the King\n (taking one out of his bag).", "SCENE VII.\n Major von Tellheim, Franziska\n\n MAJ. T.\n Her tears? And I am to leave her.\n (Is about to follow her.)", "SCENE X.\n Major von Tellheim, Just", "MIN.\n If it affords you pleasure, Major.\n (Takes the letter and reads.)\n\n \"My dear Major von Tellheim,", "ACT V.\n\n\n\n SCENE I.\n Major von Tellheim (from one side), Werner (from the other)", "when you will be obliged to go and beg!\" And then I thought again--\n \"No, you will not be obliged to beg: you will go to Major Tellheim; he", "MIN.\n Tellheim! Tellheim!\n (Tellheim, biting his fingers with rage, turns away his face, without\n listening.)", "MIN.\n That sounds very tragic... Yet, Major Tellheim, until I find the\n former one again--I am quite foolish about the Tellheims--the latter", "you, Tellheim. And if our government has the least sentiment of\n honour, I know what it must do. But I am foolish; what would that\n matter? Imagine, Tellheim, that you have lost the two thousand", "MAJOR VON TELLHEIM, a discharged officer.\n MINNA VON BARNHELM.\n COUNT VON BRUCHSAL, her uncle.", "MIN.\n Come, Tellheim!\n\n MAJ. T.\n I will follow you in an instant, Minna. One word first with this man\n (turning to Werner).", "SCENE IX.\n Servant, Major von Tellheim, Just\n\n SER.\n I say, comrade!\n\n JUST.\n What is the matter?", "MAJ. T.\n Listen then, Madam. You call me Tellheim; the name is correct. But\n suppose I am not that Tellheim whom you knew at home; the prosperous", "have heard of Major von Tellheim, if he has not heard of Paul Werner,\n his late sergeant. Our affair at Katzenhauser!!!!!", "FRAN. (entering).\n Are you there still, Mr. Sergeant?\n (Seeing Tellheim.)\n And you there too, Major? I will be at your service instantly.\n (Goes back quickly into the room.)" ], [ "(While he opens and reads the letter, the Landlord comes stealthily on\n the stage.)", "as soon as you pleased. The sealed purse... five hundred thalers in\n louis d'ors marked on it--which your honour had in your writing-desk\n ... is in good keeping.", "LAND.\n What, girl! how can you suspect me of that? There is nothing so bad in\n a landlord as curiosity. I had not been here long, when suddenly her", "LAND.\n Really, I was quite alarmed when I found the purse. I always\n considered your honour a methodical and prudent man, who never got", "LAND. (putting his head in at the door).\n Am I permitted, your ladyship?\n\n FRAN.\n Our landlord?--Come in!", "JUST.\n No money! What is that purse then with five hundred thalers' worth of\n louis d'ors, which the Landlord found in your desk?", "Shame, Landlord, to have such good Dantzig, and such bad manners! To\n turn out of his room, in his absence--a man like my master, who has", "guard with them. I have come off pretty well with this one. If he had\n no more money, he had at any rate money's worth; and I might indeed", "LAND.\n Wait a bit, my pretty maid.\n\n FRAN.\n I have not time now, Mr. Landlord.", "\"What my master, the Major, owes me:--Three months and a half wages,\n six thalers per month, is 21 thalers. During the first part of this", "talking again, of things which I would willingly forget. There, give\n it to her!\n (He turns the letter in giving it to her, and sees that it has been\n opened.)", "FRAN.\n Indeed! Well, good-bye, Mr. Landlord. Shall we have dinner soon?\n\n LAND.\n My dear girl, not to forget what I came to say!!!!!", "LAND.\n Quite right, my pretty maid; I will bear that in mind, in case of\n future inquiries. But now, your ladyship, your business here?\n\n MIN.\n My business here?", "are a hundred louis d'ors; and in this packet\n (drawing it out of another pocket)\n a hundred ducats. All his money!", "FRAN.\n A hundred pistoles? I thought it was only eighty.\n\n LAND.\n True, only ninety, only ninety. I will do so, my pretty maid, I will\n do so.", "or whatever he pleases. He must have money, and it is bad enough that\n they have made his own so troublesome to him. But I know what I would", "WER.\n Indeed! I tell you what, little woman, you are twice as pretty now as\n you were before. But what are the services, which the landlord says he\n has rendered our Major?", "MIN.\n Bring him here directly. When he sees us he will go fast enough.\n (Exit Landlord.)\n\n\n\n SCENE V.\n Minna, Franziska", "MIN. (looking at it).\n Good heavens! What do I see? This ring!!!!!\n\n LAND.\n Is honestly worth fifteen hundred thalers.", "SCENE II.\n Landlord, Just" ], [ "WER.\n What, has the Major money still?\n\n JUST.\n No.\n\n WER.\n Has he borrowed any?", "MAJ. T.\n What more do you require to tranquillize you, than my assurance that\n the money does not belong to me? Or do you wish that I should rob the", "MAJ. T. (pointing to the purse which Werner had thrown down).\n Here, Just, pick up the purse and carry it home. Go!\n (Just takes it up and goes.)", "MAJ. T. (angrily striking his forehead, and stamping with his foot.)\n That... the four hundred thalers are not all there.\n\n WER.\n Come! Major, did not you understand me?", "LADY.\n Generous man! But do not think so meanly of me. Take the money, Major,\n and then at least I shall be at ease.", "suppose, to find the Major. He will not have my money, but rather\n pawns his property. That is just his way. A little trick occurs to me.", "MAJ. T.\n That is money given into my charge.\n\n JUST.\n Not the hundred pistoles which your old sergeant brought you four or\n five weeks back?", "LAND.\n Only half a moment! No further tidings of the Major? That surely could\n not possibly be his leave-taking!\n\n FRAN.\n What could not?", "FRAN.\n What! Has the Major any money?", "the Major's place. If he did not want him any longer as huntsman, he\n was still a useful fellow. Where has he found him a place?", "WER.\n I beg you, Major.\n\n MAJ. T.\n How often must I tell you? I do not want your money!", "by, if I do not go to Persia. But she was gone; and no doubt she has\n not been able to pay the Major. Yes, I'll do that; and the sooner the", "MAJ. T.\n Poor, good woman! I must not forget to destroy the bill.\n (Takes some papers from his pocketbook and destroys them.)", "Major, and punctually at three.... Well, you wanted to speak to me\n too alone. What have you to say to me? Oh! we are not alone.\n (Looking at Werner.)", "MAJ. T.\n Werner, go and give Just the hundred louis d'ors. Let him redeem the", "guard with them. I have come off pretty well with this one. If he had\n no more money, he had at any rate money's worth; and I might indeed", "MAJ. T.\n No, Madam. Marloff a debtor to me! that can hardly be. Let us look,\n however.\n (Takes out a pocketbook, and searches.)\n I find nothing of the kind.", "MAJ. T.\n And alone? Without me? Where to?\n\n FRAN.\n Have you forgotten, Major?", "MAJ. T.\n I do not want your news now; I want your money. Quick, Werner, give me\n all you have; and then raise as much more as you can.", "WER.\n Hist! Here are a hundred ducats, which I received yesterday towards\n the payment: I am bringing them for the Major.\n\n JUST.\n What is he to do with them?" ], [ "Tellheim; as if such men were to be caught with money.\" That is what\n they would say, for they are all envious of me. That I am rich, they", "MIN.\n Tellheim! Tellheim!\n (Tellheim, biting his fingers with rage, turns away his face, without\n listening.)", "WER.\n I beg you, Major.\n\n MAJ. T.\n How often must I tell you? I do not want your money!", "you, Tellheim. And if our government has the least sentiment of\n honour, I know what it must do. But I am foolish; what would that\n matter? Imagine, Tellheim, that you have lost the two thousand", "FRAN.\n Major von Tellheim? Yes, indeed, I do know that good man.\n\n WER.\n Is he not a good man? Do you like him?", "MAJ. T.\n Do not be annoyed, Werner. I know your heart, and your affection for\n me. But I do not require your money.", "ACT V.\n\n\n\n SCENE I.\n Major von Tellheim (from one side), Werner (from the other)", "WER. (goes up to Minna, without noticing Franziska).\n Major von Tellheim begs to present, through me, Sergeant Werner, his", "JUST.\n Werner, you mean it well; but we don't want your money. Keep your\n ducats; and your hundred pistoles you can also have back safe, as soon\n as you please.", "WER.\n I have brought more money! A thousand pistoles!\n\n MAJ. T.\n I do not want them!", "MAJ. T.\n This only applies partly to you. Go, Werner!\n (Pushing back Werner's hand with the money in it.)", "when you will be obliged to go and beg!\" And then I thought again--\n \"No, you will not be obliged to beg: you will go to Major Tellheim; he", "MIN.\n That sounds very tragic... Yet, Major Tellheim, until I find the\n former one again--I am quite foolish about the Tellheims--the latter", "more nearly so. This Tellheim I am now, as little as I am my own\n father. They both have been. Now I am Tellheim the discharged, the", "MIN.\n No, Tellheim, I do not mean that! I send you back into the busy world,\n on the road of honour, without wishing to accompany you. Tellheim will", "MIN.\n Guess who it is?\n\n COUNT.\n Not your Tellheim, surely!\n\n MIN.\n Who else!--Come, Tellheim\n (introducing him).", "WER.\n That will be the reason. From a loving hand! Yes, yes; such a thing\n often puts one in mind of what one does not wish to remember, and\n therefore one gets rid of it.", "MIN. (regaining her composure).\n It is cruel of you, Tellheim, to paint such happiness to me, when I am\n forced to renounce it. My loss!!!!!", "MIN.\n And do you know why I consider it so good? It applies to my Tellheim.\n\n FRAN.\n What would not, in your opinion, apply to him?", "have heard of Major von Tellheim, if he has not heard of Paul Werner,\n his late sergeant. Our affair at Katzenhauser!!!!!" ], [ "you, Tellheim. And if our government has the least sentiment of\n honour, I know what it must do. But I am foolish; what would that\n matter? Imagine, Tellheim, that you have lost the two thousand", "MIN.\n Tellheim! Tellheim!\n (Tellheim, biting his fingers with rage, turns away his face, without\n listening.)", "MIN.\n I take it upon myself. Go!\n\n (Exit Landlord.)\n\n\n\n SCENE IX.\n Major von Tellheim, Minna, Franziska", "LAND.\n Yes, Tellheim. Do you know him?", "Tellheim; as if such men were to be caught with money.\" That is what\n they would say, for they are all envious of me. That I am rich, they", "FRAN. (running to the window).\n It is! it is he!\n\n MIN.\n Is it? Now, Tellheim, quick!", "MIN. (stopping him).\n What are you going to do, Tellheim?\n\n MAJ. T.\n Obtain your hand.\n\n MIN.\n Stop!", "when you will be obliged to go and beg!\" And then I thought again--\n \"No, you will not be obliged to beg: you will go to Major Tellheim; he", "MIN.\n Guess who it is?\n\n COUNT.\n Not your Tellheim, surely!\n\n MIN.\n Who else!--Come, Tellheim\n (introducing him).", "suppose, to find the Major. He will not have my money, but rather\n pawns his property. That is just his way. A little trick occurs to me.", "more nearly so. This Tellheim I am now, as little as I am my own\n father. They both have been. Now I am Tellheim the discharged, the", "SCENE III.\n Major von Tellheim, Landlord, Just\n\n MAJ. T. (entering).\n Just!", "SCENE VIII.\n Landlord, Major von Tellheim, Minna, Franziska\n\n LAND. (to Franziska.)\n Hist! my pretty maid! A word!", "MIN.\n Sir, your mistake is quite excusable, and your astonishment very\n natural. Major von Tellheim has had the kindness to give up his\n apartments to me, as a stranger, who was not able to get them\n elsewhere.", "SCENE VII.\n Major von Tellheim", "FRAN.\n Major von Tellheim? Yes, indeed, I do know that good man.\n\n WER.\n Is he not a good man? Do you like him?", "SCENE II.\n Major von Tellheim", "MIN.\n That sounds very tragic... Yet, Major Tellheim, until I find the\n former one again--I am quite foolish about the Tellheims--the latter", "Tellheim, but I am going into the country, where a kind, but also\n unfortunate friend, has for the present offered me an asylum.", "FRAN. (entering).\n Are you there still, Mr. Sergeant?\n (Seeing Tellheim.)\n And you there too, Major? I will be at your service instantly.\n (Goes back quickly into the room.)" ], [ "MIN.\n You can. You must know what passes in your heart. Do you love me\n still, Tellheim? Yes, or No?\n\n MAJ. T.\n If my heart!!!!!", "MIN.\n That sounds very tragic... Yet, Major Tellheim, until I find the\n former one again--I am quite foolish about the Tellheims--the latter", "MIN.\n Tellheim! Tellheim!\n (Tellheim, biting his fingers with rage, turns away his face, without\n listening.)", "MIN.\n You can. Well, notwithstanding the pains which you have taken to\n forget me, do you love me still, Tellheim?\n\n MAJ. T.\n Madam, that question!!!!!", "you, Tellheim. And if our government has the least sentiment of\n honour, I know what it must do. But I am foolish; what would that\n matter? Imagine, Tellheim, that you have lost the two thousand", "MIN. (drawing away her hand).\n Not so, sir. Why this sudden change? Is this flattering impetuous\n lover, the cold Tellheim!--Could his returning good fortune alone", "about Tellheim. Franziska, my heart tells me my journey will be a\n successful one and that I shall find him.", "MIN.\n Equality is the only sure bond of love. The happy Minna only wished to\n live for the happy Tellheim. Even Minna in misfortune would have", "MIN. (regaining her composure).\n It is cruel of you, Tellheim, to paint such happiness to me, when I am\n forced to renounce it. My loss!!!!!", "MIN.\n Guess who it is?\n\n COUNT.\n Not your Tellheim, surely!\n\n MIN.\n Who else!--Come, Tellheim\n (introducing him).", "MAJ. T.\n Listen then, Madam. You call me Tellheim; the name is correct. But\n suppose I am not that Tellheim whom you knew at home; the prosperous", "yourself. I do love you still, Tellheim, I love you still; but\n notwithstanding!!!!!", "FRAN.\n Major von Tellheim? Yes, indeed, I do know that good man.\n\n WER.\n Is he not a good man? Do you like him?", "MIN.\n Quick, Tellheim! one embrace and forget all.\n\n MAJ. T.\n Ah! did I but know that you could regret!!!!!", "SCENE II.\n Major von Tellheim", "MIN. (calling after him).\n Let you go, Minna? Minna, let you go? Tellheim! Tellheim!\n\n\n\n\nACT III.", "you. I wished it might be Major von Tellheim.--Your hand, sir; you\n have my highest esteem; I ask for your friendship. My niece, my\n daughter loves you.", "SCENE VII.\n Major von Tellheim", "MAJ. T.\n Is that true? I thank you, Minna, that you have not yet pronounced the\n sentence. You will only marry Tellheim when unfortunate? You may have", "MIN.\n Come, Tellheim!\n\n MAJ. T.\n I will follow you in an instant, Minna. One word first with this man\n (turning to Werner)." ], [ "MIN. (regaining her composure).\n It is cruel of you, Tellheim, to paint such happiness to me, when I am\n forced to renounce it. My loss!!!!!", "MIN.\n Tellheim! Tellheim!\n (Tellheim, biting his fingers with rage, turns away his face, without\n listening.)", "MIN.\n Come, Tellheim!\n\n MAJ. T.\n I will follow you in an instant, Minna. One word first with this man\n (turning to Werner).", "MIN.\n You can. Well, notwithstanding the pains which you have taken to\n forget me, do you love me still, Tellheim?\n\n MAJ. T.\n Madam, that question!!!!!", "MIN. (drawing away her hand).\n Not so, sir. Why this sudden change? Is this flattering impetuous\n lover, the cold Tellheim!--Could his returning good fortune alone", "MAJ. T.\n Is that true? I thank you, Minna, that you have not yet pronounced the\n sentence. You will only marry Tellheim when unfortunate? You may have", "MIN.\n Quick, Tellheim! one embrace and forget all.\n\n MAJ. T.\n Ah! did I but know that you could regret!!!!!", "MIN.\n I take it upon myself. Go!\n\n (Exit Landlord.)\n\n\n\n SCENE IX.\n Major von Tellheim, Minna, Franziska", "MIN. (stopping him).\n What are you going to do, Tellheim?\n\n MAJ. T.\n Obtain your hand.\n\n MIN.\n Stop!", "MIN.\n If it affords you pleasure, Major.\n (Takes the letter and reads.)\n\n \"My dear Major von Tellheim,", "MIN.\n Guess who it is?\n\n COUNT.\n Not your Tellheim, surely!\n\n MIN.\n Who else!--Come, Tellheim\n (introducing him).", "MIN.\n You can. You must know what passes in your heart. Do you love me\n still, Tellheim? Yes, or No?\n\n MAJ. T.\n If my heart!!!!!", "MAJOR VON TELLHEIM, a discharged officer.\n MINNA VON BARNHELM.\n COUNT VON BRUCHSAL, her uncle.", "MIN. (alarmed).\n Of what are you thinking, Tellheim? It is time to break off. Come!\n (taking him by the hand).\n Franziska, let the carriage be brought round.", "MIN.\n And do you know why I consider it so good? It applies to my Tellheim.\n\n FRAN.\n What would not, in your opinion, apply to him?", "MIN. (calling after him).\n Let you go, Minna? Minna, let you go? Tellheim! Tellheim!\n\n\n\n\nACT III.", "MIN.\n Sir, your mistake is quite excusable, and your astonishment very\n natural. Major von Tellheim has had the kindness to give up his\n apartments to me, as a stranger, who was not able to get them\n elsewhere.", "SCENE VII.\n Major von Tellheim, Minna, Franziska\n\n MAJ. T.\n Ah! Minna, what is this? What does this contain?", "he loves to take part in his misfortune... Oh! how difficult is\n this victory!... Since reason and necessity have commanded me to\n forget Minna von Barnhelm, what pains have I taken! I was just", "MIN.\n Equality is the only sure bond of love. The happy Minna only wished to\n live for the happy Tellheim. Even Minna in misfortune would have" ], [ "MAJ. T. (walks in, and the moment he sees Minna rushes towards her).\n Ah! my Minna!\n\n MIN. (springing towards him).\n Ah! my Tellheim!", "SCENE I.\n Minna's Room.\n\n Minna (dressed handsomely and richly, but in good taste), Franziska\n (They have just risen from a table, which a servant is clearing.)", "SCENE I.\n Minna's Room. Minna, Franziska", "MAJ. T. (starting up, and looking fiercely about him).\n Who dare say that! Ah! Minna, I feel afraid of myself, when I imagine", "MAJ. T.\n Now, what do you say to that, Minna?\n\n MIN. (folding up and returning the letter).\n I? Nothing.", "MIN.\n Pray go quickly. I will set all that right again.\n (Exit the Landlord.)\n Franziska, run after him, and tell him not to mention my name!\n (Exit Franziska.)", "FRAN.\n The same to you! I really believe, I like that man!\n (Going in, she meets Minna coming out.)", "FRAN.\n Do not detain me any longer. I must see what she is about. How easily\n something might happen to her. Go now, and come again, if you like.\n (Follows Minna.)", "MAJ. T. (to Just).\n What do you say?... That is not possible!... You?\n (Looking fiercely at Minna.)\n Speak it out; tell it to her face. Listen, Madam.", "MAJ. T.\n Where are you going, dearest Minna?\n\n MIN.\n Sir, you insult me now by that term of endearment.", "MIN.\n Thank you for your trouble. I am glad to have made your acquaintance.\n Franziska has spoken in high praise of you to me.\n (Werner makes a stiff bow, and goes.)", "MAJ. T.\n No more, dearest Minna, no more!\n (Seizes her hand again, to put on the ring.)", "feel myself ready and capable of undertaking anything for her sake.\n Why do I tarry?\n (Is going towards Minna's room, when Franziska comes out of it.)", "MIN. (sees the Landlord, and makes a sign to Franziska).\n Sir!!!!!\n\n MAJ. T.\n If we are not both mistaken!!!!!", "FRAN.\n Come in!\n\n\n\n SCENE II.\n Landlord, Minna, Franziska", "MAJ. T.\n You will take it again? Ah! now I am happy... Here, Minna\n (taking it from his pocket).", "service of the great is dangerous, and does not repay the trouble, the\n restraint, the humiliation which it costs. Minna is not amongst those\n vain people who love nothing in their husbands beyond their titles and", "MIN. (speaking as she comes out, as if not aware of the Major's\n presence).\n The carriage is at the door, Franziska, is it not? My fan!", "MAJ. T.\n Ah! that friendly tone tells me you are yourself again, Minna: that\n you still love me.", "MIN. (calling after him).\n Let you go, Minna? Minna, let you go? Tellheim! Tellheim!\n\n\n\n\nACT III." ], [ "MAJ. T.\n Is that true? I thank you, Minna, that you have not yet pronounced the\n sentence. You will only marry Tellheim when unfortunate? You may have", "MIN. (drawing away her hand).\n Not so, sir. Why this sudden change? Is this flattering impetuous\n lover, the cold Tellheim!--Could his returning good fortune alone", "MIN.\n You can. You must know what passes in your heart. Do you love me\n still, Tellheim? Yes, or No?\n\n MAJ. T.\n If my heart!!!!!", "MIN. (regaining her composure).\n It is cruel of you, Tellheim, to paint such happiness to me, when I am\n forced to renounce it. My loss!!!!!", "MIN.\n Equality is the only sure bond of love. The happy Minna only wished to\n live for the happy Tellheim. Even Minna in misfortune would have", "MIN.\n Come, Tellheim!\n\n MAJ. T.\n I will follow you in an instant, Minna. One word first with this man\n (turning to Werner).", "MIN. (alarmed).\n Of what are you thinking, Tellheim? It is time to break off. Come!\n (taking him by the hand).\n Franziska, let the carriage be brought round.", "MIN.\n You can. Well, notwithstanding the pains which you have taken to\n forget me, do you love me still, Tellheim?\n\n MAJ. T.\n Madam, that question!!!!!", "MIN.\n Tellheim! Tellheim!\n (Tellheim, biting his fingers with rage, turns away his face, without\n listening.)", "MIN. (calling after him).\n Let you go, Minna? Minna, let you go? Tellheim! Tellheim!\n\n\n\n\nACT III.", "MIN.\n And do you know why I consider it so good? It applies to my Tellheim.\n\n FRAN.\n What would not, in your opinion, apply to him?", "MIN.\n Quick, Tellheim! one embrace and forget all.\n\n MAJ. T.\n Ah! did I but know that you could regret!!!!!", "MIN. (stopping him).\n What are you going to do, Tellheim?\n\n MAJ. T.\n Obtain your hand.\n\n MIN.\n Stop!", "certainly as you have taken back that same ring, so certainly shall\n the unfortunate Minna never be the wife of the fortunate Tellheim!", "MIN.\n I take it upon myself. Go!\n\n (Exit Landlord.)\n\n\n\n SCENE IX.\n Major von Tellheim, Minna, Franziska", "MIN.\n That sounds very tragic... Yet, Major Tellheim, until I find the\n former one again--I am quite foolish about the Tellheims--the latter", "No, this is too bad... Only listen!... You are mistaken!... A\n mere misunderstanding. Tellheim, will you not hear your Minna? Can you", "MIN.\n If it affords you pleasure, Major.\n (Takes the letter and reads.)\n\n \"My dear Major von Tellheim,", "MIN.\n Guess who it is?\n\n COUNT.\n Not your Tellheim, surely!\n\n MIN.\n Who else!--Come, Tellheim\n (introducing him).", "MIN.\n Tellheim, what visions are you conjuring up! Be calm, and listen to\n me.\n\n FRAN. (aside).\n Now she will catch it!" ], [ "MIN. (regaining her composure).\n It is cruel of you, Tellheim, to paint such happiness to me, when I am\n forced to renounce it. My loss!!!!!", "MIN.\n You can. You must know what passes in your heart. Do you love me\n still, Tellheim? Yes, or No?\n\n MAJ. T.\n If my heart!!!!!", "MIN.\n Equality is the only sure bond of love. The happy Minna only wished to\n live for the happy Tellheim. Even Minna in misfortune would have", "MAJ. T.\n Is that true? I thank you, Minna, that you have not yet pronounced the\n sentence. You will only marry Tellheim when unfortunate? You may have", "MIN. (drawing away her hand).\n Not so, sir. Why this sudden change? Is this flattering impetuous\n lover, the cold Tellheim!--Could his returning good fortune alone", "MIN.\n Come, Tellheim!\n\n MAJ. T.\n I will follow you in an instant, Minna. One word first with this man\n (turning to Werner).", "MIN. (calling after him).\n Let you go, Minna? Minna, let you go? Tellheim! Tellheim!\n\n\n\n\nACT III.", "MIN.\n Tellheim! Tellheim!\n (Tellheim, biting his fingers with rage, turns away his face, without\n listening.)", "MIN.\n And do you know why I consider it so good? It applies to my Tellheim.\n\n FRAN.\n What would not, in your opinion, apply to him?", "MIN. (alarmed).\n Of what are you thinking, Tellheim? It is time to break off. Come!\n (taking him by the hand).\n Franziska, let the carriage be brought round.", "MIN.\n You can. Well, notwithstanding the pains which you have taken to\n forget me, do you love me still, Tellheim?\n\n MAJ. T.\n Madam, that question!!!!!", "MIN.\n If it affords you pleasure, Major.\n (Takes the letter and reads.)\n\n \"My dear Major von Tellheim,", "COUNT.\n Here I am, dear Minna\n (embracing her).\n But what, girl\n (seeing Tellheim),\n only four-and-twenty hours here, and friends--company already!", "MIN.\n I take it upon myself. Go!\n\n (Exit Landlord.)\n\n\n\n SCENE IX.\n Major von Tellheim, Minna, Franziska", "No, this is too bad... Only listen!... You are mistaken!... A\n mere misunderstanding. Tellheim, will you not hear your Minna? Can you", "MIN.\n Quick, Tellheim! one embrace and forget all.\n\n MAJ. T.\n Ah! did I but know that you could regret!!!!!", "MIN.\n Guess who it is?\n\n COUNT.\n Not your Tellheim, surely!\n\n MIN.\n Who else!--Come, Tellheim\n (introducing him).", "MAJ. T.\n Presume! The letter is to me; to your Tellheim, Minna. It contains--\n what your uncle cannot take from you. You must read it! Do read it.", "you, Tellheim. And if our government has the least sentiment of\n honour, I know what it must do. But I am foolish; what would that\n matter? Imagine, Tellheim, that you have lost the two thousand", "MAJ. T. (to Just).\n What do you say?... That is not possible!... You?\n (Looking fiercely at Minna.)\n Speak it out; tell it to her face. Listen, Madam." ], [ "SCENE VII.\n Major von Tellheim", "SCENE IV.\n Major von Tellheim", "SCENE II.\n Major von Tellheim", "SCENE VIII.\n Major von Tellheim", "ORD.\n I am looking for Major von Tellheim. Ah! you are the Major, I see. I\n have to give this letter from his Majesty the King\n (taking one out of his bag).", "SCENE X.\n Major von Tellheim, Just", "FRAN.\n Major von Tellheim? Yes, indeed, I do know that good man.\n\n WER.\n Is he not a good man? Do you like him?", "ACT V.\n\n\n\n SCENE I.\n Major von Tellheim (from one side), Werner (from the other)", "FRAN.\n Without doubt, my lady, this gentleman expects to find Major von\n Tellheim here still.", "MIN.\n If it affords you pleasure, Major.\n (Takes the letter and reads.)\n\n \"My dear Major von Tellheim,", "have heard of Major von Tellheim, if he has not heard of Paul Werner,\n his late sergeant. Our affair at Katzenhauser!!!!!", "when you will be obliged to go and beg!\" And then I thought again--\n \"No, you will not be obliged to beg: you will go to Major Tellheim; he", "MIN.\n Sir, your mistake is quite excusable, and your astonishment very\n natural. Major von Tellheim has had the kindness to give up his\n apartments to me, as a stranger, who was not able to get them\n elsewhere.", "MIN. (stopping him).\n What are you going to do, Tellheim?\n\n MAJ. T.\n Obtain your hand.\n\n MIN.\n Stop!", "SCENE IX.\n Servant, Major von Tellheim, Just\n\n SER.\n I say, comrade!\n\n JUST.\n What is the matter?", "FRAN.\n A strange face! I do not know him.\n\n MIN.\n Friend, do you live with Major von Tellheim?\n\n JUST.\n Yes.", "FRAN. (entering).\n Are you there still, Mr. Sergeant?\n (Seeing Tellheim.)\n And you there too, Major? I will be at your service instantly.\n (Goes back quickly into the room.)", "SCENE III.\n Major von Tellheim, Landlord, Just\n\n MAJ. T. (entering).\n Just!", "MIN.\n Tellheim! Tellheim!\n (Tellheim, biting his fingers with rage, turns away his face, without\n listening.)", "MAJ. T.\n Is that true? I thank you, Minna, that you have not yet pronounced the\n sentence. You will only marry Tellheim when unfortunate? You may have" ], [ "LAND.\n Major! Right! he is a Major, who had this room before you, and from\n whom I received it.\n\n MIN.\n Major von Tellheim!", "LAND.\n But suppose I really wanted the room and saw beforehand that the Major\n would willingly have given it up if we could only have waited some", "MAJ. T.\n Fraulein...\n (Looks fixedly at the Landlord, and shrugs his shoulders.)", "the Major's place. If he did not want him any longer as huntsman, he\n was still a useful fellow. Where has he found him a place?", "forget the lesson. Ah! our unfortunate Major!\n (Turns round to enter her mistress' room, when the Landlord comes.)", "(While he opens and reads the letter, the Landlord comes stealthily on\n the stage.)", "LAND.\n Only half a moment! No further tidings of the Major? That surely could\n not possibly be his leave-taking!\n\n FRAN.\n What could not?", "LAND.\n Really, I was quite alarmed when I found the purse. I always\n considered your honour a methodical and prudent man, who never got", "MAJ. T.\n Poor, good woman! I must not forget to destroy the bill.\n (Takes some papers from his pocketbook and destroys them.)", "apartments again. The Major cannot and will not let her have his room.\n It is his; she must go; I cannot help it. I will go, honoured sir!!!!!", "MAJ. T.\n No, Madam. Marloff a debtor to me! that can hardly be. Let us look,\n however.\n (Takes out a pocketbook, and searches.)\n I find nothing of the kind.", "LAND.\n One is peevish, if one can't have one's proper rest. What will you bet\n the Major has not returned home, and you have been keeping watch for\n him?", "LAND.\n What, girl! how can you suspect me of that? There is nothing so bad in\n a landlord as curiosity. I had not been here long, when suddenly her", "Shame, Landlord, to have such good Dantzig, and such bad manners! To\n turn out of his room, in his absence--a man like my master, who has", "JUST.\n I thought I was \"Herr Just\" with you.\n\n LAND. (seeing the Major).\n Hist! hist! Herr Just, Herr Just, look round; your master!!!!!", "MAJ. T.\n I cannot keep you any longer: I must learn to manage without servants.\n (Opens the paper, and reads.)", "it, Major; really not. And we do not wish to read it, because the\n writer is coming himself. Come; and I tell you what, Major! don't come", "JUST. (supposing the Landlord is still speaking).\n Just? Are we so intimate?\n\n MAJ. T.\n Just!", "MAJ. T.\n More than enough, sir! I am in your debt; you turn out my room in my\n absence. You must be paid, I must seek a lodging elsewhere. Very\n natural.", "MAJ. T.\n You would have treated me rather more civilly. I understand you. Go,\n sir; leave me. I wish to speak with my servant.\n\n LAND.\n But, honoured sir!!!!!" ], [ "when you will be obliged to go and beg!\" And then I thought again--\n \"No, you will not be obliged to beg: you will go to Major Tellheim; he", "ORD.\n I am looking for Major von Tellheim. Ah! you are the Major, I see. I\n have to give this letter from his Majesty the King\n (taking one out of his bag).", "MIN.\n That sounds very tragic... Yet, Major Tellheim, until I find the\n former one again--I am quite foolish about the Tellheims--the latter", "SCENE VII.\n Major von Tellheim", "Tellheim; as if such men were to be caught with money.\" That is what\n they would say, for they are all envious of me. That I am rich, they", "FRAN.\n Major von Tellheim? Yes, indeed, I do know that good man.\n\n WER.\n Is he not a good man? Do you like him?", "MIN.\n If it affords you pleasure, Major.\n (Takes the letter and reads.)\n\n \"My dear Major von Tellheim,", "SCENE IV.\n Major von Tellheim", "you, Tellheim. And if our government has the least sentiment of\n honour, I know what it must do. But I am foolish; what would that\n matter? Imagine, Tellheim, that you have lost the two thousand", "SCENE VIII.\n Major von Tellheim", "SCENE II.\n Major von Tellheim", "MAJ. T.\n Listen then, Madam. You call me Tellheim; the name is correct. But\n suppose I am not that Tellheim whom you knew at home; the prosperous", "SCENE X.\n Major von Tellheim, Just", "MIN.\n Come, Tellheim!\n\n MAJ. T.\n I will follow you in an instant, Minna. One word first with this man\n (turning to Werner).", "MAJ. T.\n Presume! The letter is to me; to your Tellheim, Minna. It contains--\n what your uncle cannot take from you. You must read it! Do read it.", "MIN. (stopping him).\n What are you going to do, Tellheim?\n\n MAJ. T.\n Obtain your hand.\n\n MIN.\n Stop!", "FRAN. (entering).\n Are you there still, Mr. Sergeant?\n (Seeing Tellheim.)\n And you there too, Major? I will be at your service instantly.\n (Goes back quickly into the room.)", "MIN.\n Guess who it is?\n\n COUNT.\n Not your Tellheim, surely!\n\n MIN.\n Who else!--Come, Tellheim\n (introducing him).", "SCENE VII.\n Major von Tellheim, Franziska\n\n MAJ. T.\n Her tears? And I am to leave her.\n (Is about to follow her.)", "SCENE IX.\n Servant, Major von Tellheim, Just\n\n SER.\n I say, comrade!\n\n JUST.\n What is the matter?" ], [ "you, Tellheim. And if our government has the least sentiment of\n honour, I know what it must do. But I am foolish; what would that\n matter? Imagine, Tellheim, that you have lost the two thousand", "MIN.\n Tellheim! Tellheim!\n (Tellheim, biting his fingers with rage, turns away his face, without\n listening.)", "Tellheim; as if such men were to be caught with money.\" That is what\n they would say, for they are all envious of me. That I am rich, they", "MIN.\n That sounds very tragic... Yet, Major Tellheim, until I find the\n former one again--I am quite foolish about the Tellheims--the latter", "more nearly so. This Tellheim I am now, as little as I am my own\n father. They both have been. Now I am Tellheim the discharged, the", "MIN.\n Guess who it is?\n\n COUNT.\n Not your Tellheim, surely!\n\n MIN.\n Who else!--Come, Tellheim\n (introducing him).", "MIN. (stopping him).\n What are you going to do, Tellheim?\n\n MAJ. T.\n Obtain your hand.\n\n MIN.\n Stop!", "SCENE II.\n Major von Tellheim", "when you will be obliged to go and beg!\" And then I thought again--\n \"No, you will not be obliged to beg: you will go to Major Tellheim; he", "SCENE VII.\n Major von Tellheim", "FRAN.\n Major von Tellheim? Yes, indeed, I do know that good man.\n\n WER.\n Is he not a good man? Do you like him?", "suppose, to find the Major. He will not have my money, but rather\n pawns his property. That is just his way. A little trick occurs to me.", "FRAN. (running to the window).\n It is! it is he!\n\n MIN.\n Is it? Now, Tellheim, quick!", "SCENE IV.\n Major von Tellheim", "SCENE VIII.\n Major von Tellheim", "MIN.\n And do you know why I consider it so good? It applies to my Tellheim.\n\n FRAN.\n What would not, in your opinion, apply to him?", "sovereign, Tellheim; you want no other master. To find you discharged,\n is a piece of good fortune I dared scarcely dream of! But you are not", "MIN. (calling after him).\n Let you go, Minna? Minna, let you go? Tellheim! Tellheim!\n\n\n\n\nACT III.", "ORD.\n I am looking for Major von Tellheim. Ah! you are the Major, I see. I\n have to give this letter from his Majesty the King\n (taking one out of his bag).", "MIN.\n Do I know him! He is here! Tellheim here! He had this room! He! he\n pledged this ring with you! What has brought him into this" ], [ "use of it. Some one is knocking. Give it to me, quickly.\n (Puts the ring on.)\n It is he.", "look at it, the more I am astonished at the resemblance it bears to\n mine. There! just look, just look!\n (Taking the ring from its case, and handing it to her.)", "MIN.\n Do not you recognize it, Franziska?\n\n FRAN.\n The same! Where did you get that ring, Mr. Landlord?", "(Whispering to her.)\n You know, my dear; the ring! Tell Herr Werner about it. Then he will\n learn better what I am. And that it may not appear as if she only said", "MIN.\n Do I know him! He is here! Tellheim here! He had this room! He! he\n pledged this ring with you! What has brought him into this", "FRAN.\n We have no claim to this ring! My mistress' monogram must be on it, on\n the inner side of the setting. Look at it, my lady.", "MAJ. T.\n Ah! I did that in my confusion. I had forgotten about the ring. Where\n did I put it?\n (Searches for it.)\n Here it is.", "MIN.\n It is! it is! How did you get this ring?", "JUST.\n The Landlord says, that Fraulein von Barnhelm has taken the ring which\n I pledged to him; she recognised it as her own, and would not return\n it.", "MIN. (looking at it).\n Good heavens! What do I see? This ring!!!!!\n\n LAND.\n Is honestly worth fifteen hundred thalers.", "MIN. (whilst Franziska is fetching the ring).\n I scarcely know, myself; but I fancy I see, beforehand, how I may make", "FRAN.\n It is no rubbish; it is a very valuable ring; which, moreover, I\n suspect, he received from a loving hand.", "(Takes off the ring.)\n Here, take it for the second time--the pledge of my fidelity.", "I do not wish to have it again at all. I can guess pretty well how she\n knew the ring, and why it was so like her own. It is best in her", "MIN.\n Without a moment's reflection!... As certainly as I have given you\n back the ring with which you formerly pledged your troth to me, as", "MIN.\n I take that ring again! That ring?\n\n MAJ. T.\n Yes, dearest Minna, yes.\n\n MIN.\n What are you asking me? that ring?", "MAJ. T.\n Fiction! But the ring? the ring?\n\n MIN.\n Where is the ring that I gave back to you?", "ring properly belongs? During the war many a thing often changed\n masters, both with and without the knowledge of its owner. War was\n war. Other rings will have crossed the borders of Saxony. Give it me", "FRAN.\n Well? In as few words as possible.\n\n LAND.\n Her ladyship has my ring still. I call it mine!!!!!", "FRAN.\n What! After you have taken the ring back, Major!" ], [ "(Whispering to her.)\n You know, my dear; the ring! Tell Herr Werner about it. Then he will\n learn better what I am. And that it may not appear as if she only said", "(Takes off the ring.)\n Here, take it for the second time--the pledge of my fidelity.", "a ring is suddenly conjured on to his finger; he hardly knows himself\n how it gets there; and very often he would willingly give the finger\n with it, if he could only get free from it again.", "look at it, the more I am astonished at the resemblance it bears to\n mine. There! just look, just look!\n (Taking the ring from its case, and handing it to her.)", "use of it. Some one is knocking. Give it to me, quickly.\n (Puts the ring on.)\n It is he.", "FRAN.\n We have no claim to this ring! My mistress' monogram must be on it, on\n the inner side of the setting. Look at it, my lady.", "FRAN.\n It is no rubbish; it is a very valuable ring; which, moreover, I\n suspect, he received from a loving hand.", "MIN.\n It is! it is! How did you get this ring?", "MIN. (looking at it).\n Good heavens! What do I see? This ring!!!!!\n\n LAND.\n Is honestly worth fifteen hundred thalers.", "MAJ. T.\n Ah! I did that in my confusion. I had forgotten about the ring. Where\n did I put it?\n (Searches for it.)\n Here it is.", "MIN. (whilst Franziska is fetching the ring).\n I scarcely know, myself; but I fancy I see, beforehand, how I may make", "Here, take this ring--the only thing of value which I have left--of\n which I never thought such a use. Pawn it! get eighty louis d'ors for", "ring properly belongs? During the war many a thing often changed\n masters, both with and without the knowledge of its owner. War was\n war. Other rings will have crossed the borders of Saxony. Give it me", "MAJ. T.\n Fiction! But the ring? the ring?\n\n MIN.\n Where is the ring that I gave back to you?", "ring? Oh! you may see\n (pointing to her ring)\n that I have another here which is in no way inferior to yours.", "I do not wish to have it again at all. I can guess pretty well how she\n knew the ring, and why it was so like her own. It is best in her", "MIN.\n I take that ring again! That ring?\n\n MAJ. T.\n Yes, dearest Minna, yes.\n\n MIN.\n What are you asking me? that ring?", "LAND.\n Of course your ladyship must. I must show you a ring, a valuable ring.\n I see you have a very beautiful one on your finger; and the more I", "instead of on his finger! My good landlord, we are not yet so poor as\n we look. To him himself, I will pawn you, you beautiful little ring! I", "WER.\n Undoubtedly. Especially in Saxony. If he had had ten fingers on each\n hand, he might have had all twenty full of rings." ], [ "SCENE I.\n Minna's Room.\n\n Minna (dressed handsomely and richly, but in good taste), Franziska\n (They have just risen from a table, which a servant is clearing.)", "MIN.\n Pray go quickly. I will set all that right again.\n (Exit the Landlord.)\n Franziska, run after him, and tell him not to mention my name!\n (Exit Franziska.)", "thing your Minna was--is. She allowed--allows herself, to imagine that\n she makes your whole happiness. Declare all your misery at once. She", "MAJ. T. (walks in, and the moment he sees Minna rushes towards her).\n Ah! my Minna!\n\n MIN. (springing towards him).\n Ah! my Tellheim!", "FRAN.\n The same to you! I really believe, I like that man!\n (Going in, she meets Minna coming out.)", "MIN.\n Equality is the only sure bond of love. The happy Minna only wished to\n live for the happy Tellheim. Even Minna in misfortune would have", "he was a beggar!\n (Minna pours out the coffee herself.)\n Who would give such a sum to a beggar? And to endeavour, into the", "MIN.\n Thank you for your trouble. I am glad to have made your acquaintance.\n Franziska has spoken in high praise of you to me.\n (Werner makes a stiff bow, and goes.)", "(Minna turns away uneasily, and endeavours to hide her emotion.)", "MIN.\n See there! Do you begin to pity him again already! No, silly girl, a\n man is never discarded for a single fault. No; but I have thought of a", "return mistaken by the beggar. It serves you right, my lady, if he\n considers your gift as--I know not what.\n (Minna hands a cup of coffee to Franziska.)", "SCENE I.\n Minna's Room. Minna, Franziska", "FRAN.\n Do not detain me any longer. I must see what she is about. How easily\n something might happen to her. Go now, and come again, if you like.\n (Follows Minna.)", "my own again. Now, my dear unfortunate, you love me still, and have\n your Minna still, and are unhappy? Hear what a conceited, foolish", "FRAN.\n That is just what I wished to hear.\n\n MIN.\n Wait, Franziska; I am wrong. He often talks of economy. Between\n ourselves, I believe he is extravagant.", "be obliged to seek it in the most distant clime, only follow me with\n confidence, dearest Minna--we shall want for nothing. I have a friend\n who will assist me with pleasure.", "torturing!--If she is in earnest, she will not refuse to forgive me.\n Now I want your aid, honest Werner!--No, Minna, I am no deceiver!\n (Rushes off.)", "without humiliation. I am this cause; through me, Minna, have you lost\n friends and relations, fortune and country. Through me, in me, must", "service of the great is dangerous, and does not repay the trouble, the\n restraint, the humiliation which it costs. Minna is not amongst those\n vain people who love nothing in their husbands beyond their titles and", "COUNT.\n Here I am, dear Minna\n (embracing her).\n But what, girl\n (seeing Tellheim),\n only four-and-twenty hours here, and friends--company already!" ], [ "you, Tellheim. And if our government has the least sentiment of\n honour, I know what it must do. But I am foolish; what would that\n matter? Imagine, Tellheim, that you have lost the two thousand", "Tellheim; as if such men were to be caught with money.\" That is what\n they would say, for they are all envious of me. That I am rich, they", "ORD. (whilst Tellheim takes the letter).\n I beg your pardon, Major; you should properly have had it yesterday,", "MIN.\n If it affords you pleasure, Major.\n (Takes the letter and reads.)\n\n \"My dear Major von Tellheim,", "FRAN. (running to the window).\n It is! it is he!\n\n MIN.\n Is it? Now, Tellheim, quick!", "ORD.\n I am looking for Major von Tellheim. Ah! you are the Major, I see. I\n have to give this letter from his Majesty the King\n (taking one out of his bag).", "sovereign, Tellheim; you want no other master. To find you discharged,\n is a piece of good fortune I dared scarcely dream of! But you are not", "MIN.\n All officers are not Tellheims. To tell you the truth, I only sent him\n the message in order to have an opportunity of inquiring from him", "MIN.\n Tellheim! Tellheim!\n (Tellheim, biting his fingers with rage, turns away his face, without\n listening.)", "MIN.\n Guess who it is?\n\n COUNT.\n Not your Tellheim, surely!\n\n MIN.\n Who else!--Come, Tellheim\n (introducing him).", "more nearly so. This Tellheim I am now, as little as I am my own\n father. They both have been. Now I am Tellheim the discharged, the", "FRAN.\n Major von Tellheim? Yes, indeed, I do know that good man.\n\n WER.\n Is he not a good man? Do you like him?", "MIN.\n Certainly, sir, this news will be most welcome to Major von Tellheim.\n I should like to be able to name the friend to him, who takes such an\n interest in his welfare.", "MIN.\n Come, Tellheim!\n\n MAJ. T.\n I will follow you in an instant, Minna. One word first with this man\n (turning to Werner).", "MIN.\n That sounds very tragic... Yet, Major Tellheim, until I find the\n former one again--I am quite foolish about the Tellheims--the latter", "MIN.\n And do you know why I consider it so good? It applies to my Tellheim.\n\n FRAN.\n What would not, in your opinion, apply to him?", "FRAN. (entering).\n Are you there still, Mr. Sergeant?\n (Seeing Tellheim.)\n And you there too, Major? I will be at your service instantly.\n (Goes back quickly into the room.)", "MAJ. T.\n Listen then, Madam. You call me Tellheim; the name is correct. But\n suppose I am not that Tellheim whom you knew at home; the prosperous", "MIN. (drawing away her hand).\n Not so, sir. Why this sudden change? Is this flattering impetuous\n lover, the cold Tellheim!--Could his returning good fortune alone", "when you will be obliged to go and beg!\" And then I thought again--\n \"No, you will not be obliged to beg: you will go to Major Tellheim; he" ], [ "MIN.\n Equality is the only sure bond of love. The happy Minna only wished to\n live for the happy Tellheim. Even Minna in misfortune would have", "MAJ. T.\n Is that true? I thank you, Minna, that you have not yet pronounced the\n sentence. You will only marry Tellheim when unfortunate? You may have", "MIN. (regaining her composure).\n It is cruel of you, Tellheim, to paint such happiness to me, when I am\n forced to renounce it. My loss!!!!!", "MIN.\n You can. You must know what passes in your heart. Do you love me\n still, Tellheim? Yes, or No?\n\n MAJ. T.\n If my heart!!!!!", "MIN. (calling after him).\n Let you go, Minna? Minna, let you go? Tellheim! Tellheim!\n\n\n\n\nACT III.", "No, this is too bad... Only listen!... You are mistaken!... A\n mere misunderstanding. Tellheim, will you not hear your Minna? Can you", "certainly as you have taken back that same ring, so certainly shall\n the unfortunate Minna never be the wife of the fortunate Tellheim!", "MIN.\n You can. Well, notwithstanding the pains which you have taken to\n forget me, do you love me still, Tellheim?\n\n MAJ. T.\n Madam, that question!!!!!", "MIN. (alarmed).\n Of what are you thinking, Tellheim? It is time to break off. Come!\n (taking him by the hand).\n Franziska, let the carriage be brought round.", "MIN. (drawing away her hand).\n Not so, sir. Why this sudden change? Is this flattering impetuous\n lover, the cold Tellheim!--Could his returning good fortune alone", "MIN.\n Tellheim! Tellheim!\n (Tellheim, biting his fingers with rage, turns away his face, without\n listening.)", "MIN.\n Quick, Tellheim! one embrace and forget all.\n\n MAJ. T.\n Ah! did I but know that you could regret!!!!!", "MIN.\n Come, Tellheim!\n\n MAJ. T.\n I will follow you in an instant, Minna. One word first with this man\n (turning to Werner).", "MAJ. T.\n Presume! The letter is to me; to your Tellheim, Minna. It contains--\n what your uncle cannot take from you. You must read it! Do read it.", "MIN.\n I take it upon myself. Go!\n\n (Exit Landlord.)\n\n\n\n SCENE IX.\n Major von Tellheim, Minna, Franziska", "MAJ. T. (to Just).\n What do you say?... That is not possible!... You?\n (Looking fiercely at Minna.)\n Speak it out; tell it to her face. Listen, Madam.", "COUNT.\n Here I am, dear Minna\n (embracing her).\n But what, girl\n (seeing Tellheim),\n only four-and-twenty hours here, and friends--company already!", "MIN.\n That sounds very tragic... Yet, Major Tellheim, until I find the\n former one again--I am quite foolish about the Tellheims--the latter", "MIN. (stopping him).\n What are you going to do, Tellheim?\n\n MAJ. T.\n Obtain your hand.\n\n MIN.\n Stop!", "MIN.\n And do you know why I consider it so good? It applies to my Tellheim.\n\n FRAN.\n What would not, in your opinion, apply to him?" ], [ "You know I went uninvited to the first party where I thought I should\n meet you. I went entirely on your account. I went with a fixed\n determination to love you--I loved you already! with the fixed", "FRAN.\n They are something alike, I suppose; let me look at that one. I am\n very fond of such things.\n\n MAJ. T.\n Another time, Franziska. Come now.", "create this ardour in him? He will permit me during his passionate\n excitement to retain the power of reflection for us both. When he\n could himself reflect, I heard him say--\"it is a worthless love which", "FRAN. (holding him back).\n Surely not, Major. You would not follow her into her own room!\n\n MAJ. T.\n Her misfortune? Did she not speak of misfortune?", "seemed as if she saw me; but heaven defend us! I believe the lady took\n me for you. \"Franziska,\" she cried, with her eyes fixed upon me, \"am I", "Minna: and in nothing more happy than in the possession of you.\n (Embracing.)\n And now to meet him!", "MAJ. T. (walks in, and the moment he sees Minna rushes towards her).\n Ah! my Minna!\n\n MIN. (springing towards him).\n Ah! my Tellheim!", "again; from the staircase into the room, backwards and forwards. There\n I stood; she passed me three times without seeing me. At length it", "look at it, the more I am astonished at the resemblance it bears to\n mine. There! just look, just look!\n (Taking the ring from its case, and handing it to her.)", "MIN.\n No, neither of us must make the other either more or less happy. True\n love demands it. I believe you, Major; and you have too much honour to\n mistake love.", "Yet I am not alone!\n (Looking upwards.)\n One single grateful thought towards heaven, is the most perfect\n prayer! I have found him! I have found him!", "MIN.\n Equality is the only sure bond of love. The happy Minna only wished to\n live for the happy Tellheim. Even Minna in misfortune would have", "FRAN.\n The same to you! I really believe, I like that man!\n (Going in, she meets Minna coming out.)", "talking again, of things which I would willingly forget. There, give\n it to her!\n (He turns the letter in giving it to her, and sees that it has been\n opened.)", "LAND.\n What, girl! how can you suspect me of that? There is nothing so bad in\n a landlord as curiosity. I had not been here long, when suddenly her", "pleasure. Well\n (looking at him and smiling)\n dear Tellheim, have we not been like children?", "arose from the desire to retain my affection. That desire is my pride.\n You found me in distress; and you did not wish to add distress to\n distress. You could not divine how far your distress would raise me", "MIN.\n Now I have found him again, Franziska! Do you hear? Now I have found\n him again! I scarcely know where I am for joy! Rejoice with me,", "MIN.\n I have found him again!--Am I alone?--I will not be alone to no\n purpose.--\n (Clasping her hands.)", "FRAN.\n Now do look at me!\n\n WER.\n I am afraid I have looked at you too much already, little woman!\n There, now I can see you. What then?" ], [ "FRAN.\n Major von Tellheim? Yes, indeed, I do know that good man.\n\n WER.\n Is he not a good man? Do you like him?", "SCENE VII.\n Major von Tellheim", "SCENE II.\n Major von Tellheim", "SCENE IV.\n Major von Tellheim", "SCENE VIII.\n Major von Tellheim", "ORD.\n I am looking for Major von Tellheim. Ah! you are the Major, I see. I\n have to give this letter from his Majesty the King\n (taking one out of his bag).", "MAJOR VON TELLHEIM, a discharged officer.\n MINNA VON BARNHELM.\n COUNT VON BRUCHSAL, her uncle.", "SCENE X.\n Major von Tellheim, Just", "MIN.\n If it affords you pleasure, Major.\n (Takes the letter and reads.)\n\n \"My dear Major von Tellheim,", "ACT V.\n\n\n\n SCENE I.\n Major von Tellheim (from one side), Werner (from the other)", "MAJ. T.\n Listen then, Madam. You call me Tellheim; the name is correct. But\n suppose I am not that Tellheim whom you knew at home; the prosperous", "more nearly so. This Tellheim I am now, as little as I am my own\n father. They both have been. Now I am Tellheim the discharged, the", "have heard of Major von Tellheim, if he has not heard of Paul Werner,\n his late sergeant. Our affair at Katzenhauser!!!!!", "MIN.\n That sounds very tragic... Yet, Major Tellheim, until I find the\n former one again--I am quite foolish about the Tellheims--the latter", "SCENE IX.\n Servant, Major von Tellheim, Just\n\n SER.\n I say, comrade!\n\n JUST.\n What is the matter?", "FRAN.\n A strange face! I do not know him.\n\n MIN.\n Friend, do you live with Major von Tellheim?\n\n JUST.\n Yes.", "MIN.\n Tellheim! Tellheim!\n (Tellheim, biting his fingers with rage, turns away his face, without\n listening.)", "FRAN. (entering).\n Are you there still, Mr. Sergeant?\n (Seeing Tellheim.)\n And you there too, Major? I will be at your service instantly.\n (Goes back quickly into the room.)", "SCENE III.\n Franziska, Major von Tellheim\n\n FRAN.\n Is it you? I thought I heard your voice. What do you want, Major?", "SCENE VI.\n An Orderly, Major von Tellheim, Minna, Franziska\n\n FRAN. (seeing the Orderly).\n Hist, Major!" ], [ "SCENE VII.\n Major von Tellheim", "ORD.\n I am looking for Major von Tellheim. Ah! you are the Major, I see. I\n have to give this letter from his Majesty the King\n (taking one out of his bag).", "SCENE IV.\n Major von Tellheim", "MIN.\n Sir, your mistake is quite excusable, and your astonishment very\n natural. Major von Tellheim has had the kindness to give up his\n apartments to me, as a stranger, who was not able to get them\n elsewhere.", "SCENE II.\n Major von Tellheim", "FRAN.\n Without doubt, my lady, this gentleman expects to find Major von\n Tellheim here still.", "SCENE X.\n Major von Tellheim, Just", "SCENE VIII.\n Major von Tellheim", "FRAN.\n Major von Tellheim? Yes, indeed, I do know that good man.\n\n WER.\n Is he not a good man? Do you like him?", "SCENE III.\n Major von Tellheim, Landlord, Just\n\n MAJ. T. (entering).\n Just!", "MIN.\n If it affords you pleasure, Major.\n (Takes the letter and reads.)\n\n \"My dear Major von Tellheim,", "MIN. (stopping him).\n What are you going to do, Tellheim?\n\n MAJ. T.\n Obtain your hand.\n\n MIN.\n Stop!", "FRAN. (entering).\n Are you there still, Mr. Sergeant?\n (Seeing Tellheim.)\n And you there too, Major? I will be at your service instantly.\n (Goes back quickly into the room.)", "FRAN.\n A strange face! I do not know him.\n\n MIN.\n Friend, do you live with Major von Tellheim?\n\n JUST.\n Yes.", "MAJ. T.\n Listen then, Madam. You call me Tellheim; the name is correct. But\n suppose I am not that Tellheim whom you knew at home; the prosperous", "MIN.\n Come, Tellheim!\n\n MAJ. T.\n I will follow you in an instant, Minna. One word first with this man\n (turning to Werner).", "MIN.\n That sounds very tragic... Yet, Major Tellheim, until I find the\n former one again--I am quite foolish about the Tellheims--the latter", "when you will be obliged to go and beg!\" And then I thought again--\n \"No, you will not be obliged to beg: you will go to Major Tellheim; he", "SCENE VIII.\n Major von Tellheim, Landlord, Minna, and Franziska", "MAJ. T.\n Is that true? I thank you, Minna, that you have not yet pronounced the\n sentence. You will only marry Tellheim when unfortunate? You may have" ], [ "SCENE X.\n Franziska (with a letter in her hand), Major von Tellheim, Paul Werner\n\n FRAN.\n Major!!!!!", "ACT V.\n\n\n\n SCENE I.\n Major von Tellheim (from one side), Werner (from the other)", "have heard of Major von Tellheim, if he has not heard of Paul Werner,\n his late sergeant. Our affair at Katzenhauser!!!!!", "SCENE VII.\n Major Von Tellheim, Paul Werner\n\n MAJ. T.\n Why so thoughtful, Werner?", "MIN.\n If it affords you pleasure, Major.\n (Takes the letter and reads.)\n\n \"My dear Major von Tellheim,", "WER. (goes up to Minna, without noticing Franziska).\n Major von Tellheim begs to present, through me, Sergeant Werner, his", "SCENE IX.\n Major von Tellheim, Paul Werner\n\n MAJ. T.\n That was she! But it seems you know her, Werner.", "WER.\n I suppose it must. Give me your hand on it, Major.\n\n MAJ. T.\n There, Paul! And now enough of that, I came here to speak with a\n certain young woman.", "ORD.\n I am looking for Major von Tellheim. Ah! you are the Major, I see. I\n have to give this letter from his Majesty the King\n (taking one out of his bag).", "WER.\n As soon as I have got rid of this.\n\n MAJ. T.\n Werner, suppose I tell you that Frau Marloff was here herself early\n this morning!!!!!", "FRAN.\n Major von Tellheim? Yes, indeed, I do know that good man.\n\n WER.\n Is he not a good man? Do you like him?", "MAJ. T.\n Werner!\n\n WER.\n Well! Why do you stare at me so? Take it, Major!\n\n MAJ. T.\n Werner!", "SCENE VIII.\n Franziska (coming out of Minna's room), Major von Tellheim, Paul Werner", "MAJ. T.\n Presume! The letter is to me; to your Tellheim, Minna. It contains--\n what your uncle cannot take from you. You must read it! Do read it.", "SCENE XI.\n\n Werner (with a purse full of gold), Just, Major von Tellheim, Minna,\n Franziska", "Major, and punctually at three.... Well, you wanted to speak to me\n too alone. What have you to say to me? Oh! we are not alone.\n (Looking at Werner.)", "MAJ. T.\n Very well, my dear Werner! You see that I have had recourse to you\n alone--I must also confide all to you. The young lady you have seen is\n in distress!!!!!", "SCENE VII.\n Major von Tellheim", "SCENE IV.\n Major von Tellheim", "MAJ. T. (pointing to the purse which Werner had thrown down).\n Here, Just, pick up the purse and carry it home. Go!\n (Just takes it up and goes.)" ], [ "have heard of Major von Tellheim, if he has not heard of Paul Werner,\n his late sergeant. Our affair at Katzenhauser!!!!!", "SCENE IX.\n Major von Tellheim, Paul Werner\n\n MAJ. T.\n That was she! But it seems you know her, Werner.", "SCENE VII.\n Major Von Tellheim, Paul Werner\n\n MAJ. T.\n Why so thoughtful, Werner?", "ACT V.\n\n\n\n SCENE I.\n Major von Tellheim (from one side), Werner (from the other)", "FRAN.\n Major von Tellheim? Yes, indeed, I do know that good man.\n\n WER.\n Is he not a good man? Do you like him?", "WER. (goes up to Minna, without noticing Franziska).\n Major von Tellheim begs to present, through me, Sergeant Werner, his", "SCENE X.\n Franziska (with a letter in her hand), Major von Tellheim, Paul Werner\n\n FRAN.\n Major!!!!!", "WER.\n I suppose it must. Give me your hand on it, Major.\n\n MAJ. T.\n There, Paul! And now enough of that, I came here to speak with a\n certain young woman.", "SCENE VIII.\n Franziska (coming out of Minna's room), Major von Tellheim, Paul Werner", "Major, and punctually at three.... Well, you wanted to speak to me\n too alone. What have you to say to me? Oh! we are not alone.\n (Looking at Werner.)", "MAJ. T.\n Werner!\n\n WER.\n Well! Why do you stare at me so? Take it, Major!\n\n MAJ. T.\n Werner!", "WER.\n As soon as I have got rid of this.\n\n MAJ. T.\n Werner, suppose I tell you that Frau Marloff was here herself early\n this morning!!!!!", "MAJ. T.\n Listen then, Madam. You call me Tellheim; the name is correct. But\n suppose I am not that Tellheim whom you knew at home; the prosperous", "WER.\n What is the matter with you?--I am Werner.\n\n MAJ. T.\n All goodness is dissimulation; all kindness deceit.", "SCENE II.\n Major von Tellheim", "MAJ. T.\n To whom do you say that, Werner? We are alone, and therefore I may", "SCENE XIV.\n Major von Tellheim, Werner, Just, Franziska", "MIN.\n That sounds very tragic... Yet, Major Tellheim, until I find the\n former one again--I am quite foolish about the Tellheims--the latter", "MAJ. T.\n Very well, my dear Werner! You see that I have had recourse to you\n alone--I must also confide all to you. The young lady you have seen is\n in distress!!!!!", "WER.\n Really? But where there is war, Major!\n\n MAJ. T.\n To be sure. Go, Werner, we will speak of this again." ], [ "MIN.\n Do I know him! He is here! Tellheim here! He had this room! He! he\n pledged this ring with you! What has brought him into this", "ORD.\n I am looking for Major von Tellheim. Ah! you are the Major, I see. I\n have to give this letter from his Majesty the King\n (taking one out of his bag).", "MIN. (stopping him).\n What are you going to do, Tellheim?\n\n MAJ. T.\n Obtain your hand.\n\n MIN.\n Stop!", "FRAN. (entering).\n Are you there still, Mr. Sergeant?\n (Seeing Tellheim.)\n And you there too, Major? I will be at your service instantly.\n (Goes back quickly into the room.)", "MIN.\n Tellheim! Tellheim!\n (Tellheim, biting his fingers with rage, turns away his face, without\n listening.)", "when you will be obliged to go and beg!\" And then I thought again--\n \"No, you will not be obliged to beg: you will go to Major Tellheim; he", "MIN.\n Come, Tellheim!\n\n MAJ. T.\n I will follow you in an instant, Minna. One word first with this man\n (turning to Werner).", "SCENE IX.\n Servant, Major von Tellheim, Just\n\n SER.\n I say, comrade!\n\n JUST.\n What is the matter?", "MAJ. T.\n Ah! I did that in my confusion. I had forgotten about the ring. Where\n did I put it?\n (Searches for it.)\n Here it is.", "(Whispering to her.)\n You know, my dear; the ring! Tell Herr Werner about it. Then he will\n learn better what I am. And that it may not appear as if she only said", "MIN.\n That sounds very tragic... Yet, Major Tellheim, until I find the\n former one again--I am quite foolish about the Tellheims--the latter", "MAJ. T.\n No more, dearest Minna, no more!\n (Seizes her hand again, to put on the ring.)", "MIN.\n If it affords you pleasure, Major.\n (Takes the letter and reads.)\n\n \"My dear Major von Tellheim,", "FRAN.\n Major von Tellheim? Yes, indeed, I do know that good man.\n\n WER.\n Is he not a good man? Do you like him?", "SCENE VII.\n Major von Tellheim", "MIN.\n I take that ring again! That ring?\n\n MAJ. T.\n Yes, dearest Minna, yes.\n\n MIN.\n What are you asking me? that ring?", "SCENE IV.\n Major von Tellheim", "you, Tellheim. And if our government has the least sentiment of\n honour, I know what it must do. But I am foolish; what would that\n matter? Imagine, Tellheim, that you have lost the two thousand", "SCENE II.\n Major von Tellheim", "you. I wished it might be Major von Tellheim.--Your hand, sir; you\n have my highest esteem; I ask for your friendship. My niece, my\n daughter loves you." ], [ "MIN.\n Do I know him! He is here! Tellheim here! He had this room! He! he\n pledged this ring with you! What has brought him into this", "ORD.\n I am looking for Major von Tellheim. Ah! you are the Major, I see. I\n have to give this letter from his Majesty the King\n (taking one out of his bag).", "MIN.\n That sounds very tragic... Yet, Major Tellheim, until I find the\n former one again--I am quite foolish about the Tellheims--the latter", "(Whispering to her.)\n You know, my dear; the ring! Tell Herr Werner about it. Then he will\n learn better what I am. And that it may not appear as if she only said", "FRAN.\n Major von Tellheim? Yes, indeed, I do know that good man.\n\n WER.\n Is he not a good man? Do you like him?", "MIN. (stopping him).\n What are you going to do, Tellheim?\n\n MAJ. T.\n Obtain your hand.\n\n MIN.\n Stop!", "SCENE II.\n Major von Tellheim", "SCENE IV.\n Major von Tellheim", "MAJ. T.\n Ah! I did that in my confusion. I had forgotten about the ring. Where\n did I put it?\n (Searches for it.)\n Here it is.", "SCENE VII.\n Major von Tellheim", "MIN.\n I take that ring again! That ring?\n\n MAJ. T.\n Yes, dearest Minna, yes.\n\n MIN.\n What are you asking me? that ring?", "SCENE VIII.\n Major von Tellheim", "MAJ. T.\n Listen then, Madam. You call me Tellheim; the name is correct. But\n suppose I am not that Tellheim whom you knew at home; the prosperous", "MIN.\n If it affords you pleasure, Major.\n (Takes the letter and reads.)\n\n \"My dear Major von Tellheim,", "MIN.\n Tellheim! Tellheim!\n (Tellheim, biting his fingers with rage, turns away his face, without\n listening.)", "when you will be obliged to go and beg!\" And then I thought again--\n \"No, you will not be obliged to beg: you will go to Major Tellheim; he", "MIN.\n Come, Tellheim!\n\n MAJ. T.\n I will follow you in an instant, Minna. One word first with this man\n (turning to Werner).", "certainly as you have taken back that same ring, so certainly shall\n the unfortunate Minna never be the wife of the fortunate Tellheim!", "FRAN.\n A strange face! I do not know him.\n\n MIN.\n Friend, do you live with Major von Tellheim?\n\n JUST.\n Yes.", "have heard of Major von Tellheim, if he has not heard of Paul Werner,\n his late sergeant. Our affair at Katzenhauser!!!!!" ], [ "MAJOR VON TELLHEIM, a discharged officer.\n MINNA VON BARNHELM.\n COUNT VON BRUCHSAL, her uncle.", "MIN.\n I take it upon myself. Go!\n\n (Exit Landlord.)\n\n\n\n SCENE IX.\n Major von Tellheim, Minna, Franziska", "MIN.\n If it affords you pleasure, Major.\n (Takes the letter and reads.)\n\n \"My dear Major von Tellheim,", "MAJ. T.\n Is that true? I thank you, Minna, that you have not yet pronounced the\n sentence. You will only marry Tellheim when unfortunate? You may have", "SCENE VII.\n Major von Tellheim, Minna, Franziska\n\n MAJ. T.\n Ah! Minna, what is this? What does this contain?", "SCENE VIII.\n Major von Tellheim, Landlord, Minna, and Franziska", "MIN.\n Come, Tellheim!\n\n MAJ. T.\n I will follow you in an instant, Minna. One word first with this man\n (turning to Werner).", "MIN.\n You can. Well, notwithstanding the pains which you have taken to\n forget me, do you love me still, Tellheim?\n\n MAJ. T.\n Madam, that question!!!!!", "MIN.\n Equality is the only sure bond of love. The happy Minna only wished to\n live for the happy Tellheim. Even Minna in misfortune would have", "SCENE X.\n Just, Major von Tellheim, Minna, Franziska\n\n JUST. (impetuously).\n Major! Major!", "SCENE VI.\n\n Major von Tellheim (in the same coat, but otherwise as Franziska\n advised), Minna, Franziska", "SCENE V.\n Minna, Franziska, Major von Tellheim", "SCENE VIII.\n Landlord, Major von Tellheim, Minna, Franziska\n\n LAND. (to Franziska.)\n Hist! my pretty maid! A word!", "MAJ. T. (walks in, and the moment he sees Minna rushes towards her).\n Ah! my Minna!\n\n MIN. (springing towards him).\n Ah! my Tellheim!", "MIN.\n Quick, Tellheim! one embrace and forget all.\n\n MAJ. T.\n Ah! did I but know that you could regret!!!!!", "SCENE II.\n Major von Tellheim", "talk about me, and say. \"That is she, that is the Fraulein von\n Barnhelm, who fancied that because she was rich could marry the noble", "MIN.\n You can. You must know what passes in your heart. Do you love me\n still, Tellheim? Yes, or No?\n\n MAJ. T.\n If my heart!!!!!", "MIN. (regaining her composure).\n It is cruel of you, Tellheim, to paint such happiness to me, when I am\n forced to renounce it. My loss!!!!!", "FRAN.\n Major von Tellheim? Yes, indeed, I do know that good man.\n\n WER.\n Is he not a good man? Do you like him?" ], [ "\"Fraulein von Barnhelm, coming from her estate in Thuringia, together\n with her lady in waiting and two men servants.\"", "MIN.\n Fraulein von Barnhelm.\n\n LAND. (writes).\n \"Von Barnhelm.\" Coming from.... where, your ladyship?", "Am I to pardon you because I am still your Minna? Heaven pardon you,\n that I am still Fraulein von Barnhelm!", "The importance of Lessing's masterpiece in comedy, \"Minna von\nBarnhelm,\" is difficult to exaggerate. It was the beginning of", "MAJ. T. (letting fall her hand).\n What is this? I see Fraulein von Barnhelm, but I do not hear her.--You\n are pretending.--Pardon me, that I use your own words.", "MIN.\n Pray go quickly. I will set all that right again.\n (Exit the Landlord.)\n Franziska, run after him, and tell him not to mention my name!\n (Exit Franziska.)", "SCENE I.\n Minna's Room.\n\n Minna (dressed handsomely and richly, but in good taste), Franziska\n (They have just risen from a table, which a servant is clearing.)", "MAJ. T. (starts suddenly, and draws back).\n I beg your pardon, Fraulein von Barnhelm; but to meet you here!!!!!", "MAJ. T. (walks in, and the moment he sees Minna rushes towards her).\n Ah! my Minna!\n\n MIN. (springing towards him).\n Ah! my Tellheim!", "talk about me, and say. \"That is she, that is the Fraulein von\n Barnhelm, who fancied that because she was rich could marry the noble", "End of Project Gutenberg's Minna von Barnhelm, by Gotthold Ephraim Lessing", "SCENE I.\n Minna's Room. Minna, Franziska", "MIN. (sees the Landlord, and makes a sign to Franziska).\n Sir!!!!!\n\n MAJ. T.\n If we are not both mistaken!!!!!", "FRAN.\n Come in!\n\n\n\n SCENE II.\n Landlord, Minna, Franziska", "MIN.\n I take it upon myself. Go!\n\n (Exit Landlord.)\n\n\n\n SCENE IX.\n Major von Tellheim, Minna, Franziska", "MAJ. T.\n Where are you going, dearest Minna?\n\n MIN.\n Sir, you insult me now by that term of endearment.", "MIN.\n Thank you for your trouble. I am glad to have made your acquaintance.\n Franziska has spoken in high praise of you to me.\n (Werner makes a stiff bow, and goes.)", "worthy, in the eyes of the world, of being yours. Minna von Barnhelm\n deserves an irreproachable husband. It is a worthless love which does", "SCENE VIII.\n Major von Tellheim, Landlord, Minna, and Franziska", "MIN. (speaking as she comes out, as if not aware of the Major's\n presence).\n The carriage is at the door, Franziska, is it not? My fan!" ], [ "ORD.\n I am looking for Major von Tellheim. Ah! you are the Major, I see. I\n have to give this letter from his Majesty the King\n (taking one out of his bag).", "MIN.\n If it affords you pleasure, Major.\n (Takes the letter and reads.)\n\n \"My dear Major von Tellheim,", "SCENE VII.\n Major von Tellheim", "you, Tellheim. And if our government has the least sentiment of\n honour, I know what it must do. But I am foolish; what would that\n matter? Imagine, Tellheim, that you have lost the two thousand", "ORD. (whilst Tellheim takes the letter).\n I beg your pardon, Major; you should properly have had it yesterday,", "SCENE IV.\n Major von Tellheim", "MAJ. T.\n Presume! The letter is to me; to your Tellheim, Minna. It contains--\n what your uncle cannot take from you. You must read it! Do read it.", "SCENE VIII.\n Major von Tellheim", "SCENE II.\n Major von Tellheim", "FRAN.\n Major von Tellheim? Yes, indeed, I do know that good man.\n\n WER.\n Is he not a good man? Do you like him?", "SCENE X.\n Franziska (with a letter in her hand), Major von Tellheim, Paul Werner\n\n FRAN.\n Major!!!!!", "SCENE X.\n Major von Tellheim, Just", "MIN.\n Certainly, sir, this news will be most welcome to Major von Tellheim.\n I should like to be able to name the friend to him, who takes such an\n interest in his welfare.", "MAJ. T.\n Listen then, Madam. You call me Tellheim; the name is correct. But\n suppose I am not that Tellheim whom you knew at home; the prosperous", "MIN.\n That sounds very tragic... Yet, Major Tellheim, until I find the\n former one again--I am quite foolish about the Tellheims--the latter", "you. I wished it might be Major von Tellheim.--Your hand, sir; you\n have my highest esteem; I ask for your friendship. My niece, my\n daughter loves you.", "when you will be obliged to go and beg!\" And then I thought again--\n \"No, you will not be obliged to beg: you will go to Major Tellheim; he", "MIN.\n All officers are not Tellheims. To tell you the truth, I only sent him\n the message in order to have an opportunity of inquiring from him", "MAJ. T. (after reading the letter, with much emotion.)\n Ah! nor has he herein belied himself! Oh! Minna, what justice! what", "MIN.\n Come, Tellheim!\n\n MAJ. T.\n I will follow you in an instant, Minna. One word first with this man\n (turning to Werner)." ], [ "MAJ. T. (letting fall her hand).\n What is this? I see Fraulein von Barnhelm, but I do not hear her.--You\n are pretending.--Pardon me, that I use your own words.", "talk about me, and say. \"That is she, that is the Fraulein von\n Barnhelm, who fancied that because she was rich could marry the noble", "he loves to take part in his misfortune... Oh! how difficult is\n this victory!... Since reason and necessity have commanded me to\n forget Minna von Barnhelm, what pains have I taken! I was just", "Am I to pardon you because I am still your Minna? Heaven pardon you,\n that I am still Fraulein von Barnhelm!", "The importance of Lessing's masterpiece in comedy, \"Minna von\nBarnhelm,\" is difficult to exaggerate. It was the beginning of", "worthy, in the eyes of the world, of being yours. Minna von Barnhelm\n deserves an irreproachable husband. It is a worthless love which does", "SCENE I.\n Minna's Room.\n\n Minna (dressed handsomely and richly, but in good taste), Franziska\n (They have just risen from a table, which a servant is clearing.)", "MIN.\n Fraulein von Barnhelm.\n\n LAND. (writes).\n \"Von Barnhelm.\" Coming from.... where, your ladyship?", "MAJ. T. (starts suddenly, and draws back).\n I beg your pardon, Fraulein von Barnhelm; but to meet you here!!!!!", "End of Project Gutenberg's Minna von Barnhelm, by Gotthold Ephraim Lessing", "JUST.\n The Landlord says, that Fraulein von Barnhelm has taken the ring which\n I pledged to him; she recognised it as her own, and would not return\n it.", "MIN.\n Pray go quickly. I will set all that right again.\n (Exit the Landlord.)\n Franziska, run after him, and tell him not to mention my name!\n (Exit Franziska.)", "\"Fraulein von Barnhelm, coming from her estate in Thuringia, together\n with her lady in waiting and two men servants.\"", "MAJ. T. (walks in, and the moment he sees Minna rushes towards her).\n Ah! my Minna!\n\n MIN. (springing towards him).\n Ah! my Tellheim!", "MIN.\n I take it upon myself. Go!\n\n (Exit Landlord.)\n\n\n\n SCENE IX.\n Major von Tellheim, Minna, Franziska", "torturing!--If she is in earnest, she will not refuse to forgive me.\n Now I want your aid, honest Werner!--No, Minna, I am no deceiver!\n (Rushes off.)", "SCENE I.\n Minna's Room. Minna, Franziska", "FRAN.\n That is just what I wished to hear.\n\n MIN.\n Wait, Franziska; I am wrong. He often talks of economy. Between\n ourselves, I believe he is extravagant.", "thing your Minna was--is. She allowed--allows herself, to imagine that\n she makes your whole happiness. Declare all your misery at once. She", "MINNA VON BARNHELM\n\nor, THE SOLDIER'S FORTUNE\n\n\nBy Gotthold Ephraim Lessing" ] ]

[ "What does the delayed letter from the King announce?", "Why does Minna pretend to be penniless and in dire straits?", "Who is Minna von Barnhelm's missing lover?", "What is Tellheim's last possession of worth?", "What is the name of Tellheim's servant?", "Who left the sealed envelope for Tellheim?", "What does the sealed envelope the landlord finds among Tellheim's possessions contain?", "What army was Major von Tellheim dishonourably discharged from?", "What war precedes the events which take place?", "Why did Major von Tellheim leave the Prussian Army?", "How much money does the marked sealed envelope the landlord finds claim to have?", "Who left the money with the Major?", "Why does Tellheim not want to use the money Werner leaves for him?", "What does Tellheim pawn to pay the landlord off?", "What is the name of Tellheim's lover?", "Why does Tellheim refuse to engage Minna von Barnhelm at first?", "What is the name of Minna's maid?", "Why does Tellheim change his mind about not marrying Minna?", "Why does Minna finally relent, and tell Tellheim the truth about her wealth?", "Where did Major von Tellheim find himself waiting for the outcome of his trial?", "What did the landlord find among the Major's possessions in his room?", "Who left the money for Major Tellheim?", "What does Tellheim pawn to pay his debts?", "Who recognized the ring?", "What had the ring been originally intended for?", "Who helped Minna pretend to be poor?", "What arrived that informed Tellheim of his reinstated fortune?", "Why did Minna pretend she couldn't marry Tellheim after all?", "Who else found that they had an attraction to each other?", "Which army was Major von Tellheim discharged from?", "Major Tellheim awaits his trial in what hotel?", "Paul Werner gives Major Tellheim an envelope containing what?", "Major Paul Werner is what to Major Tellheim?", "What does Major Tellheim as his servant to do with his ring?", "What sort of ring does Major Tellheim have?", "Who is Minna von Barnhelm to Major Tellheim?", "What is the name of Minna von Barnhelm's maid?", "Who sends the letter that restores Major Tellheim honor?", "Why does Minna von Barnhelm pretend to be broke?" ]

[ [ "The restoration of Tellheim's fortune and vindication of his honor", "That the Major's fortunes and honor are to be reinstated." ], [ "So Tellheim will marry her", "So she is equal with Tellheim and he will marry her" ], [ "Major von Tellheim", "Major Tellheim" ], [ "An expensive betrothal ring", "a ring" ], [ "Just", "Paul Werner" ], [ "Paul Werner", "Paul Werner" ], [ "Five hundred thalers", "five hundred thalers" ], [ "The Prussian Army", "Prussian Army" ], [ "The Seven Years' War", "Prussian Army" ], [ "He was dishonorably discharged", "he was dishonnorably discharged with alegations of bribery " ], [ "Five hundred thalers", "five hundred thalers" ], [ "Paul Werner", "Paul Werner" ], [ "Because he is not sure if he can repay it", "He is too honorable" ], [ "His ring", "a ring" ], [ "Minna von Barnhelm", "Minna von Barnhelm" ], [ "Because he is poor", "He is poor" ], [ "Franziska", "Franziska" ], [ "he is tricked into believing she is poor like him", "She pretends to be poor and in terrible circumstances." ], [ "Her family arrives", "When her uncle threatens to tell him." ], [ "At a Berlin hotel", "a berlin hotel" ], [ "A sealed envelope containing money", "A sealed envelope containing 500 thalers." ], [ "Paul Werner", "Paul Werner" ], [ "A ring", "A ring." ], [ "Minna von Barnhelm", "Minna von Barnhelm" ], [ "Betrothal", "Telheims betrothal to Minna" ], [ "Her maid, Franziska", "Her maid" ], [ "A letter frorm the king", "A delayed letter from the King." ], [ "To punish him for making her suffer", "To make him suffer like she did" ], [ "Paul Werner and Franziska", "Paul Werner and Franziska" ], [ "The Prussian Army", "The Prussian Army." ], [ "Berlin hotel", "a hotel in Berlin" ], [ "Five hundred thalers", "Sealed envelope containing five hundred dollars" ], [ "Former sergeant", "his former sargent" ], [ "Pawn it", "Pawn the ring to the landlord." ], [ "Betrothal ring", "a betrothal ring" ], [ "Fiance", "His Fiance" ], [ "Franziska", "Franziska" ], [ "The King", "From the King" ], [ "To get Major Tellheim to marry her.", "So that Tellheim will marry her." ] ]

[ [ "CHAPTER XLVI\n\nQUEEN MARVA", "their hearts and souls. And this black bear Queen Marva is.", "dwellings from robbery, for the short time he governed at Karthlos. It\nwas said, moreover, that Queen Marva, as she loved to hear herself\ncalled, would now have no chance of holding fast her manifold", "Princess Marva came, the widow of Rakhan Houseburner, and claimed the\ncommand of everything. I would not rebel against the sister of the man I", "This upstart fellow brought the fighting men together; and they laid\naside the bodies of Queen Marva and her son, in fear of their being", "\"Thou art not fit to govern men,\" the Princess Marva looked at Hisar\nwith a smile of mild contempt, which would have been anything but mild", "their clumsy fingers back, and went down on their knees with\nsuperstition. But the Princess Marva drew near to me, and the butt of a", "\"Marva is dead,\" I kept on saying; \"the greatest woman of the age is\ndead! Not the best, not the purest, not even a true woman. But how grand", "and even her own babes, he became quite excited, and vowed that she must\nhave come to life again as the Princess Marva. Upon that I begged him to", "\"What! Marva, the widow of Rakhan, that rascally Prince of the Ossets,\nwhom Imar very justly slew! So justly, that even he felt no compunction.", "I came back to myself through necessity of lying to Queen Marva.", "And then again, even if they let it pass, the Lesghians, who are a very\nloyal race, would never accept Marva's rule, when she had slain their", "course was to pay a visit to the Princess Marva, and try to get some\ninkling of her plans. It was not very likely that a couple of clumsy", "that of his mother Marva. In his urgency to get them back straightway to\nthe land of the mountain without the flood, he has sent them round by", "men of Queen Marva's bodyguard, whom she had chosen from all the tribe;\neven as the great Imaum had riders of the Avar race continually faithful", "\"Valley of Retribution.\" From Usi's account, it was plain that Marva was\nmaking a tribal revenge of it. Her brother would be tried and condemned", "Marva came forth in her majestic manner (having turned away her face,\nperhaps with sisterly compunction), sweeping her black robe along the", "Then we asked him about the Princess Marva, and he smiled mysteriously.\n\"We don't talk of her so freely,\" he said, as Strogue still pressed him.", "refused him his daughter Marva. Instead of answering the letter\ntherefore in which he demanded his portion, I set forth with a few", "Marva, who knew of her husband's falseness!\"" ], [ "Dariel. Yielding to a sudden rush of jealousy, I had quitted her hastily\nand almost rudely, and broken my appointment with her father. It was", "attach to her, and I have not told her of it. But I love your daughter,\nDariel.\"", "\"Then they are fools, and I'll do it for them for ever. But oh, if I\ncould only make you see for a moment how I love you! Don't laugh at me,\nDariel. Don't do that.\"", "of it. My heart was all with Dariel still; and let the mind argue as it\nwould, had logic ever looked at her? Any cold dribble may be crystal", "much I had to go upon, in my obstinacy afterwards. Dariel loved me! Who\nwas I, to be rapt by such a miracle? And who of mankind should take it", "and see Dariel do it.\" For she had told Jackson, and he in his lunacy\nthought it too good to be kept to himself, that her brother George, if", "merely because he has dared to look at Dariel. She, who takes so long to\nsee what I am, is not at all likely to be carried by storm by this", "\"It is the sweetest name in all the world. Oh, Dariel, am I to call you\nDariel?\"", "with the angelic Dariel! How I scorn and hate soft women! And they love\nme not. All love and liking hath gone to the meek and milky Lesghian", "\"Like you, Dariel! what a wretched word! Can you look at me, and fancy\nit no more than that?\" But she would not be taken at any disadvantage;", "and do anything, to be of service to Dariel. And for her own sake too, I\ncan tell you, for she is a most charming creature, though a little too", "knew nothing, except that here was Dariel. I feared to look direct, or\neven glance as if I meant it, being now little more than a lump of", "Then, as sure as I am sitting here this day, the last thing that ever I\ncould have believed was done concerning me and to me. Dariel came, and I", "\"Dariel,\" I exclaimed with amazement, having made up my mind that her\nnature was all softness and all sweetness, \"surely you would never wish\nto be sure of anybody being hanged.\"", "As I looked at him, I could wonder no more that Dariel thought so little\nof all other men compared with him. Here was a man, one might well", "But Dariel was of good strong faith, without which a woman deserves only\nto be a man. She opened the gate, and let me in, so beautifully that I\nwas quite afraid.", "Sûr Imar received us with a loving smile. I thought that he had never\nlooked more grand. Dariel knelt to him, while I held her hand; and if I", "I told him briefly what had happened to myself. How after winning a\npledge for life from Dariel, and the approval of her father, I had been", "\"Dariel, you may be quite sure of this,\" I replied, after taking my seat\nupon a stone, over against the one she had chosen, but lower, so that I", "Dariel, who was as fit as a fiddle--how those low expressions spoil\none's most exalted moments!--saw with her ill-timed serenity the" ], [ "Although he had managed to tell his tale, with failure of words, and\ngasps for breath, and rolling of his eyes when the agony came back, poor", "Then I told Stepan our side of the story, with Strogue to make it clear\nto him; and Usi, without whom we could have done nothing, recounted all\nthat he had seen, but scarcely spoke of his own woes.", "With some indignation he told his tale, and finished it before the other\nmen came back; for his tongue was as brisk as his arms and legs, which", "\"I will tell you what it is,\" said Tom, after keeping his place among\nthe binders for about five minutes. \"I am a thoroughgoing countryman,", "If any one has followed my little adventures only half as carefully as I\nhave tried to tell them, he will see that the time had now come and", "which I am telling you. Everything is exactly as it happened; and\naccording to some great authorities, we too are exactly as we happened.", "\"I tell you what,\" he said, turning round and looking at me with\nresolute authority, \"I am your elder brother, George, and know more of", "and see Dariel do it.\" For she had told Jackson, and he in his lunacy\nthought it too good to be kept to himself, that her brother George, if", "\"She has had a nose, and as good a one as yours. It is the mere accident\nof attrition. But here comes George! What can George want now? He knows", "She shook her head, and made a face, which enabled me to smile at the\nsuperiority of his mind. \"Well, then, I will tell you--there is a little", "\"Well, Tom, my boy,\" I heard him say one day, for he was confidential to\nothers, as well as to himself, about himself, \"you are not looking quite", "Strogue, and Cator, and myself, who might now be called the three\nleaders, sat late into that night, discussing the story of this patient", "I listened to this, and it all seemed true, as beyond all doubt it ought\nto be. And I went through everything so well that Grace (who was", "At the bottom of this very vague and disjointed, but as it proved\nafterwards too true description, Signor Nicolo had written in pencil:\n\"Rosa is my eldest daughter; but I shall have to put a stop to it.\"", "tell him not the story of my life, as I have told it to you. It is a\nthing I never speak of, without a special reason.\"", "\"He places the little one on her back,\" the Bear-slayer told us, looking\nat the floor, as if he were watching the domestic process; \"and he makes", "\"His life, it is gone?\" Another sob stopped her voice, as she put her\nlittle hand, where she thought his heart must be. \"Yes, sir, I\nunderstand English too well.\"", "\"His people indeed! Well, if you can take it in that lofty spirit, you\nmay as well know everything. I was quite afraid of telling you. But men", "In recounting my little adventures--as I am begged sometimes to do--upon\ncoming to this particular part my general practice is to stop, as if I", "He stared at me so fiercely that I could scarce help laughing. Then he\nlaughed at himself, and said, \"All right, by-and-by. You go and see if" ], [ "came to the place where Dariel lived.", "merely because he has dared to look at Dariel. She, who takes so long to\nsee what I am, is not at all likely to be carried by storm by this", "and see Dariel do it.\" For she had told Jackson, and he in his lunacy\nthought it too good to be kept to himself, that her brother George, if", "Dariel. Yielding to a sudden rush of jealousy, I had quitted her hastily\nand almost rudely, and broken my appointment with her father. It was", "life to us. But Dariel knows that we must not think of our own comfort\nonly.\"", "As I looked at him, I could wonder no more that Dariel thought so little\nof all other men compared with him. Here was a man, one might well", "knew nothing, except that here was Dariel. I feared to look direct, or\neven glance as if I meant it, being now little more than a lump of", "At the end of the room which was nearest to me, and only a few yards\nfrom the corner I had found, sat Dariel herself, with a purple cloak on,", "Then, as sure as I am sitting here this day, the last thing that ever I\ncould have believed was done concerning me and to me. Dariel came, and I", "by their loving sister and aunt, at a place appointed; and there they\nmust leave the great Dariel road, and be conducted by her to Karthlos,\nwith great rejoicing and affection kindled. But why were all these men", "DARIEL.\"\n\n\n\n\nCHAPTER IX\n\nSTRANGE SENSATIONS", "mind. And in that prophecy it hit the mark, for who should meet me at a\nwinding of the path, but Dariel herself, no other? Dariel, my darling!", "\"Dariel, you may be quite sure of this,\" I replied, after taking my seat\nupon a stone, over against the one she had chosen, but lower, so that I", "is no doubt of that. And I dare not even mention the subject before him.\nEven Dariel knows not a word about it.\"", "attach to her, and I have not told her of it. But I love your daughter,\nDariel.\"", "\"Do you know what Dariel is?\" Nicolo was smiling in a genial manner at\nmy levity. And then he said, to crush it in a truly British manner,", "\"You must not call me that, sir. I am not of the French. I prefer the\nEnglish nation very greatly. There has only been one name given to me\nby my father, and that is _Dariel_.\"", "\"It is the sweetest name in all the world. Oh, Dariel, am I to call you\nDariel?\"", "\"Like you, Dariel! what a wretched word! Can you look at me, and fancy\nit no more than that?\" But she would not be taken at any disadvantage;", "Dariel, who was as fit as a fiddle--how those low expressions spoil\none's most exalted moments!--saw with her ill-timed serenity the" ], [ "\"No doubt of that,\" I replied, for that seems to be the duty of every\nland; \"I knew that Sûr Imar meant to go, and for years he has been", "CHAPTER XXVI\n\nIMAR'S TALE--REVENGE", "CHAPTER XXIV\n\nIMAR'S TALE--PEACE", "CHAPTER XXVII\n\nIMAR'S TALE--EXILE", "have been, and will be again, while the world endures. From bodily\nlikeness you may reason more than from the greater things you cannot\nsee. I have never seen Imar close at hand; but they are both tall,", "Imar, my own brother, was gifted by Heaven with no sense of justice. He\nwas not content with robbing me, your dear mother, of my rightful share", "of open violence, or outrage upon travellers. He had heard of Sûr Imar,\nas still the legitimate chief of an important tribe, for many years an", "CHAPTER XXII\n\nIMAR'S TALE--WAR", "of Imar. Very likely she loved her husband all the more, without knowing\nit herself, for his behaviour to her. Some women do, there is no", "justice, and good will, and love to those of our own kind, and hate of\nall that wrong them. Even if Sûr Imar had not been the man he was, and", "\"Then there came a man who was the noblest of all the sons of men to\nlook at that ever the red sun shone upon. Imar, the son of Dadian,", "Imar,--a Prince he is, whether he likes it not,--while on the other\nhand, I may be guilty of his death, if I stand upon scruples. And that", "CHAPTER XXIII\n\nIMAR'S TALE--LOVE", "\"My dear friend,\" Sûr Imar said, when I tried to make him see it so,\n\"you were not born here, but I was; and that makes all the difference. I", "When the Prince Imar's tale was told, and I thought of all he had been\nthrough, I could not find it in my heart, or even in good manners, to", "what did your uncle Imar do? You know, you have heard it a thousand\ntimes; he slew your father in cold blood, taking mean advantage of", "keep his eye on Sûr Imar. He will have no trouble about that, the man\nbeing so conspicuous. I shall know when Imar thinks of leaving, and then", "their own mountains. But I dared not go to Ushkul yet, and had forgotten\nhow to live without a rifle in my hands. Then Imar, the son of Dadian,", "all who heard of it shudder. Prince Imar was a most cheerful man, full\nof life and spirit, even in the thick of blows and danger, when I had", "Stepan, Imar's milk-brother and most faithful friend. And I wished with\nall my heart that he were there, or could even be advised of his lord's\nreturn." ], [ "and see Dariel do it.\" For she had told Jackson, and he in his lunacy\nthought it too good to be kept to himself, that her brother George, if", "and do anything, to be of service to Dariel. And for her own sake too, I\ncan tell you, for she is a most charming creature, though a little too", "\"You must not call me that, sir. I am not of the French. I prefer the\nEnglish nation very greatly. There has only been one name given to me\nby my father, and that is _Dariel_.\"", "by their loving sister and aunt, at a place appointed; and there they\nmust leave the great Dariel road, and be conducted by her to Karthlos,\nwith great rejoicing and affection kindled. But why were all these men", "\"Be thankful that it is so, my friend. It will be my duty to prevent\ntheir increase.\" Dariel's father smiled at his own words, with a sense", "life to us. But Dariel knows that we must not think of our own comfort\nonly.\"", "Then, as sure as I am sitting here this day, the last thing that ever I\ncould have believed was done concerning me and to me. Dariel came, and I", "pride, more perhaps than to my credit, their first question always is,\nnot \"What became of you, George?\" but \"What became of Dariel?\" And that\nis more than I could tell for many a long day afterwards.", "merely because he has dared to look at Dariel. She, who takes so long to\nsee what I am, is not at all likely to be carried by storm by this", "Dariel. Yielding to a sudden rush of jealousy, I had quitted her hastily\nand almost rudely, and broken my appointment with her father. It was", "attach to her, and I have not told her of it. But I love your daughter,\nDariel.\"", "At the end of the room which was nearest to me, and only a few yards\nfrom the corner I had found, sat Dariel herself, with a purple cloak on,", "darling George, by the force of your own reasoning.\"", "But Dariel was of good strong faith, without which a woman deserves only\nto be a man. She opened the gate, and let me in, so beautifully that I\nwas quite afraid.", "capable of any such horrible design. But the misery, agony, and anxiety\nfor the pure and innocent Dariel, and her father already so cruelly", "plenty of money. Why can't he stop here, and have the sweet Dariel\nintroduced at Court? There is a very great man indeed who would be only\ntoo proud to manage it.\"", "\"Because he knows why. And he gave me leave to say what you know\nalready. Oh, Dariel, what is the good of talking? You know all about it.\nEver since that blessed moment, when I first caught sight of you----\"", "\"It is the sweetest name in all the world. Oh, Dariel, am I to call you\nDariel?\"", "is no doubt of that. And I dare not even mention the subject before him.\nEven Dariel knows not a word about it.\"", "that his unknown sister glided past him and hurried to their unconscious\nfather. And truly it was a great mercy for me, as well as a glory to\nthis grand young fellow, that, instead of waiting longer where he was" ], [ "\"Valley of Retribution.\" From Usi's account, it was plain that Marva was\nmaking a tribal revenge of it. Her brother would be tried and condemned", "Marva's scheme, except through me, and I have no proofs. It is all\nsuspicion, or inference from little slips of Hafer's and so on, and what", "course was to pay a visit to the Princess Marva, and try to get some\ninkling of her plans. It was not very likely that a couple of clumsy", "\"Marva is dead,\" I kept on saying; \"the greatest woman of the age is\ndead! Not the best, not the purest, not even a true woman. But how grand", "us to slay the wretch,' said Marva, with a glance of blackness, 'but\ndoth not forbid to make wolf's meat of him.'", "CHAPTER XLVI\n\nQUEEN MARVA", "\"But his own sister, his twin sister, the darling of his\nchildhood--Marva! How could all such wickedness go on without her\nknowledge? It is impossible to imagine that she would allow it.\"", "refused him his daughter Marva. Instead of answering the letter\ntherefore in which he demanded his portion, I set forth with a few", "their clumsy fingers back, and went down on their knees with\nsuperstition. But the Princess Marva drew near to me, and the butt of a", "Marva, who knew of her husband's falseness!\"", "Prince Hafer intends to get our noble friend out there, marry his\ndaughter, and then shoot him, and combine that heritage with his own.\nAh, yes!\"", "\"What! Marva, the widow of Rakhan, that rascally Prince of the Ossets,\nwhom Imar very justly slew! So justly, that even he felt no compunction.", "and even her own babes, he became quite excited, and vowed that she must\nhave come to life again as the Princess Marva. Upon that I begged him to", "behind the corner, and left others to find out the loss. But it was not\nvery long unknown, for Marva was coming along the ravine upon her return", "And then again, even if they let it pass, the Lesghians, who are a very\nloyal race, would never accept Marva's rule, when she had slain their", "their hearts and souls. And this black bear Queen Marva is.", "Princess Marva came, the widow of Rakhan Houseburner, and claimed the\ncommand of everything. I would not rebel against the sister of the man I", "This upstart fellow brought the fighting men together; and they laid\naside the bodies of Queen Marva and her son, in fear of their being", "abandoned all hope by that time, as any but a woman must have done long\nsince, and there was no one to receive him. For Marva had sent her own", "Marva came forth in her majestic manner (having turned away her face,\nperhaps with sisterly compunction), sweeping her black robe along the" ], [ "Mr. Cranleigh. Not that her father is a Georgian though, he belongs to a\nhigher race, the Lesghians, and the highest tribe of the Lesghians. All", "George Cranleigh will join us.\"", "\"Upon important business!\" he said. \"Ah, yes! Mr. George Cranleigh. Ah,\nyes, ah, yes!\" He was rather a handsome little man, about forty years", "\"Poor George, what a fool he is making of himself! But no brother of\nyours could ever be a fool. Forgive me: for the moment I was forgetting\nthe great mental powers of your family, Miss Cranleigh.\"", "\"George Cranleigh, I have not known you long; but this I can say without\nhesitation, and I should like to see any man deny it, you are the very\nnoblest fellow that ever--\"", "\"I am not an Executor at all, Sir Benjamin. And I am no Sir George, but\nplain George Cranleigh. I am doing what little I can, at the request of", "\"Mr. George Cranleigh, Mr. Jackson Stoneman aspires to the hand of Miss\nGrace Cranleigh, daughter of Sir Harold Cranleigh, Bart. Is that grand", "\"George Cranleigh, you may think what you like. I care not a rap what\nanybody thinks. I love your sister Grace, as no man ever loved a woman,\nor ever will.\"", "\"It is not brave to torture anybody, Captain Strogue. But that is no\nlonger my business. My name is George Cranleigh, well known about here.\nWhat I have done I would do again, and so would any other Englishman.\"", "\"It is of my father and not of myself we are speaking, Mr. Cran-lee. And\nyou are surprised what reason I can have for--for inviting you to give", "\"If you will be pleased to observe, Mr. Cranleigh\"--Bessie had been at a\nboarding-school--\"my father's predictions are in manuscript of", "Mr. Cranleigh. He has very nearly made a diamond, and he came to me\nabout it. Upon my word, I thought at first that he had succeeded, until", "\"Mr. Cranleigh! Is this Sir Harold Cranleigh's son?\" the officer\nenquired, and a very gentlemanlike expression, which had been dawning on", "\"_Orla_, come and show your teeth,\" he said; \"now, Mr. Cranleigh, his\nteeth are the very similarity of his father's. That is the one that", "referring your chiefs to the Foreign Office. One word there would have\nsaved all this trouble. But now you shall understand this mighty secret;\nand so shall Mr. Cranleigh, if he cares to know it.\"", "that I am very grateful. But I want to know this. I have heard a good\ndeal of the importance attached by the Cranleighs to their very old", "line,\" he said. \"To think of the Cranleighs coming down to that. But you\ndon't sell milk by the quart now, do 'e?\"", "\"You attach much importance, I think, Mr. Cranleigh, to questions of\nbirth, and position in the county, and ancient family, and so on?\"", "are not a millionaire, George Cranleigh. But I am a man of honour, sir.\nThough not a swell, I am no sponge. And I have some chance of a good", "Cran-lee, you must not be in such error as to think that I have\ncuriosity. It is anxiety, and love of my dear father, which any one of" ], [ "George Cranleigh will join us.\"", "\"George Cranleigh, I have not known you long; but this I can say without\nhesitation, and I should like to see any man deny it, you are the very\nnoblest fellow that ever--\"", "\"Upon important business!\" he said. \"Ah, yes! Mr. George Cranleigh. Ah,\nyes, ah, yes!\" He was rather a handsome little man, about forty years", "\"Poor George, what a fool he is making of himself! But no brother of\nyours could ever be a fool. Forgive me: for the moment I was forgetting\nthe great mental powers of your family, Miss Cranleigh.\"", "\"I am not an Executor at all, Sir Benjamin. And I am no Sir George, but\nplain George Cranleigh. I am doing what little I can, at the request of", "\"George Cranleigh, you may think what you like. I care not a rap what\nanybody thinks. I love your sister Grace, as no man ever loved a woman,\nor ever will.\"", "Cranleigh, you remind me of him, at every turn.\"", "Mr. Cranleigh. Not that her father is a Georgian though, he belongs to a\nhigher race, the Lesghians, and the highest tribe of the Lesghians. All", "\"It is not brave to torture anybody, Captain Strogue. But that is no\nlonger my business. My name is George Cranleigh, well known about here.\nWhat I have done I would do again, and so would any other Englishman.\"", "\"Mr. George Cranleigh, Mr. Jackson Stoneman aspires to the hand of Miss\nGrace Cranleigh, daughter of Sir Harold Cranleigh, Bart. Is that grand", "Mr. Cranleigh. He has very nearly made a diamond, and he came to me\nabout it. Upon my word, I thought at first that he had succeeded, until", "line,\" he said. \"To think of the Cranleighs coming down to that. But you\ndon't sell milk by the quart now, do 'e?\"", "\"A pretty description of your native land! It is the air of this\ncountry, Mr. Cranleigh. My daughter has breathed it so long that she", "I sum up the merits thus, George Cranleigh. You had no right to begin;\nbut when you had begun, I am blowed if I can see how you could help", "brings to her. Mr. Cranleigh says he would like best to hear you in your\nown language, dear; though he won't understand a word of it. That", "doings. The young Earl of Melladew was staying at the \"Bell,\"--which\nused to be called the \"Cranleigh Arms,\" until we went down in the", "are not a millionaire, George Cranleigh. But I am a man of honour, sir.\nThough not a swell, I am no sponge. And I have some chance of a good", "that I am very grateful. But I want to know this. I have heard a good\ndeal of the importance attached by the Cranleighs to their very old", "\"Cranleigh, you can go,\" said Strogue, for his manners were not perfect;\n\"you are involved in this little shindy, and you want to know all about", "owner, and loving them, makes allowance for the like in others. Bless\nyour heart, Cranleigh, I like people well enough; but I despise them," ], [ "and wretched home--there was only my baby Dariel left, to link me to\nthis altered world. Marva was gone back to her Osset tower, and it", "\"But his own sister, his twin sister, the darling of his\nchildhood--Marva! How could all such wickedness go on without her\nknowledge? It is impossible to imagine that she would allow it.\"", "attach to her, and I have not told her of it. But I love your daughter,\nDariel.\"", "merely because he has dared to look at Dariel. She, who takes so long to\nsee what I am, is not at all likely to be carried by storm by this", "\"It is the sweetest name in all the world. Oh, Dariel, am I to call you\nDariel?\"", "and do anything, to be of service to Dariel. And for her own sake too, I\ncan tell you, for she is a most charming creature, though a little too", "Dariel. Yielding to a sudden rush of jealousy, I had quitted her hastily\nand almost rudely, and broken my appointment with her father. It was", "and see Dariel do it.\" For she had told Jackson, and he in his lunacy\nthought it too good to be kept to himself, that her brother George, if", "life to us. But Dariel knows that we must not think of our own comfort\nonly.\"", "\"Like you, Dariel! what a wretched word! Can you look at me, and fancy\nit no more than that?\" But she would not be taken at any disadvantage;", "is no doubt of that. And I dare not even mention the subject before him.\nEven Dariel knows not a word about it.\"", "CHAPTER XLVI\n\nQUEEN MARVA", "knew nothing, except that here was Dariel. I feared to look direct, or\neven glance as if I meant it, being now little more than a lump of", "\"What can make you ask me such a thing?\" she answered, and I said,\n\"Don't you know, Dariel?\" And she drew back, and whispered, \"I will\ntry--if my father has no objection.\"", "Then, as sure as I am sitting here this day, the last thing that ever I\ncould have believed was done concerning me and to me. Dariel came, and I", "they might mean to Dariel. One most unlucky reference too would quench\nany doubt she might try to cherish. In my brief account of that sad", "Dariel, who was as fit as a fiddle--how those low expressions spoil\none's most exalted moments!--saw with her ill-timed serenity the", "\"Marva, twin-sister of mine, and in childhood dearer than my little self\nto me, had defied all authority; and when that did not avail, had", "At the end of the room which was nearest to me, and only a few yards\nfrom the corner I had found, sat Dariel herself, with a purple cloak on,", "\"Well, perhaps I shall, when you have done it. But not till then, my\nDariel. And I think that Dariel owes me something for her compliment to\nmy intellect.\"" ], [ "and see Dariel do it.\" For she had told Jackson, and he in his lunacy\nthought it too good to be kept to himself, that her brother George, if", "Sûr Imar received us with a loving smile. I thought that he had never\nlooked more grand. Dariel knelt to him, while I held her hand; and if I", "CHAPTER XXVI\n\nIMAR'S TALE--REVENGE", "For this young fellow, Prince Origen, the son of Imar and Oria, the\nchild who escaped by his fall into the drift (when Marva's genuine Hafer", "CHAPTER XXIV\n\nIMAR'S TALE--PEACE", "all who heard of it shudder. Prince Imar was a most cheerful man, full\nof life and spirit, even in the thick of blows and danger, when I had", "CHAPTER XXIII\n\nIMAR'S TALE--LOVE", "thrust back, and then drew his own, and flew with it at the shackled\nImar's heart. But another was there--thank the Lord in heaven--I caught", "Imar. This man knew me, and told the Queen who I was; and but for the\nholy time she would have crucified me then and there. 'Religion forbids", "frisking on their little legs among the treacherous snow-drift. And then\nwe saw the rocky elbow of the dark ravine where Imar's father Dadian", "by their loving sister and aunt, at a place appointed; and there they\nmust leave the great Dariel road, and be conducted by her to Karthlos,\nwith great rejoicing and affection kindled. But why were all these men", "deep one. It is a lucky thing for Imar that she sent Hafer, instead of\ncoming to manage the whole affair herself.\"", "Suddenly a glow of deep amazement shone in Imar's haggard eyes. With a\nwrench of his mighty frame he shook the steel bar like a ribbon, the", "Then, as sure as I am sitting here this day, the last thing that ever I\ncould have believed was done concerning me and to me. Dariel came, and I", "Stepan, Imar's milk-brother and most faithful friend. And I wished with\nall my heart that he were there, or could even be advised of his lord's\nreturn.", "stronger and stronger with these good things here.\" Sûr Imar, who had\nrisen from behind a curtain, pointed to a table which was laden with", "and do anything, to be of service to Dariel. And for her own sake too, I\ncan tell you, for she is a most charming creature, though a little too", "\"It is impossible for them to be too black,\" Strogue replied with an\nominous smile. \"Sûr Imar's life is not worth the lump of sugar melting", "CHAPTER XXII\n\nIMAR'S TALE--WAR", "their own mountains. But I dared not go to Ushkul yet, and had forgotten\nhow to live without a rifle in my hands. Then Imar, the son of Dadian," ], [ "by Sûr Imar's men in England. \"Is that all?\" he inquired at last; and\nStrogue replied, \"Yes; and to me it seems enough.\" The Lesghian dipped", "Sûr Imar received us with a loving smile. I thought that he had never\nlooked more grand. Dariel knelt to him, while I held her hand; and if I", "\"For some little time,\" Sûr Imar answered, with one of his most majestic\nbows, \"I have looked forward to this pleasure; but until this morning I", "be treated thus. And I was strongly attached to Sûr Imar.\"", "Sûr Imar at a distance only, his friend's account left him in no doubt\nwhatever that the pair he had been so vainly seeking, by letters to half", "Hisar came forth from the inner room, so fateful to Sûr Imar, and for\nonce his surly face looked bright. Since his return he had thought scorn", "\"Sûr Imar, I must not come here under false pretences. The fact is\nsimply this, and I wish to tell you first, for no blame can possibly", "\"No doubt of that,\" I replied, for that seems to be the duty of every\nland; \"I knew that Sûr Imar meant to go, and for years he has been", "Fearing that Sûr Imar might suppose me to be careless, and having\nrecovered my self-command in right of much moralising, I entered by the", "\"My dear friend,\" Sûr Imar said, when I tried to make him see it so,\n\"you were not born here, but I was; and that makes all the difference. I", "\"Imar is an exceedingly fine chap,\" he said, as he lit a long clay pipe,\nafter a dinner which impressed me with the truth that the more a man", "upon poor Sûr Imar's death. I see it all now with the help of what you\ntell me. I took it in quite another light before. There is one thing", "of Imar. Very likely she loved her husband all the more, without knowing\nit herself, for his behaviour to her. Some women do, there is no", "surprised, as much as any man acquainted with him could be surprised,\nwhen he took me aside one day and said: 'Sûr Imar, I have an important", "Great as my reverence was for Sûr Imar, it was difficult not to suspect\nthat some adverse influence had been at work with him. Hitherto he had", "corner, and is apt to be superseded after six or seven years. And she\nmight have other motives too for getting Imar's heir into her\npossession.\"", "Imar. This man knew me, and told the Queen who I was; and but for the\nholy time she would have crucified me then and there. 'Religion forbids", "keep his eye on Sûr Imar. He will have no trouble about that, the man\nbeing so conspicuous. I shall know when Imar thinks of leaving, and then", "lover of Sûr Imar also, and a worshipper of womankind. But if his\ncourage abide not with him to go down into the place of death, there is", "justice, and good will, and love to those of our own kind, and hate of\nall that wrong them. Even if Sûr Imar had not been the man he was, and" ], [ "refused him his daughter Marva. Instead of answering the letter\ntherefore in which he demanded his portion, I set forth with a few", "Prince Hafer intends to get our noble friend out there, marry his\ndaughter, and then shoot him, and combine that heritage with his own.\nAh, yes!\"", "Marva's scheme, except through me, and I have no proofs. It is all\nsuspicion, or inference from little slips of Hafer's and so on, and what", "and even her own babes, he became quite excited, and vowed that she must\nhave come to life again as the Princess Marva. Upon that I begged him to", "that of his mother Marva. In his urgency to get them back straightway to\nthe land of the mountain without the flood, he has sent them round by", "course was to pay a visit to the Princess Marva, and try to get some\ninkling of her plans. It was not very likely that a couple of clumsy", "CHAPTER XLVI\n\nQUEEN MARVA", "\"But his own sister, his twin sister, the darling of his\nchildhood--Marva! How could all such wickedness go on without her\nknowledge? It is impossible to imagine that she would allow it.\"", "\"Valley of Retribution.\" From Usi's account, it was plain that Marva was\nmaking a tribal revenge of it. Her brother would be tried and condemned", "their clumsy fingers back, and went down on their knees with\nsuperstition. But the Princess Marva drew near to me, and the butt of a", "father, I will deliver to you all the portion of my sister Marva, and\nadd thereto my own present to her, and acknowledge you as a brother.'", "cousin, about whom I had heard so much, and of whom I had seen too much\nalready. Was he the son of that terrible woman, Marva--Sûr Imar's", "This upstart fellow brought the fighting men together; and they laid\naside the bodies of Queen Marva and her son, in fear of their being", "Marva, who knew of her husband's falseness!\"", "with us. We had lost our mother before we knew her; and Marva and\nmyself, twin children, had been sent from home, we could not tell when,", "\"She sent her son to England for that very purpose,\" Mr. Nickols\nreplied, in a tone of deep conviction. \"It may not sound sisterly; but", "\"What! Marva, the widow of Rakhan, that rascally Prince of the Ossets,\nwhom Imar very justly slew! So justly, that even he felt no compunction.", "remained but to make her own son the heir,--for he was born in wedlock,\nthough not of it,--marry him to the Lesghian heiress, and herself enjoy", "As to the other man, although he had not presented himself distinctly,\nwhat other could he be than Hafer, the son of Imar's sister Marva, and", "looks forward to his need of marriage may come to the cradle and hang\nhis own bullet around the neck of the infant, and from that time she is" ], [ "and see Dariel do it.\" For she had told Jackson, and he in his lunacy\nthought it too good to be kept to himself, that her brother George, if", "came to the place where Dariel lived.", "merely because he has dared to look at Dariel. She, who takes so long to\nsee what I am, is not at all likely to be carried by storm by this", "pride, more perhaps than to my credit, their first question always is,\nnot \"What became of you, George?\" but \"What became of Dariel?\" And that\nis more than I could tell for many a long day afterwards.", "At the end of the room which was nearest to me, and only a few yards\nfrom the corner I had found, sat Dariel herself, with a purple cloak on,", "of the Caucasus are not much addicted to travel, the Captain began to\nenquire into this, and although he had never met Dariel, and had seen", "mind. And in that prophecy it hit the mark, for who should meet me at a\nwinding of the path, but Dariel herself, no other? Dariel, my darling!", "plenty of money. Why can't he stop here, and have the sweet Dariel\nintroduced at Court? There is a very great man indeed who would be only\ntoo proud to manage it.\"", "knew nothing, except that here was Dariel. I feared to look direct, or\neven glance as if I meant it, being now little more than a lump of", "\"In every word that you have said, my dear. But when our George, without\nasking his mother, goes out of his way to make strange acquaintance, and\npeople who pretend to look down upon us----\"", "DARIEL.\"\n\n\n\n\nCHAPTER IX\n\nSTRANGE SENSATIONS", "Dariel. Yielding to a sudden rush of jealousy, I had quitted her hastily\nand almost rudely, and broken my appointment with her father. It was", "curiosity, and what was infinitely more than that, upon everything\nconnected with Dariel, I rode home that night in a glow of excitement,\ntempered at intervals with nervous dread. For I might hear things that", "\"What we have heard from George is not altogether what I expected.\nEverybody knows, though he seems to imagine that nobody ever dreamed of\nit, that he had found some attraction among those very strange people", "\"You must not call me that, sir. I am not of the French. I prefer the\nEnglish nation very greatly. There has only been one name given to me\nby my father, and that is _Dariel_.\"", "by their loving sister and aunt, at a place appointed; and there they\nmust leave the great Dariel road, and be conducted by her to Karthlos,\nwith great rejoicing and affection kindled. But why were all these men", "\"It is the sweetest name in all the world. Oh, Dariel, am I to call you\nDariel?\"", "\"Like you, Dariel! what a wretched word! Can you look at me, and fancy\nit no more than that?\" But she would not be taken at any disadvantage;", "\"Dariel, you may be quite sure of this,\" I replied, after taking my seat\nupon a stone, over against the one she had chosen, but lower, so that I", "darling George, by the force of your own reasoning.\"" ], [ "CHAPTER XLVI\n\nQUEEN MARVA", "their hearts and souls. And this black bear Queen Marva is.", "Princess Marva came, the widow of Rakhan Houseburner, and claimed the\ncommand of everything. I would not rebel against the sister of the man I", "dwellings from robbery, for the short time he governed at Karthlos. It\nwas said, moreover, that Queen Marva, as she loved to hear herself\ncalled, would now have no chance of holding fast her manifold", "This upstart fellow brought the fighting men together; and they laid\naside the bodies of Queen Marva and her son, in fear of their being", "\"Thou art not fit to govern men,\" the Princess Marva looked at Hisar\nwith a smile of mild contempt, which would have been anything but mild", "\"Marva is dead,\" I kept on saying; \"the greatest woman of the age is\ndead! Not the best, not the purest, not even a true woman. But how grand", "their clumsy fingers back, and went down on their knees with\nsuperstition. But the Princess Marva drew near to me, and the butt of a", "and even her own babes, he became quite excited, and vowed that she must\nhave come to life again as the Princess Marva. Upon that I begged him to", "\"What! Marva, the widow of Rakhan, that rascally Prince of the Ossets,\nwhom Imar very justly slew! So justly, that even he felt no compunction.", "I came back to myself through necessity of lying to Queen Marva.", "And then again, even if they let it pass, the Lesghians, who are a very\nloyal race, would never accept Marva's rule, when she had slain their", "course was to pay a visit to the Princess Marva, and try to get some\ninkling of her plans. It was not very likely that a couple of clumsy", "that of his mother Marva. In his urgency to get them back straightway to\nthe land of the mountain without the flood, he has sent them round by", "Marva came forth in her majestic manner (having turned away her face,\nperhaps with sisterly compunction), sweeping her black robe along the", "refused him his daughter Marva. Instead of answering the letter\ntherefore in which he demanded his portion, I set forth with a few", "\"Valley of Retribution.\" From Usi's account, it was plain that Marva was\nmaking a tribal revenge of it. Her brother would be tried and condemned", "Marva, who knew of her husband's falseness!\"", "Then we asked him about the Princess Marva, and he smiled mysteriously.\n\"We don't talk of her so freely,\" he said, as Strogue still pressed him.", "men of Queen Marva's bodyguard, whom she had chosen from all the tribe;\neven as the great Imaum had riders of the Avar race continually faithful" ], [ "Imar,--a Prince he is, whether he likes it not,--while on the other\nhand, I may be guilty of his death, if I stand upon scruples. And that", "Sûr Imar received us with a loving smile. I thought that he had never\nlooked more grand. Dariel knelt to him, while I held her hand; and if I", "all who heard of it shudder. Prince Imar was a most cheerful man, full\nof life and spirit, even in the thick of blows and danger, when I had", "\"No. I have a much stronger argument than that. No one could imagine for\na moment that Sûr Imar, the most benevolent man on earth, could be the", "When the Prince Imar's tale was told, and I thought of all he had been\nthrough, I could not find it in my heart, or even in good manners, to", "\"You forget one thing, Captain Strogue,\" I interrupted, for this view of\nthe Princess did not tally well with Sûr Imar's own account. \"She pitied", "by Sûr Imar's men in England. \"Is that all?\" he inquired at last; and\nStrogue replied, \"Yes; and to me it seems enough.\" The Lesghian dipped", "For this young fellow, Prince Origen, the son of Imar and Oria, the\nchild who escaped by his fall into the drift (when Marva's genuine Hafer", "\"What! Marva, the widow of Rakhan, that rascally Prince of the Ossets,\nwhom Imar very justly slew! So justly, that even he felt no compunction.", "of open violence, or outrage upon travellers. He had heard of Sûr Imar,\nas still the legitimate chief of an important tribe, for many years an", "\"For some little time,\" Sûr Imar answered, with one of his most majestic\nbows, \"I have looked forward to this pleasure; but until this morning I", "\"'Young Imar, the son of Dadian. The Russians have slain thy father in\ncold blood. Thou art now the Chief of the Kheusurs. Thou art not of", "\"Oh, Sûr Imar,\" I exclaimed with great surprise, \"the largest and\nnoblest of all the Angels, if he got the whip-hand of a Railway Company,", "sign of the Princess, eager to embrace her kindred? Loving Sûr Imar as I\ndid, I resolved to go on, and understand these things.", "\"Imar is an exceedingly fine chap,\" he said, as he lit a long clay pipe,\nafter a dinner which impressed me with the truth that the more a man", "justice, and good will, and love to those of our own kind, and hate of\nall that wrong them. Even if Sûr Imar had not been the man he was, and", "be treated thus. And I was strongly attached to Sûr Imar.\"", "upon poor Sûr Imar's death. I see it all now with the help of what you\ntell me. I took it in quite another light before. There is one thing", "Hisar came forth from the inner room, so fateful to Sûr Imar, and for\nonce his surly face looked bright. Since his return he had thought scorn", "stronger and stronger with these good things here.\" Sûr Imar, who had\nrisen from behind a curtain, pointed to a table which was laden with" ], [ "Our family, one of the oldest in Surrey, and of Saxon lineage, requiring\nno mixed Norman blood of outsea cutthroats to better it, had always kept", "Sûr Imar at a distance only, his friend's account left him in no doubt\nwhatever that the pair he had been so vainly seeking, by letters to half", "Sûr Imar sat down, while I went to see them off; and outside the upper\ndoor they gave three cheers. \"Wonderful old chap! Grand old cock!\" the", "Sûr Imar received us with a loving smile. I thought that he had never\nlooked more grand. Dariel knelt to him, while I held her hand; and if I", "by Sûr Imar's men in England. \"Is that all?\" he inquired at last; and\nStrogue replied, \"Yes; and to me it seems enough.\" The Lesghian dipped", "Surrey, after a long but vain attempt to do a little business for my\nfather. For we were not, as we used to be, people of wealth and large", "nigher. Sûr Imar, this is all the Lord hath left thee for thy home and\nheart. Gather thy life up, for her sake.'", "Hisar came forth from the inner room, so fateful to Sûr Imar, and for\nonce his surly face looked bright. Since his return he had thought scorn", "That evening, when I entered Sûr Imar's room, after leaving his daughter\namong her birds, the first thing I did was to watch him very keenly for", "Certainly it could not in Surrey or in Kent; but here in the Caucasus it\nproved that it could go on, long enough at any rate to bury all the", "\"Imar is an exceedingly fine chap,\" he said, as he lit a long clay pipe,\nafter a dinner which impressed me with the truth that the more a man", "[Illustration: \"_Sûr Imar received us with a loving smile._\"]\n\n\"So be it,\" he said, as he kissed her forehead; \"may the Lord bless both\nmy children.\"", "of the great mountains. All had been settled that Sûr Imar and his\ndaughter should come from Vladikaukaz in a hired troika, and be received", "\"My dear friend,\" Sûr Imar said, when I tried to make him see it so,\n\"you were not born here, but I was; and that makes all the difference. I", "I led his beautiful daughter back to Sûr Imar, and I said--\"You see.\"\n\n\"Yes, I see,\" he answered softly. \"And there is no more to be said.\"", "I saw Sûr Imar's noble face, as calm as when he smiled on me, and\nblessed me with his daughter. His hands were roped behind his back, his", "at least three centuries, to be robbed by private folly of the little\nthe public mania has left him. I know the climate of Surrey pretty well,", "\"For some little time,\" Sûr Imar answered, with one of his most majestic\nbows, \"I have looked forward to this pleasure; but until this morning I", "upon poor Sûr Imar's death. I see it all now with the help of what you\ntell me. I took it in quite another light before. There is one thing", "Surrey first. As an old County family, that is our duty. There is some\nlow typhoid in the valleys still. Run and fetch my trunk, George. It is" ], [ "\"No doubt of that,\" I replied, for that seems to be the duty of every\nland; \"I knew that Sûr Imar meant to go, and for years he has been", "CHAPTER XXVII\n\nIMAR'S TALE--EXILE", "of Imar. Very likely she loved her husband all the more, without knowing\nit herself, for his behaviour to her. Some women do, there is no", "\"My dear friend,\" Sûr Imar said, when I tried to make him see it so,\n\"you were not born here, but I was; and that makes all the difference. I", "have been, and will be again, while the world endures. From bodily\nlikeness you may reason more than from the greater things you cannot\nsee. I have never seen Imar close at hand; but they are both tall,", "happened to be at home. For he had taken his holiday, and was come back;\nand so far as one could judge him by his looks and walk, he found\nhimself better suited in his native land than elsewhere.", "CHAPTER XXVI\n\nIMAR'S TALE--REVENGE", "CHAPTER XXIV\n\nIMAR'S TALE--PEACE", "their own mountains. But I dared not go to Ushkul yet, and had forgotten\nhow to live without a rifle in my hands. Then Imar, the son of Dadian,", "Imar, my own brother, was gifted by Heaven with no sense of justice. He\nwas not content with robbing me, your dear mother, of my rightful share", "\"Not a bit,\" I answered, with a smile of modest triumph; \"you despise\nmankind, because you think they are like you. Sûr Imar loves them,\nbecause he thinks they are like him!\"", "When the Prince Imar's tale was told, and I thought of all he had been\nthrough, I could not find it in my heart, or even in good manners, to", "\"Imar is an exceedingly fine chap,\" he said, as he lit a long clay pipe,\nafter a dinner which impressed me with the truth that the more a man", "CHAPTER XXIII\n\nIMAR'S TALE--LOVE", "Imar,--a Prince he is, whether he likes it not,--while on the other\nhand, I may be guilty of his death, if I stand upon scruples. And that", "nigher. Sûr Imar, this is all the Lord hath left thee for thy home and\nheart. Gather thy life up, for her sake.'", "justice, and good will, and love to those of our own kind, and hate of\nall that wrong them. Even if Sûr Imar had not been the man he was, and", "keep his eye on Sûr Imar. He will have no trouble about that, the man\nbeing so conspicuous. I shall know when Imar thinks of leaving, and then", "sign of the Princess, eager to embrace her kindred? Loving Sûr Imar as I\ndid, I resolved to go on, and understand these things.", "lover of Sûr Imar also, and a worshipper of womankind. But if his\ncourage abide not with him to go down into the place of death, there is" ], [ "Mr. Cranleigh. Not that her father is a Georgian though, he belongs to a\nhigher race, the Lesghians, and the highest tribe of the Lesghians. All", "George Cranleigh will join us.\"", "\"Upon important business!\" he said. \"Ah, yes! Mr. George Cranleigh. Ah,\nyes, ah, yes!\" He was rather a handsome little man, about forty years", "\"Poor George, what a fool he is making of himself! But no brother of\nyours could ever be a fool. Forgive me: for the moment I was forgetting\nthe great mental powers of your family, Miss Cranleigh.\"", "\"George Cranleigh, I have not known you long; but this I can say without\nhesitation, and I should like to see any man deny it, you are the very\nnoblest fellow that ever--\"", "\"I am not an Executor at all, Sir Benjamin. And I am no Sir George, but\nplain George Cranleigh. I am doing what little I can, at the request of", "\"Mr. George Cranleigh, Mr. Jackson Stoneman aspires to the hand of Miss\nGrace Cranleigh, daughter of Sir Harold Cranleigh, Bart. Is that grand", "\"George Cranleigh, you may think what you like. I care not a rap what\nanybody thinks. I love your sister Grace, as no man ever loved a woman,\nor ever will.\"", "\"It is not brave to torture anybody, Captain Strogue. But that is no\nlonger my business. My name is George Cranleigh, well known about here.\nWhat I have done I would do again, and so would any other Englishman.\"", "\"It is of my father and not of myself we are speaking, Mr. Cran-lee. And\nyou are surprised what reason I can have for--for inviting you to give", "\"If you will be pleased to observe, Mr. Cranleigh\"--Bessie had been at a\nboarding-school--\"my father's predictions are in manuscript of", "Mr. Cranleigh. He has very nearly made a diamond, and he came to me\nabout it. Upon my word, I thought at first that he had succeeded, until", "\"Mr. Cranleigh! Is this Sir Harold Cranleigh's son?\" the officer\nenquired, and a very gentlemanlike expression, which had been dawning on", "\"_Orla_, come and show your teeth,\" he said; \"now, Mr. Cranleigh, his\nteeth are the very similarity of his father's. That is the one that", "referring your chiefs to the Foreign Office. One word there would have\nsaved all this trouble. But now you shall understand this mighty secret;\nand so shall Mr. Cranleigh, if he cares to know it.\"", "that I am very grateful. But I want to know this. I have heard a good\ndeal of the importance attached by the Cranleighs to their very old", "line,\" he said. \"To think of the Cranleighs coming down to that. But you\ndon't sell milk by the quart now, do 'e?\"", "\"You attach much importance, I think, Mr. Cranleigh, to questions of\nbirth, and position in the county, and ancient family, and so on?\"", "are not a millionaire, George Cranleigh. But I am a man of honour, sir.\nThough not a swell, I am no sponge. And I have some chance of a good", "Cran-lee, you must not be in such error as to think that I have\ncuriosity. It is anxiety, and love of my dear father, which any one of" ], [ "George Cranleigh will join us.\"", "\"George Cranleigh, I have not known you long; but this I can say without\nhesitation, and I should like to see any man deny it, you are the very\nnoblest fellow that ever--\"", "\"Upon important business!\" he said. \"Ah, yes! Mr. George Cranleigh. Ah,\nyes, ah, yes!\" He was rather a handsome little man, about forty years", "\"Poor George, what a fool he is making of himself! But no brother of\nyours could ever be a fool. Forgive me: for the moment I was forgetting\nthe great mental powers of your family, Miss Cranleigh.\"", "\"I am not an Executor at all, Sir Benjamin. And I am no Sir George, but\nplain George Cranleigh. I am doing what little I can, at the request of", "\"George Cranleigh, you may think what you like. I care not a rap what\nanybody thinks. I love your sister Grace, as no man ever loved a woman,\nor ever will.\"", "\"It is not brave to torture anybody, Captain Strogue. But that is no\nlonger my business. My name is George Cranleigh, well known about here.\nWhat I have done I would do again, and so would any other Englishman.\"", "Mr. Cranleigh. Not that her father is a Georgian though, he belongs to a\nhigher race, the Lesghians, and the highest tribe of the Lesghians. All", "\"Mr. George Cranleigh, Mr. Jackson Stoneman aspires to the hand of Miss\nGrace Cranleigh, daughter of Sir Harold Cranleigh, Bart. Is that grand", "Cranleigh, you remind me of him, at every turn.\"", "Mr. Cranleigh. He has very nearly made a diamond, and he came to me\nabout it. Upon my word, I thought at first that he had succeeded, until", "doings. The young Earl of Melladew was staying at the \"Bell,\"--which\nused to be called the \"Cranleigh Arms,\" until we went down in the", "are not a millionaire, George Cranleigh. But I am a man of honour, sir.\nThough not a swell, I am no sponge. And I have some chance of a good", "\"A pretty description of your native land! It is the air of this\ncountry, Mr. Cranleigh. My daughter has breathed it so long that she", "\"Cranleigh, you can go,\" said Strogue, for his manners were not perfect;\n\"you are involved in this little shindy, and you want to know all about", "line,\" he said. \"To think of the Cranleighs coming down to that. But you\ndon't sell milk by the quart now, do 'e?\"", "I sum up the merits thus, George Cranleigh. You had no right to begin;\nbut when you had begun, I am blowed if I can see how you could help", "\"You attach much importance, I think, Mr. Cranleigh, to questions of\nbirth, and position in the county, and ancient family, and so on?\"", "owner, and loving them, makes allowance for the like in others. Bless\nyour heart, Cranleigh, I like people well enough; but I despise them,", "referring your chiefs to the Foreign Office. One word there would have\nsaved all this trouble. But now you shall understand this mighty secret;\nand so shall Mr. Cranleigh, if he cares to know it.\"" ], [ "and see Dariel do it.\" For she had told Jackson, and he in his lunacy\nthought it too good to be kept to himself, that her brother George, if", "pride, more perhaps than to my credit, their first question always is,\nnot \"What became of you, George?\" but \"What became of Dariel?\" And that\nis more than I could tell for many a long day afterwards.", "knew nothing, except that here was Dariel. I feared to look direct, or\neven glance as if I meant it, being now little more than a lump of", "merely because he has dared to look at Dariel. She, who takes so long to\nsee what I am, is not at all likely to be carried by storm by this", "\"It is the sweetest name in all the world. Oh, Dariel, am I to call you\nDariel?\"", "Dariel. Yielding to a sudden rush of jealousy, I had quitted her hastily\nand almost rudely, and broken my appointment with her father. It was", "mind. And in that prophecy it hit the mark, for who should meet me at a\nwinding of the path, but Dariel herself, no other? Dariel, my darling!", "DARIEL.\"\n\n\n\n\nCHAPTER IX\n\nSTRANGE SENSATIONS", "of the Caucasus are not much addicted to travel, the Captain began to\nenquire into this, and although he had never met Dariel, and had seen", "\"You must not call me that, sir. I am not of the French. I prefer the\nEnglish nation very greatly. There has only been one name given to me\nby my father, and that is _Dariel_.\"", "came to the place where Dariel lived.", "attach to her, and I have not told her of it. But I love your daughter,\nDariel.\"", "\"Because he knows why. And he gave me leave to say what you know\nalready. Oh, Dariel, what is the good of talking? You know all about it.\nEver since that blessed moment, when I first caught sight of you----\"", "\"Like you, Dariel! what a wretched word! Can you look at me, and fancy\nit no more than that?\" But she would not be taken at any disadvantage;", "curiosity, and what was infinitely more than that, upon everything\nconnected with Dariel, I rode home that night in a glow of excitement,\ntempered at intervals with nervous dread. For I might hear things that", "Then, as sure as I am sitting here this day, the last thing that ever I\ncould have believed was done concerning me and to me. Dariel came, and I", "\"No, there was not any Dariel yet. But there was a fine little chap,\nabout a year old, and how well he could run! I have had him on my lap,", "\"Then they are fools, and I'll do it for them for ever. But oh, if I\ncould only make you see for a moment how I love you! Don't laugh at me,\nDariel. Don't do that.\"", "thought it very fine, until I met my Dariel. But now I felt disgusted\nwith him, and his Loo of £20,000 and all that snobbish frippery about", "show him Dariel's letter. And he did not ask for it; with all his\nbluffness, at heart he was a gentleman." ], [ "But the Lesghians, with whom we have most to do, and who claim us as of\ntheir affinity, still are of Islam, and mainly of that bigoted and", "Ossets, who are next-door neighbours to these Lesghians, when they have\nany door at all, I mean. I won't pretend to know much about him, but", "of the tribes belonging to the Lesghian race. The great warrior Shamyl,\nwho contended so long against all the armies of Russia, was of the", "preach in the Caucasus. Although he was not sure of that tradition, the\nLesghian chief attached no small importance to this heirloom, and was", "\"So I have been told on every side,\" the Lesghian chief replied with\ncalm decision; \"but I waited for you to confirm it, George. I perceive", "his people. Great joy was spread among the Lesghians; but the Ossets\nwent against the thought, because he had too much strength of law, and\nhad grievously wronged them of the many goods flowing in to their", "The Lesghian stared at me, and stroked his beard, and shook his head\nangrily, as if he had found it empty. \"Stepan fool. No say, no say,\" he", "pities and sucks up to. But I can tell you that the Lesghian old man, as\nthe idiots would call him at forty-five, may defy a Polish Jew to cheat", "lower, the Moslem division of the ancient Lesghian race, which is of the\nfirst origin of mankind, and has kept itself lofty as the mountains.", "IMAR, the Lesghian.", "Lesghian chief, who was banished by the Russians, is now returning to\nhis country, and may claim his rights over that desolate spot, and\nfinally establish them. In that case our lease from your Serene Highness", "tongue, for which he has a talent not granted to his daughter. But above\nall, he loves his own Lesghian words; and the rest of his life, if he", "not come here with the audacity to think that your Highness would help\nus in a private matter which does not concern your authority. But we\nknow that this Lesghian chief, although he was compelled to side with", "Lesghian Chief, or a Lesghian lady even more adorable. And as for\nStrogue his main object was less to rescue Sûr Imar, than to wreak his", "history of the Lesghian Chief, which was much more than the first\npromise I received. Knowing that now I should have full light thrown\nupon all the strange things which had so long engaged my attention and", "\"Hearken to me, and I will use few words,\" said the loyal Lesghian\nslowly, with Strogue explaining for my benefit; \"I am getting old, and I", "The chief was now in full Lesghian dress, a very magnificent affair to\nlook at, stately, and graceful, and impressive; but he proved himself", "when the Lesghian chief brought their Prince Rakhan to account. And so\nit would have been, by their own confession, but for the ferocity of one", "a young Lesghian of better courage ready to encounter it. But he is not\nwell skilled in fire-arms. With wisdom have I spoken, as befits a son of\nShamyl.\"", "all. My daughter has been brought up in England mainly, and resembles in\nmany points an English young lady, rather than a Lesghian; but----\"" ], [ "by Sûr Imar's men in England. \"Is that all?\" he inquired at last; and\nStrogue replied, \"Yes; and to me it seems enough.\" The Lesghian dipped", "be treated thus. And I was strongly attached to Sûr Imar.\"", "Sûr Imar sat down, while I went to see them off; and outside the upper\ndoor they gave three cheers. \"Wonderful old chap! Grand old cock!\" the", "Sûr Imar at a distance only, his friend's account left him in no doubt\nwhatever that the pair he had been so vainly seeking, by letters to half", "master by arrangement. I knew that Sûr Imar had long been preparing to\nmove, when his period of banishment expired, but I was sure that he had", "\"My dear friend,\" Sûr Imar said, when I tried to make him see it so,\n\"you were not born here, but I was; and that makes all the difference. I", "\"No doubt of that,\" I replied, for that seems to be the duty of every\nland; \"I knew that Sûr Imar meant to go, and for years he has been", "of Imar. Very likely she loved her husband all the more, without knowing\nit herself, for his behaviour to her. Some women do, there is no", "Sûr Imar received us with a loving smile. I thought that he had never\nlooked more grand. Dariel knelt to him, while I held her hand; and if I", "Fearing that Sûr Imar might suppose me to be careless, and having\nrecovered my self-command in right of much moralising, I entered by the", "lover of Sûr Imar also, and a worshipper of womankind. But if his\ncourage abide not with him to go down into the place of death, there is", "Great as my reverence was for Sûr Imar, it was difficult not to suspect\nthat some adverse influence had been at work with him. Hitherto he had", "\"Imar is an exceedingly fine chap,\" he said, as he lit a long clay pipe,\nafter a dinner which impressed me with the truth that the more a man", "Hisar came forth from the inner room, so fateful to Sûr Imar, and for\nonce his surly face looked bright. Since his return he had thought scorn", "\"For some little time,\" Sûr Imar answered, with one of his most majestic\nbows, \"I have looked forward to this pleasure; but until this morning I", "surprised, as much as any man acquainted with him could be surprised,\nwhen he took me aside one day and said: 'Sûr Imar, I have an important", "keep his eye on Sûr Imar. He will have no trouble about that, the man\nbeing so conspicuous. I shall know when Imar thinks of leaving, and then", "upon poor Sûr Imar's death. I see it all now with the help of what you\ntell me. I took it in quite another light before. There is one thing", "corner, and is apt to be superseded after six or seven years. And she\nmight have other motives too for getting Imar's heir into her\npossession.\"", "justice, and good will, and love to those of our own kind, and hate of\nall that wrong them. Even if Sûr Imar had not been the man he was, and" ], [ "\"No doubt of that,\" I replied, for that seems to be the duty of every\nland; \"I knew that Sûr Imar meant to go, and for years he has been", "of Imar. Very likely she loved her husband all the more, without knowing\nit herself, for his behaviour to her. Some women do, there is no", "happened to be at home. For he had taken his holiday, and was come back;\nand so far as one could judge him by his looks and walk, he found\nhimself better suited in his native land than elsewhere.", "CHAPTER XXVII\n\nIMAR'S TALE--EXILE", "CHAPTER XXVI\n\nIMAR'S TALE--REVENGE", "CHAPTER XXIV\n\nIMAR'S TALE--PEACE", "\"My dear friend,\" Sûr Imar said, when I tried to make him see it so,\n\"you were not born here, but I was; and that makes all the difference. I", "have been, and will be again, while the world endures. From bodily\nlikeness you may reason more than from the greater things you cannot\nsee. I have never seen Imar close at hand; but they are both tall,", "Imar, my own brother, was gifted by Heaven with no sense of justice. He\nwas not content with robbing me, your dear mother, of my rightful share", "When the Prince Imar's tale was told, and I thought of all he had been\nthrough, I could not find it in my heart, or even in good manners, to", "their own mountains. But I dared not go to Ushkul yet, and had forgotten\nhow to live without a rifle in my hands. Then Imar, the son of Dadian,", "of open violence, or outrage upon travellers. He had heard of Sûr Imar,\nas still the legitimate chief of an important tribe, for many years an", "justice, and good will, and love to those of our own kind, and hate of\nall that wrong them. Even if Sûr Imar had not been the man he was, and", "CHAPTER XXIII\n\nIMAR'S TALE--LOVE", "all who heard of it shudder. Prince Imar was a most cheerful man, full\nof life and spirit, even in the thick of blows and danger, when I had", "\"Imar is an exceedingly fine chap,\" he said, as he lit a long clay pipe,\nafter a dinner which impressed me with the truth that the more a man", "Stepan, Imar's milk-brother and most faithful friend. And I wished with\nall my heart that he were there, or could even be advised of his lord's\nreturn.", "\"Then there came a man who was the noblest of all the sons of men to\nlook at that ever the red sun shone upon. Imar, the son of Dadian,", "Hisar came forth from the inner room, so fateful to Sûr Imar, and for\nonce his surly face looked bright. Since his return he had thought scorn", "CHAPTER XXII\n\nIMAR'S TALE--WAR" ], [ "CHAPTER XLVI\n\nQUEEN MARVA", "Marva's scheme, except through me, and I have no proofs. It is all\nsuspicion, or inference from little slips of Hafer's and so on, and what", "\"Marva is dead,\" I kept on saying; \"the greatest woman of the age is\ndead! Not the best, not the purest, not even a true woman. But how grand", "Marva, who knew of her husband's falseness!\"", "refused him his daughter Marva. Instead of answering the letter\ntherefore in which he demanded his portion, I set forth with a few", "\"But his own sister, his twin sister, the darling of his\nchildhood--Marva! How could all such wickedness go on without her\nknowledge? It is impossible to imagine that she would allow it.\"", "Marva came forth in her majestic manner (having turned away her face,\nperhaps with sisterly compunction), sweeping her black robe along the", "with us. We had lost our mother before we knew her; and Marva and\nmyself, twin children, had been sent from home, we could not tell when,", "and even her own babes, he became quite excited, and vowed that she must\nhave come to life again as the Princess Marva. Upon that I begged him to", "their clumsy fingers back, and went down on their knees with\nsuperstition. But the Princess Marva drew near to me, and the butt of a", "\"Marva, twin-sister of mine, and in childhood dearer than my little self\nto me, had defied all authority; and when that did not avail, had", "behind the corner, and left others to find out the loss. But it was not\nvery long unknown, for Marva was coming along the ravine upon her return", "Princess Marva came, the widow of Rakhan Houseburner, and claimed the\ncommand of everything. I would not rebel against the sister of the man I", "that of his mother Marva. In his urgency to get them back straightway to\nthe land of the mountain without the flood, he has sent them round by", "course was to pay a visit to the Princess Marva, and try to get some\ninkling of her plans. It was not very likely that a couple of clumsy", "\"Valley of Retribution.\" From Usi's account, it was plain that Marva was\nmaking a tribal revenge of it. Her brother would be tried and condemned", "pair of tongs. And another reason I can tell you too, Petheril doesn't\nknow the little things about that beauty of a Marva, which have come to", "abandoned all hope by that time, as any but a woman must have done long\nsince, and there was no one to receive him. For Marva had sent her own", "Then we asked him about the Princess Marva, and he smiled mysteriously.\n\"We don't talk of her so freely,\" he said, as Strogue still pressed him.", "\"There was also another signature, broken and crooked, as if the hand\nhad been seized in another, and compelled to shape the name of _Marva_." ], [ "and even her own babes, he became quite excited, and vowed that she must\nhave come to life again as the Princess Marva. Upon that I begged him to", "\"Marva is dead,\" I kept on saying; \"the greatest woman of the age is\ndead! Not the best, not the purest, not even a true woman. But how grand", "with us. We had lost our mother before we knew her; and Marva and\nmyself, twin children, had been sent from home, we could not tell when,", "dwellings from robbery, for the short time he governed at Karthlos. It\nwas said, moreover, that Queen Marva, as she loved to hear herself\ncalled, would now have no chance of holding fast her manifold", "Princess Marva came, the widow of Rakhan Houseburner, and claimed the\ncommand of everything. I would not rebel against the sister of the man I", "their clumsy fingers back, and went down on their knees with\nsuperstition. But the Princess Marva drew near to me, and the butt of a", "behind the corner, and left others to find out the loss. But it was not\nvery long unknown, for Marva was coming along the ravine upon her return", "\"Valley of Retribution.\" From Usi's account, it was plain that Marva was\nmaking a tribal revenge of it. Her brother would be tried and condemned", "their hearts and souls. And this black bear Queen Marva is.", "CHAPTER XLVI\n\nQUEEN MARVA", "\"But his own sister, his twin sister, the darling of his\nchildhood--Marva! How could all such wickedness go on without her\nknowledge? It is impossible to imagine that she would allow it.\"", "Then we asked him about the Princess Marva, and he smiled mysteriously.\n\"We don't talk of her so freely,\" he said, as Strogue still pressed him.", "Marva, who knew of her husband's falseness!\"", "that of his mother Marva. In his urgency to get them back straightway to\nthe land of the mountain without the flood, he has sent them round by", "Marva came forth in her majestic manner (having turned away her face,\nperhaps with sisterly compunction), sweeping her black robe along the", "refused him his daughter Marva. Instead of answering the letter\ntherefore in which he demanded his portion, I set forth with a few", "made us almost as familiar with English as if we were born to it. But\nMarva, my sister, had her education in the school of a French convent on", "had been heard of there. And so, with many thanks, we left him for the\npresent, and spent a day at Kazbek village, preparing for our visit to\nthe Princess Marva.", "\"Marva, twin-sister of mine, and in childhood dearer than my little self\nto me, had defied all authority; and when that did not avail, had", "\"There was also another signature, broken and crooked, as if the hand\nhad been seized in another, and compelled to shape the name of _Marva_." ], [ "Then, as sure as I am sitting here this day, the last thing that ever I\ncould have believed was done concerning me and to me. Dariel came, and I", "Dariel. Yielding to a sudden rush of jealousy, I had quitted her hastily\nand almost rudely, and broken my appointment with her father. It was", "But Dariel was of good strong faith, without which a woman deserves only\nto be a man. She opened the gate, and let me in, so beautifully that I\nwas quite afraid.", "I told him briefly what had happened to myself. How after winning a\npledge for life from Dariel, and the approval of her father, I had been", "\"You must not call me that, sir. I am not of the French. I prefer the\nEnglish nation very greatly. There has only been one name given to me\nby my father, and that is _Dariel_.\"", "At the end of the room which was nearest to me, and only a few yards\nfrom the corner I had found, sat Dariel herself, with a purple cloak on,", "\"Be thankful that it is so, my friend. It will be my duty to prevent\ntheir increase.\" Dariel's father smiled at his own words, with a sense", "capable of any such horrible design. But the misery, agony, and anxiety\nfor the pure and innocent Dariel, and her father already so cruelly", "and see Dariel do it.\" For she had told Jackson, and he in his lunacy\nthought it too good to be kept to himself, that her brother George, if", "life to us. But Dariel knows that we must not think of our own comfort\nonly.\"", "attach to her, and I have not told her of it. But I love your daughter,\nDariel.\"", "Sûr Imar received us with a loving smile. I thought that he had never\nlooked more grand. Dariel knelt to him, while I held her hand; and if I", "Dariel's father, I would gladly have risked my life--if time were\nallowed me to know what I was about--rather than let such inhumanity", "by their loving sister and aunt, at a place appointed; and there they\nmust leave the great Dariel road, and be conducted by her to Karthlos,\nwith great rejoicing and affection kindled. But why were all these men", "and do anything, to be of service to Dariel. And for her own sake too, I\ncan tell you, for she is a most charming creature, though a little too", "\"It is the sweetest name in all the world. Oh, Dariel, am I to call you\nDariel?\"", "merely because he has dared to look at Dariel. She, who takes so long to\nsee what I am, is not at all likely to be carried by storm by this", "came to the place where Dariel lived.", "\"What can make you ask me such a thing?\" she answered, and I said,\n\"Don't you know, Dariel?\" And she drew back, and whispered, \"I will\ntry--if my father has no objection.\"", "is no doubt of that. And I dare not even mention the subject before him.\nEven Dariel knows not a word about it.\"" ] ]

[ "Who is Marva the queen of?", "Who had fallen in love with Dariel?", "Who is the story narrated by?", "Where is Dariel followed?", "What does Imar return to his native land to do?", "Who helps George rescue Dariel and her father?", "Who is Marva planning to kill?", "Who is George Cranleigh's father?", "Where does George Cranleigh own land?", "What is Marva's relationship to Dariel?", "Who helps George rescue Dariel and Imar?", "Why did Sur Imar come to England?", "Who does Marva plan to wed to her son?", "Where does George meet Dariel?", "Who is Marva queen of?", "Who is Sur Imar prince of?", "Where did Sur Imar and his family live in Surrey?", "Why does Imar go back to his native land?", "Who is George Cranleigh's father?", "Where was George Cranleigh a landowner?", "When did George meet Dariel?", "What is Lesghians?", "Why did Sur Imar move to England?", "Why did Imar return to his native land?", "Who is Marva?", "What did the natives call Marva?", "Who rescued Dariel and her father?" ]

[ [ "The Ossets", "The Ossets" ], [ "George Cranleigh", "george" ], [ "George Cranleigh", "George Cranleigh" ], [ "East", "to the east" ], [ "To educate his tribesmen in the lesson of civilization", "To educate his tribesmen" ], [ "The miners and the Lesghians", "miners and Lesghians" ], [ "Prince Imar", "prince imar" ], [ "Lord Harold Cranleigh", "Lord Harold Cranleigh" ], [ "Surrey, England", "Surrey." ], [ "She is her aunt", "her aunt" ], [ "Miners and Lesghians", "Miners and Lesghians." ], [ "To escape the blood feud with his sister", "a blood fued between Lesghains" ], [ "Dariel", "Dariel." ], [ "In a ruined chapel", "In a ruined chapel." ], [ "the Ossets", "Queens of the Ossets" ], [ "the Lesghians", "The Lesghians." ], [ "In a deserted house", "a deserted house" ], [ "To educate his people about civilization", "To educate his tribesmen" ], [ "Lord Harold Cranleigh", "Lord Harold Cranleigh" ], [ "In Surrey", "Surrey" ], [ "While he was riding home from market.", "On his way home from visiting the market." ], [ "A wild tribe of Caucasus.", "a tribe" ], [ "Because he was involved in a blood feud against his sister.", "To escape the blood feud and live peaceably " ], [ "To educate the tribesman in civilization. ", "To educate his tribesmen of lessons in civilization." ], [ "Queen of Ossets", "Queen of the Ossets." ], [ "\"The Bride of the Devil\".", "\"the Bride of the Devil\"" ], [ "George, miners, and Lesghians.", "George with miners and Lesghians" ] ]

[ [ "SIREN WAILS, as Sarg pulls away.\n \n \n INT. SARG'S CAR - ON THE MOVE - NIGHT", "And someone get me the Sarg!\n \n CUT TO:\n \n \n CLOSEUP OF SARG", "SARG\n Is there someone else, Marge? Is that it?\n \n Sarg throws the lit match towards the \"ABSOLUTELY NO", "that shuttle, not with me. I want a\n divorce, Sarg.\n \n Sarg lights his cigar.", "MUSIC: DRAMATIC STING.\n \n Sarg bends down OUT OF FRAME.", "Sergeant. I said cordon off, not\n accordian off! Now dust this area for\n prints.", "SARG\n You've got it, mister. But you can tell\n your boys on the board for me that this", "fifteen years. You were just too involved\n in your work to see it.\n \n They hang up. Sarg bites off the end of his cigar and spits", "and talking into a walkie-talkie.\n \n SARG\n There's no way this wiring could have", "He thinks about his wife. SPLIT SCREEN FLASHBACK OF THEIR\n BEDROOM. Marge, a cigar in her mouth, is in bed with five", "SARG (imagine George Kennedy), dressed in a tuxedo, tie\n undone, with a huge cigar, which he eats during the", "around it.\n \n SERGEANT\n (lookind down at Detective)\n When is this senseless killing going to", "She kisses him. He recoils, wipes off his mouth, and\n leaves. She looks at the envelope, then yells at him\n through the crowd.", "Keep an eye on that side of the ship.\n \n The Sergeant drops into a seat next to a window, smashes out\n the glass with his rifle butt and is immediately sucked out.", "He cleans the floor and an ashtray and finds a baseball\n behind the Captain's seat which he pockets.\n \n OVEUR", "A streetcleaning truck approaches spewing out garbage rather\n than water. Ted's ankles are sprayed with garbage. He", "MARGE\n You just can't see it, can you, Sarg.\n \n SARG", "leaning over the ship's plans. He is eating another cigar.\n All Controllers stand around him.\n \n SARG", "hurries off. The cigarette rolls under the \"STORAGE ROOM\"\n door.\n \n \n INT. STORAGE ROOM", "CLERK\n I'd say you're fucked.\n \n The boy passes them and bounds up the stairs." ], [ "and your first officer, Mr. Dunn.\n \n They shake hands.\n \n OVEUR", "towards the sign that reads, \"MERCURY SHUTTLE.\"\n \n SIMON\n For the best little computer officer on", "INT. REAR OF SHIP - COMPUTER AREA\n \n Elaine fiddles with the computer.", "We've blown the computer!\n (to Elaine)\n Elaine! Set course change!\n \n ELAINE", "INT. COMPUTER CORE\n \n The clock on the time bomb TICKS down.\n \n \n INT. COCKPIT", "this ship. That computer's gone bananas.\n \n McCROSKY\n (holding up the book)", "The computer is labeled R.O.K. She seems to have a problem\n getting it to respond.\n \n ELAINE\n (to self)", "INT. COCKPIT\n \n Elaine leans back against the door. She is highly agitated.\n Simon, the administrative officer, and other crew are in", "this ship?\n \n SIMON\n That damn computer has taken over. I'm\n getting out.", "minutes, if they hold together. They've\n lost their computer and are coming in at\n zero point five WORP on manual control,\n sir.", "INT. COCKPIT\n \n Elaine is checking computer. The cockpit is steaming now.", "Good to be aboard, gentlemen.\n \n SIMON\n Captain Oveur, your navigator, Mr. Unger,", "He tried to disconnect ROK. It gassed\n him. That computer is running this ship\n and we're heading right for the sun.", "on the Enterprise bridge. As he talks, he nonchalantly\n swivels so his back is to the huge window. We see the\n Mayflower approaching on the screen.", "It's working.\n \n \n INT. COMMUNICATIONS ROOM", "ELAINE\n (flipping computer switches)\n Yes, sir.", "INT. SHUTTLE COCKPIT - MORNING\n \n Computerized panels line all walls. Windows are similar to", "Scraps looks at Oveur.\n \n OVEUR\n Barring a computer failure. There was", "Do you want to talk about it, Commander?\n \n \n INT. CABIN OUTSIDE WASHROOM", "INT. BOWELS OF R.O.K. COMPUTER\n \n A circuit board just below the R.O.K.-4000 logo shorts." ], [ "CONTROLLER 1 (V.O.)\n Do you read, Mayflower? Over. This is\n mission control. Over.", "Hello. This is the Mayflower. Over!\n Come in, anyone.\n \n \n INT. MISSION CONTROL", "the Mayflower appears over a hill. They all jump for cover\n as it crashes through the synthesizer.\n \n \n INT. COCKPIT", "control. Over. Come in, Mayflower!\n Over!\n \n Jimmy pokes his head in.", "The Mayflower bounces across the surface.\n \n \n INT. CABIN", "We read you, Mayflower! Identify yourself\n and give your position.\n \n \n INT. COCKPIT", "KRUGER (V.O.)\n Come in, Mayflower. This is Bud Kruger.\n Over.", "Mission control, this is Mayflower. Over.\n \n McCROSKY (V.O.)\n Go ahead, Striker.", "(on radio)\n This is Mayflower One calling mission\n control. Do you read me? Over.", "CONTROLLER 1 (V.O.)\n (on radio)\n Come in, Mayflower. This is mission", "EXT. PLANET SURFACE - DAWN\n \n The Mayflower careens to a smoking, crunching, shattering\n stop.", "on the Enterprise bridge. As he talks, he nonchalantly\n swivels so his back is to the huge window. We see the\n Mayflower approaching on the screen.", "(taking mike)\n Let me try, sir. Come in, Mayflower.\n Over. Come in. Over. Damnit!", "Come in Mayflower!\n \n ELAINE\n How could I ever have doubted you?", "towards the sign that reads, \"MERCURY SHUTTLE.\"\n \n SIMON\n For the best little computer officer on", "Simon emerges. As the door opens we hear:\n \n CONTROLLER 1 (O.S.)\n Come in, Mayflower. Over!", "this ship?\n \n SIMON\n That damn computer has taken over. I'm\n getting out.", "The Mayflower comes right at the screen and crashes through\n it. Kramer still has his back to the screen and doesn't\n notice what has happened -- the room behind him has been", "He tried to disconnect ROK. It gassed\n him. That computer is running this ship\n and we're heading right for the sun.", "ANGLE ON COMMUNCATION ROOM PERSONNEL\n \n They watch in horror as the Mayflower comes shooting at\n them." ], [ "Passengers are taking their seats. Ted spots Elaine and\n moves towards her. The Terrorists look confused. Joe\n Salucci clutches his case and wipes his brow. Mary takes", "One of your passengers is carrying a bomb\n and is suicidal.\n \n MUSIC: DRAMATIC STING", "TED\n Joe, you don't want to blow that thing and\n kill all these innocent people.\n \n JOE", "Would everyone not carrying a bomb please\n move to the lounge.\n \n The Passengers go nuts screaming, \"A bomb!!\"", "the Mayflower appears over a hill. They all jump for cover\n as it crashes through the synthesizer.\n \n \n INT. COCKPIT", "No, a bomb. Now, as discreetly as\n possible, I want you to move the\n passengers into the lounge.", "passengers is carrying a bomb and might be\n suicidal.\n \n McCROSKY\n Where'd you get this information, Captain?", "That's my little girl, my little darlin',\n my sweetheart, my honey, and you want to\n blow her belly out with that bomb. If you", "INT. COMPUTER CORE\n \n Ted wears a gas mask and attaches the time-bomb to the\n computer.", "control. Over. Come in, Mayflower!\n Over!\n \n Jimmy pokes his head in.", "JOE\n (to Cashier)\n Time, Newsweek, the Lifesavers, and the\n second time bomb from the right.", "INT. COMPUTER CORE\n \n The clock on the time bomb TICKS down.\n \n \n INT. COCKPIT", "McCROSKY (V.O.)\n No, a bomb.\n \n \n INT. CABIN", "KRUGER (V.O.)\n Come in, Mayflower. This is Bud Kruger.\n Over.", "What makes you think your husband might\n want to blow up that shuttle, ma'am?\n \n She goes into her purse for the insurance form.", "(taking mike)\n Let me try, sir. Come in, Mayflower.\n Over. Come in. Over. Damnit!", "everyone as far away from the blast as\n possible.\n \n The Passengers panic and stampede right over her.", "Joe Salucci clutches his attache case and wipes his brow.\n Mary leans over him.\n \n MARY", "Then it's settled. The bomb is Striker's\n only chance. Are there any questions?\n \n CONTROLLERS", "Sixteen 'C', why?\n \n TED\n He's carrying a bomb.\n \n MARY" ], [ "Striker wipes his forehead. Elaine holds a tan reflector up\n to her face and turns to the sun.\n \n \n INT. CABIN", "ELAINE\n My God.\n \n Stella approaches in nurse's uniform splattered with blood.", "her! Stay with her, Striker!\n \n Ted and Elaine kiss.\n \n KRAMER (V.O.)", "Ted holds Elaine.\n \n KRAMER (V.O.)\n Don't fight her, Striker. Hold her! Hold", "Ted falls unconscious. Simon holds Elaine.\n \n SIMON\n Elaine! Ted's a danger to himself, he's a", "ELAINE\n Ted, we've been worried sick ever since\n you escaped from the Ronald Reagan\n Institute For The Mentally Feeble.", "hospital.\n \n Elaine leaves and Ted has another FLASHBACK.\n \n DISSOLVE TO:", "and, Kurtz, you know why.\n \n SIMON\n You're still crazy, Striker. Come on,", "McCROSKY (V.O.)\n I've got some news for you, Striker.\n \n Ted and Elaine smile hopefully at each other.", "Elaine passes Ted carrying sheets, vaseline, etc. She looks\n at him sitting there in a fog, gives up and leaves. Ted", "again, Elaine.\n \n The hatch door slams shut. A passenger passes with a\n sandwich board that reads, \"JESUS WAS A SINGLE.\"", "ELAINE\n Ted, get a grip on yourself. You should\n never have left the hospital.", "Elaine pulls him up.\n \n OVEUR\n (still gasping)", "Get that bomb, Striker! Get that bomb!\n \n ELAINE (V.O.)\n Come in, Control! We have the bomb!!", "KRAMER (V.O.)\n Now, Striker! Kill WORP!", "He is now completely entangled in the tfilin and struggles\n to free himself.\n \n \n ANGLE ON ELAINE", "That's right, Striker. And we're getting\n married when we return.", "He ignores her. Rumack walks up and puts an arm around her\n shoulder. Elaine starts to sob.\n \n RUMACK", "KRAMER\n (on radio)\n Now, Striker, there are a few things you", "Just hold on, Striker, we'll get back to\n you.\n \n \n INT. COCKPIT" ], [ "passengers is carrying a bomb and might be\n suicidal.\n \n McCROSKY\n Where'd you get this information, Captain?", "the Mayflower appears over a hill. They all jump for cover\n as it crashes through the synthesizer.\n \n \n INT. COCKPIT", "One of your passengers is carrying a bomb\n and is suicidal.\n \n MUSIC: DRAMATIC STING", "No, a bomb. Now, as discreetly as\n possible, I want you to move the\n passengers into the lounge.", "on the Enterprise bridge. As he talks, he nonchalantly\n swivels so his back is to the huge window. We see the\n Mayflower approaching on the screen.", "control. Over. Come in, Mayflower!\n Over!\n \n Jimmy pokes his head in.", "McCROSKY (V.O.)\n No, a bomb.\n \n \n INT. CABIN", "Passengers are taking their seats. Ted spots Elaine and\n moves towards her. The Terrorists look confused. Joe\n Salucci clutches his case and wipes his brow. Mary takes", "DETECTIVE HALLICK\n The way I read it, blowin' up a plane in\n space leaves no traces, if you know what I\n mean.", "INT. COMPUTER CORE\n \n The clock on the time bomb TICKS down.\n \n \n INT. COCKPIT", "Would everyone not carrying a bomb please\n move to the lounge.\n \n The Passengers go nuts screaming, \"A bomb!!\"", "Hello. This is the Mayflower. Over!\n Come in, anyone.\n \n \n INT. MISSION CONTROL", "(taking mike)\n Let me try, sir. Come in, Mayflower.\n Over. Come in. Over. Damnit!", "What makes you think your husband might\n want to blow up that shuttle, ma'am?\n \n She goes into her purse for the insurance form.", "everyone as far away from the blast as\n possible.\n \n The Passengers panic and stampede right over her.", "KRUGER (V.O.)\n Come in, Mayflower. This is Bud Kruger.\n Over.", "The Mayflower bounces across the surface.\n \n \n INT. CABIN", "We read you, Mayflower! Identify yourself\n and give your position.\n \n \n INT. COCKPIT", "Then it's settled. The bomb is Striker's\n only chance. Are there any questions?\n \n CONTROLLERS", "CONTROLLER 1 (V.O.)\n Do you read, Mayflower? Over. This is\n mission control. Over." ], [ "that I lost my entire squadron over Macho\n Grande. Planes, too.\n \n SUPER: DOG FIGHT FOOTAGE", "Striker stands over the coffee machine, sweating like mad.\n The Passengers with cups hang over him. He makes contact\n with a wire.", "Striker wipes his forehead. Elaine holds a tan reflector up\n to her face and turns to the sun.\n \n \n INT. CABIN", "KRAMER (V.O.)\n Now, Striker! Kill WORP!", "TED STRIKER is at the controls. His oxygen mask hangs loose\n from his helmet. Clouds outside shoot by -- he's going at", "Striker, this is Jack McCrosky, chief\n controller. I want you to listen to me and\n listen good.", "and, Kurtz, you know why.\n \n SIMON\n You're still crazy, Striker. Come on,", "This is it, Striker. You got one shot and\n one shot only.\n \n \n INT. CABIN", "takes a slug of beer and cockily pulls on the stick.\n \n \n EXT. FIGHTER - DAY", "KRAMER\n (on radio)\n Now, Striker, there are a few things you", "Now when there's a guy like Ted Striker up\n there, Jimmy.\n (he BARKS one more time --\n subtitles)", "(on radio)\n Okay, Striker. You're going to have to\n pull that lever panel off.", "Striker, this is McCrosky. Give me five\n minutes and keep your fingers crossed.\n (to Stinson)", "KRUGER\n (on radio)\n Look, Striker, I don't know how you got", "KRAMER (V.O.)\n Striker, this is Rex Kramer on Alpha Beta.\n Do you read me? Over.", "Just hold on, Striker, we'll get back to\n you.\n \n \n INT. COCKPIT", "McCROSKY (V.O.)\n I've got some news for you, Striker.\n \n Ted and Elaine smile hopefully at each other.", "her! Stay with her, Striker!\n \n Ted and Elaine kiss.\n \n KRAMER (V.O.)", "That's right, Striker. And we're getting\n married when we return.", "STRIKER (V.O.)\n That's right. When the bomb explodes\n we're going to have a ten foot hole in the" ], [ "and, Kurtz, you know why.\n \n SIMON\n You're still crazy, Striker. Come on,", "He is just able to escape and shut the door behind him.\n \n \n INT. CABIN - OUTSIDE TOILET", "Then it's settled. The bomb is Striker's\n only chance. Are there any questions?\n \n CONTROLLERS", "KRAMER (V.O.)\n Now, Striker! Kill WORP!", "DOCTOR'S VOICE\n Striker, listen to me! This is Doctor\n Krane! You're twisted around, Striker.", "They kept me in the asylum for eight\n months. I know everyone in those places\n claims they're sane, but I was different,", "KRAMER\n (on radio)\n Now, Striker, there are a few things you", "TED STRIKER is at the controls. His oxygen mask hangs loose\n from his helmet. Clouds outside shoot by -- he's going at", "Striker, this is Jack McCrosky, chief\n controller. I want you to listen to me and\n listen good.", "STRIKER (V.O.)\n That's right. When the bomb explodes\n we're going to have a ten foot hole in the", "He's finally come to terms with his own\n psychosis.\n \n ELAINE", "(crying on Simon's shoulder)\n Simon, why has he become so... so...\n \n SIMON\n So mentally ill?", "This is it, Striker. You got one shot and\n one shot only.\n \n \n INT. CABIN", "(on radio)\n Okay, Striker. You're going to have to\n pull that lever panel off.", "Striker stands over the coffee machine, sweating like mad.\n The Passengers with cups hang over him. He makes contact\n with a wire.", "KRUGER\n (on radio)\n Look, Striker, I don't know how you got", "What the hell is a man doing with a...\n forget it.\n (on radio)\n It'll have to do, Striker.", "and aspirations are in your hands,\n Striker.\n \n \n EXT. PLANET SURFACE", "ELAINE\n Ted, we've been worried sick ever since\n you escaped from the Ronald Reagan\n Institute For The Mentally Feeble.", "SIMON\n You're tired, Striker, overworked. That\n wiring meets all the safety\n specifications." ], [ "That's right, Striker. And we're getting\n married when we return.", "THE END", "That's all behind us now, Elaine. And no\n matter what happens, I want you to know\n I've always loved you.", "She kisses him. He recoils, wipes off his mouth, and\n leaves. She looks at the envelope, then yells at him\n through the crowd.", "flies out with the debris. Edith faints. Ted gets up,\n brushes himself off and heads to the ticket counter just as", "He thinks about his wife. SPLIT SCREEN FLASHBACK OF THEIR\n BEDROOM. Marge, a cigar in her mouth, is in bed with five", "I just wish it was that simple. We really\n were in love. You know how it is when you\n laugh all the time.", "They are locked in each other's arms in the middle of\n lovemaking and laughing heir heads off.\n \n TED (V.O.)", "They are also dressed in black and drenched. He holds her\n high by the waist, twirls her around as they laugh.\n \n TED (V.O.)", "fifteen years. You were just too involved\n in your work to see it.\n \n They hang up. Sarg bites off the end of his cigar and spits", "COMMISSIONER\n Yes, sir.\n \n They both hang up and, making sure no one is watching, pick\n their noses.", "finally pull her out. She hasn't recognized Ted.\n \n ELAINE\n (to Ted)", "ELAINE\n And I can hardly believe that I'm engaged\n to someone like you, Simon. I'm a very\n lucky woman.", "Elaine pulls him up.\n \n OVEUR\n (still gasping)", "But most of all, we laughed when we felt\n closest to each other.\n \n DISSOLVE BACK TO:", "The b.g. moves faster. The wind gets stronger. They pass a\n marathon refreshment stand and are handed wet sponges and\n cups of Gatoraid.", "Well, we laughed. We laughed all the\n time.\n \n DISSOLVE TO:", "Ted and Elaine still smile at each other.\n \n \n INT. CABIN", "of babies for Mr. and Mrs. Simon Kurtz.\n \n He kisses Elaine and smiles.\n \n SIMON", "in her mouth)\n We've got a condition red with our\n marriage. I think you're in love with" ], [ "and, Kurtz, you know why.\n \n SIMON\n You're still crazy, Striker. Come on,", "They kept me in the asylum for eight\n months. I know everyone in those places\n claims they're sane, but I was different,", "KRAMER (V.O.)\n Now, Striker! Kill WORP!", "KRAMER\n (on radio)\n Now, Striker, there are a few things you", "Striker, this is Jack McCrosky, chief\n controller. I want you to listen to me and\n listen good.", "DOCTOR'S VOICE\n Striker, listen to me! This is Doctor\n Krane! You're twisted around, Striker.", "Then it's settled. The bomb is Striker's\n only chance. Are there any questions?\n \n CONTROLLERS", "(crying on Simon's shoulder)\n Simon, why has he become so... so...\n \n SIMON\n So mentally ill?", "Striker stands over the coffee machine, sweating like mad.\n The Passengers with cups hang over him. He makes contact\n with a wire.", "This is it, Striker. You got one shot and\n one shot only.\n \n \n INT. CABIN", "What the hell is a man doing with a...\n forget it.\n (on radio)\n It'll have to do, Striker.", "He's finally come to terms with his own\n psychosis.\n \n ELAINE", "KRUGER\n (on radio)\n Look, Striker, I don't know how you got", "Just hold on, Striker, we'll get back to\n you.\n \n \n INT. COCKPIT", "TED STRIKER is at the controls. His oxygen mask hangs loose\n from his helmet. Clouds outside shoot by -- he's going at", "SIMON\n You're tired, Striker, overworked. That\n wiring meets all the safety\n specifications.", "I'll put you on the radio with Striker.\n Jeez you look familiar. Did you ever play\n water polo?", "But he was right! He's not crazy!\n \n STELLA", "Striker wipes his forehead. Elaine holds a tan reflector up\n to her face and turns to the sun.\n \n \n INT. CABIN", "(on radio)\n Okay, Striker. You're going to have to\n pull that lever panel off." ], [ "and, Kurtz, you know why.\n \n SIMON\n You're still crazy, Striker. Come on,", "Striker, this is Jack McCrosky, chief\n controller. I want you to listen to me and\n listen good.", "Then it's settled. The bomb is Striker's\n only chance. Are there any questions?\n \n CONTROLLERS", "KRAMER\n (on radio)\n Now, Striker, there are a few things you", "KRAMER (V.O.)\n Now, Striker! Kill WORP!", "This is it, Striker. You got one shot and\n one shot only.\n \n \n INT. CABIN", "McCROSKY (V.O.)\n I've got some news for you, Striker.\n \n Ted and Elaine smile hopefully at each other.", "TED STRIKER is at the controls. His oxygen mask hangs loose\n from his helmet. Clouds outside shoot by -- he's going at", "SIMON\n You're tired, Striker, overworked. That\n wiring meets all the safety\n specifications.", "What the hell is a man doing with a...\n forget it.\n (on radio)\n It'll have to do, Striker.", "STRIKER (V.O.)\n That's right. When the bomb explodes\n we're going to have a ten foot hole in the", "Striker, this is McCrosky. Give me five\n minutes and keep your fingers crossed.\n (to Stinson)", "Just hold on, Striker, we'll get back to\n you.\n \n \n INT. COCKPIT", "DOCTOR'S VOICE\n Striker, listen to me! This is Doctor\n Krane! You're twisted around, Striker.", "KRUGER\n (on radio)\n Look, Striker, I don't know how you got", "Striker, we're monitoring you. You're\n right on course. At that speed you should\n hit Mercury in about six minutes. So give", "Ted Striker was right six months ago when\n he test-piloted this sucker. And what did\n he get for telling the truth? A one-way", "(on radio)\n Okay, Striker. You're going to have to\n pull that lever panel off.", "KRAMER (V.O.)\n Striker, this is Rex Kramer on Alpha Beta.\n Do you read me? Over.", "Striker wipes his forehead. Elaine holds a tan reflector up\n to her face and turns to the sun.\n \n \n INT. CABIN" ], [ "TED STRIKER is at the controls. His oxygen mask hangs loose\n from his helmet. Clouds outside shoot by -- he's going at", "Ted Striker was right six months ago when\n he test-piloted this sucker. And what did\n he get for telling the truth? A one-way", "TED\n (on radio)\n This is Striker.\n \n \n INT. MISSION CONTROL", "McCROSKY (V.O.)\n I've got some news for you, Striker.\n \n Ted and Elaine smile hopefully at each other.", "All passengers look forward in Ted's direction.\n \n \n INT. COCKPIT", "KRAMER\n I know this guy, Ted Striker. I flew with\n him during the war. He was a crack pilot", "Striker, this is Jack McCrosky, chief\n controller. I want you to listen to me and\n listen good.", "Absolutely.\n \n \n INT. COCKPIT\n \n TED", "INT. COCKPIT\n \n TED\n (on radio)\n The name's Ted Striker and I'm sitting", "Ted is back at the controls -- the cockpit is incredibly hot\n now.\n \n TED\n This heat's getting unbearable.", "Now when there's a guy like Ted Striker up\n there, Jimmy.\n (he BARKS one more time --\n subtitles)", "Ted holds Elaine.\n \n KRAMER (V.O.)\n Don't fight her, Striker. Hold her! Hold", "INT. COCKPIT\n \n Ted sticks the bobby pin into the wires. Sparks fly. The", "Mission control, this is Mayflower. Over.\n \n McCROSKY (V.O.)\n Go ahead, Striker.", "McCROSKY\n Striker's the guy who flew that 736 into\n Chicago over 20 years ago without a crew.", "Ted leans his back against the door and breathes heavily.\n \n \n INT. COCKPIT\n \n DUNN", "All we see are feet sticking up from the seats.\n \n \n INT. COCKPIT\n \n TED", "TED\n You better strap yourself in, Testa.\n (on radio)", "INT. ROCKET HANGAR\n \n Ted, in flight coveralls, follows after Simon who is\n overseeing the operation.", "INT. COCKPIT\n \n Ted is at the controls. Elaine rushes in." ], [ "and, Kurtz, you know why.\n \n SIMON\n You're still crazy, Striker. Come on,", "KRAMER (V.O.)\n Now, Striker! Kill WORP!", "KRAMER\n (on radio)\n Now, Striker, there are a few things you", "DOCTOR'S VOICE\n Striker, listen to me! This is Doctor\n Krane! You're twisted around, Striker.", "TED STRIKER is at the controls. His oxygen mask hangs loose\n from his helmet. Clouds outside shoot by -- he's going at", "They kept me in the asylum for eight\n months. I know everyone in those places\n claims they're sane, but I was different,", "Then it's settled. The bomb is Striker's\n only chance. Are there any questions?\n \n CONTROLLERS", "He is just able to escape and shut the door behind him.\n \n \n INT. CABIN - OUTSIDE TOILET", "Striker, this is Jack McCrosky, chief\n controller. I want you to listen to me and\n listen good.", "This is it, Striker. You got one shot and\n one shot only.\n \n \n INT. CABIN", "KRUGER\n (on radio)\n Look, Striker, I don't know how you got", "Just hold on, Striker, we'll get back to\n you.\n \n \n INT. COCKPIT", "(on radio)\n Okay, Striker. You're going to have to\n pull that lever panel off.", "That's right, Striker. And we're getting\n married when we return.", "STRIKER (V.O.)\n That's right. When the bomb explodes\n we're going to have a ten foot hole in the", "Striker stands over the coffee machine, sweating like mad.\n The Passengers with cups hang over him. He makes contact\n with a wire.", "and aspirations are in your hands,\n Striker.\n \n \n EXT. PLANET SURFACE", "Striker wipes his forehead. Elaine holds a tan reflector up\n to her face and turns to the sun.\n \n \n INT. CABIN", "What the hell is a man doing with a...\n forget it.\n (on radio)\n It'll have to do, Striker.", "Striker, we're monitoring you. You're\n right on course. At that speed you should\n hit Mercury in about six minutes. So give" ], [ "Striker, we're monitoring you. You're\n right on course. At that speed you should\n hit Mercury in about six minutes. So give", "TED STRIKER is at the controls. His oxygen mask hangs loose\n from his helmet. Clouds outside shoot by -- he's going at", "TED\n (on radio)\n This is Striker.\n \n \n INT. MISSION CONTROL", "INT. LUNAR SHUTTLE COCKPIT - NIGHT\n \n Three crew members watch the lit landing strip as their\n shuttle approaches.", "it away. Looks at another ticket -- \"Mercury.\" Takes a\n last drag from his cigarette, throws it on the ground and", "Mission control, this is Mayflower. Over.\n \n McCROSKY (V.O.)\n Go ahead, Striker.", "KRAMER\n (on radio)\n Timing's everything, Striker! Fire your\n retro-rockets!", "Striker, this is Jack McCrosky, chief\n controller. I want you to listen to me and\n listen good.", "Then it's settled. The bomb is Striker's\n only chance. Are there any questions?\n \n CONTROLLERS", "Just hold on, Striker, we'll get back to\n you.\n \n \n INT. COCKPIT", "Striker wipes his forehead. Elaine holds a tan reflector up\n to her face and turns to the sun.\n \n \n INT. CABIN", "and aspirations are in your hands,\n Striker.\n \n \n EXT. PLANET SURFACE", "That's right, Striker. And we're getting\n married when we return.", "This is it, Striker. You got one shot and\n one shot only.\n \n \n INT. CABIN", "KRAMER\n (on radio)\n Now, Striker, there are a few things you", "Get that bomb, Striker! Get that bomb!\n \n ELAINE (V.O.)\n Come in, Control! We have the bomb!!", "Forget it. The boys on the board want\n that shuttle to go on schedule.\n \n CUT TO:", "This is Mercury One control. We have\n condition green. Mark launch 'T' minus\n two hours and counting. I repeat, we have", "STRIKER (V.O.)\n That's right. When the bomb explodes\n we're going to have a ten foot hole in the", "Ted Striker was right six months ago when\n he test-piloted this sucker. And what did\n he get for telling the truth? A one-way" ], [ "the Mayflower appears over a hill. They all jump for cover\n as it crashes through the synthesizer.\n \n \n INT. COCKPIT", "The Mayflower bounces across the surface.\n \n \n INT. CABIN", "EXT. PLANET SURFACE - DAWN\n \n The Mayflower careens to a smoking, crunching, shattering\n stop.", "control. Over. Come in, Mayflower!\n Over!\n \n Jimmy pokes his head in.", "Hello. This is the Mayflower. Over!\n Come in, anyone.\n \n \n INT. MISSION CONTROL", "CONTROLLER 1 (V.O.)\n Do you read, Mayflower? Over. This is\n mission control. Over.", "The electrical fire continues.\n \n \n INT. COCKPIT", "on the Enterprise bridge. As he talks, he nonchalantly\n swivels so his back is to the huge window. We see the\n Mayflower approaching on the screen.", "(on radio)\n This is Mayflower One calling mission\n control. Do you read me? Over.", "We read you, Mayflower! Identify yourself\n and give your position.\n \n \n INT. COCKPIT", "Mission control, this is Mayflower. Over.\n \n McCROSKY (V.O.)\n Go ahead, Striker.", "minutes, if they hold together. They've\n lost their computer and are coming in at\n zero point five WORP on manual control,\n sir.", "(taking mike)\n Let me try, sir. Come in, Mayflower.\n Over. Come in. Over. Damnit!", "Two, one.\n \n \n INT. COCKPIT\n \n The ship vibrates.", "An electrical fire in the core has played\n havoc with the ROK-4000 computer. It's\n locked us on a direct line with the sun", "talk of sub-par wiring in this ship. I\n hope that's just talk.\n \n MUSIC: DRAMATIC STING.", "Ted pulls the lever hard toward himself. The ship shudders.\n \n \n EXT. SHIP - SPACE", "CONTROLLER 1 (V.O.)\n (on radio)\n Come in, Mayflower. This is mission", "EXT. SHIP - SPACE\n \n It careens towards the sun.\n \n \n INT. MISSION CONTROL", "INT. COMPUTER CORE\n \n The clock on the time bomb TICKS down.\n \n \n INT. COCKPIT" ], [ "That's okay, ROK.\n \n ROK\n Can I say something of a personal nature\n to you?", "ROK\n Elaine, I'm sorry about that little\n outburst a moment ago.\n \n ELAINE", "ROK\n What are you doing, Ted? Why are you\n wearing that mask, Ted?", "Elaine sits at the R.O.K.-4000 computer. She seems to be\n having a problem with a switch.", "Elaine gasps and moves away from ROK's blinking eye.\n \n \n INT. CABIN - FOOD SERVICE AREA", "it out and looks at the burnt wires in the area labeled,\n \"ROK, MORAL CENTRE.\" ZOOM to CLOSEUP of Elaine. She turns", "He tried to disconnect ROK. It gassed\n him. That computer is running this ship\n and we're heading right for the sun.", "ROK\n Negative.\n \n ELAINE\n (to self)", "INT. BOWELS OF R.O.K. COMPUTER\n \n A circuit board just below the R.O.K.-4000 logo shorts.", "The computer is labeled R.O.K. She seems to have a problem\n getting it to respond.\n \n ELAINE\n (to self)", "SFX: JAWS THEME.\n \n \n INSERT - ROK'S PULSATING EYE", "Simon, I'm going to check ROK's secondary\n readout unit.\n \n SIMON\n Roger.", "a bit nervous and licks her lip. They look up at ROK's\n pulsating eye.", "ROK\n Life support check. Elaine, it's obvious\n you've been ignoring me. You're a woman.", "ELAINE\n Go ahead.\n \n ROK\n You have great tits.", "ELAINE\n (to self)\n That doesn't make sense.\n (to ROK)\n Repeat analysis.", "Simon stands over Elaine's shoulder looking at ROK.\n \n SIMON\n Have you got it straightened out now?", "FILM INSET: ROCKET GOING OFF COURSE\n \n ANCHOR 2\n (subtitles)", "I can relate to that.\n \n ELAINE\n (panicky and confused)\n Request; self-analysis of ROK hardware and", "That's not possible.\n \n ROK\n Cut the Doubting Thomas shit, Elaine. I" ], [ "One of your passengers is carrying a bomb\n and is suicidal.\n \n MUSIC: DRAMATIC STING", "Passengers are taking their seats. Ted spots Elaine and\n moves towards her. The Terrorists look confused. Joe\n Salucci clutches his case and wipes his brow. Mary takes", "TED\n Joe, you don't want to blow that thing and\n kill all these innocent people.\n \n JOE", "passengers is carrying a bomb and might be\n suicidal.\n \n McCROSKY\n Where'd you get this information, Captain?", "Would everyone not carrying a bomb please\n move to the lounge.\n \n The Passengers go nuts screaming, \"A bomb!!\"", "A riot ensues. The \"bean\" Passenger is beaten to death.\n \n TED\n (into headset)", "No, a bomb. Now, as discreetly as\n possible, I want you to move the\n passengers into the lounge.", "ALL PASSENGERS\n (maniacally)\n He's got a bean!!", "Passengers are standing. They hiss and throw vege­tables at\n Ted.\n \n \n INT. COCKPIT", "Joe bolts. Passengers panic. Ted tackles him. The case\n flies into the air in SLOW MOTION. It turns slowly, hanging", "everything. And the passengers are\n dropping like flies from the heat.\n \n \n INT. CABIN", "everyone as far away from the blast as\n possible.\n \n The Passengers panic and stampede right over her.", "He gives her a look.\n \n PASSENGER\n We're going to crash!!", "Passengers scream. Blonde woman in Viking helmet with spear\n stands and screams operatically.\n \n \n INT. COCKPIT", "All passengers look forward in Ted's direction.\n \n \n INT. COCKPIT", "McCROSKY (V.O.)\n No, a bomb.\n \n \n INT. CABIN", "JOE\n (to Cashier)\n Time, Newsweek, the Lifesavers, and the\n second time bomb from the right.", "That's my little girl, my little darlin',\n my sweetheart, my honey, and you want to\n blow her belly out with that bomb. If you", "You should really put that case in the\n compartment above your head, sir.\n \n JOE\n (nervously)", "Sixteen 'C', why?\n \n TED\n He's carrying a bomb.\n \n MARY" ], [ "Then it's settled. The bomb is Striker's\n only chance. Are there any questions?\n \n CONTROLLERS", "STRIKER (V.O.)\n That's right. When the bomb explodes\n we're going to have a ten foot hole in the", "Get that bomb, Striker! Get that bomb!\n \n ELAINE (V.O.)\n Come in, Control! We have the bomb!!", "Then it's settled. We use the bomb.\n (grabs radio)\n Striker, McCrosky.", "TED\n Joe, you don't want to blow that thing and\n kill all these innocent people.\n \n JOE", "JOE\n (to Cashier)\n Time, Newsweek, the Lifesavers, and the\n second time bomb from the right.", "Striker, this is Jack McCrosky, chief\n controller. I want you to listen to me and\n listen good.", "(on radio)\n Okay, Striker. You're going to have to\n pull that lever panel off.", "KRAMER\n (on radio)\n Now, Striker, there are a few things you", "What the hell is a man doing with a...\n forget it.\n (on radio)\n It'll have to do, Striker.", "TED STRIKER is at the controls. His oxygen mask hangs loose\n from his helmet. Clouds outside shoot by -- he's going at", "This is it, Striker. You got one shot and\n one shot only.\n \n \n INT. CABIN", "Striker stands over the coffee machine, sweating like mad.\n The Passengers with cups hang over him. He makes contact\n with a wire.", "JOE\n All right.\n (hands her an envelope)\n Here.", "Just hold on, Striker, we'll get back to\n you.\n \n \n INT. COCKPIT", "Striker, this is McCrosky. Give me five\n minutes and keep your fingers crossed.\n (to Stinson)", "Joe bolts. Passengers panic. Ted tackles him. The case\n flies into the air in SLOW MOTION. It turns slowly, hanging", "KRAMER (V.O.)\n Now, Striker! Kill WORP!", "McCROSKY (V.O.)\n No, a bomb.\n \n \n INT. CABIN", "Striker wipes his forehead. Elaine holds a tan reflector up\n to her face and turns to the sun.\n \n \n INT. CABIN" ], [ "Then it's settled. The bomb is Striker's\n only chance. Are there any questions?\n \n CONTROLLERS", "STRIKER (V.O.)\n That's right. When the bomb explodes\n we're going to have a ten foot hole in the", "He tried to disconnect ROK. It gassed\n him. That computer is running this ship\n and we're heading right for the sun.", "Then it's settled. We use the bomb.\n (grabs radio)\n Striker, McCrosky.", "TED STRIKER is at the controls. His oxygen mask hangs loose\n from his helmet. Clouds outside shoot by -- he's going at", "Striker, this is Jack McCrosky, chief\n controller. I want you to listen to me and\n listen good.", "KRAMER (V.O.)\n Now, Striker! Kill WORP!", "This is it, Striker. You got one shot and\n one shot only.\n \n \n INT. CABIN", "KRAMER (V.O.)\n Striker, this is Rex Kramer on Alpha Beta.\n Do you read me? Over.", "it out and looks at the burnt wires in the area labeled,\n \"ROK, MORAL CENTRE.\" ZOOM to CLOSEUP of Elaine. She turns", "Get that bomb, Striker! Get that bomb!\n \n ELAINE (V.O.)\n Come in, Control! We have the bomb!!", "KRAMER\n (on radio)\n Now, Striker, there are a few things you", "KRUGER\n (on radio)\n Look, Striker, I don't know how you got", "and, Kurtz, you know why.\n \n SIMON\n You're still crazy, Striker. Come on,", "Striker, we're monitoring you. You're\n right on course. At that speed you should\n hit Mercury in about six minutes. So give", "(on radio)\n Okay, Striker. You're going to have to\n pull that lever panel off.", "KRAMER\n (on radio)\n Timing's everything, Striker! Fire your\n retro-rockets!", "Striker stands over the coffee machine, sweating like mad.\n The Passengers with cups hang over him. He makes contact\n with a wire.", "Elaine gasps and moves away from ROK's blinking eye.\n \n \n INT. CABIN - FOOD SERVICE AREA", "McCROSKY\n Striker's the guy who flew that 736 into\n Chicago over 20 years ago without a crew." ], [ "INT. LUNAR SHUTTLE COCKPIT - NIGHT\n \n Three crew members watch the lit landing strip as their\n shuttle approaches.", "INT. LUNAR SHUTTLE\n \n The crew are tossed from side to side and try to regain\n control of the ship.", "EXT. NIGHT SKY\n \n The Lunar shuttle careens towards the terminal, out of\n control.", "EXT. GANTRY - CLOSEUP OF SHUTTLE - NIGHT\n \n MUSIC: BIG SPACE THEME", "Mercury shuttle. That is, until I report\n she's got more flaws than the Titanic.", "towards the sign that reads, \"MERCURY SHUTTLE.\"\n \n SIMON\n For the best little computer officer on", "Forget it. The boys on the board want\n that shuttle to go on schedule.\n \n CUT TO:", "INT. SHUTTLE COCKPIT - MORNING\n \n Computerized panels line all walls. Windows are similar to", "SHUTTLE.\" They walk and talk.\n \n KRUGER\n Commissioner, we both know the Mercury", "INT. MISSION CONTROL ROOM\n \n PAN along Controllers at their monitors. Monitors show the\n shuttle on gantry.", "INT. COCKPIT\n \n The G-force returns to normal as the shuttle breaks earth's", "Striker, we're monitoring you. You're\n right on course. At that speed you should\n hit Mercury in about six minutes. So give", "it away. Looks at another ticket -- \"Mercury.\" Takes a\n last drag from his cigarette, throws it on the ground and", "EXT. PLANET SURFACE - DAWN\n \n The Mayflower careens to a smoking, crunching, shattering\n stop.", "EXT. GANTRY - NIGHT\n \n The Jupiter shuttle stands ready to fly.", "EXT. SHIP - SPACE\n \n It careens towards the sun.\n \n \n INT. MISSION CONTROL", "This is Mercury control at \"T\" minus fifty\n minutes and counting. Commence loading of\n passengers requiring special boarding\n assistance.", "Hello. This is the Mayflower. Over!\n Come in, anyone.\n \n \n INT. MISSION CONTROL", "the Mercury mission.\n \n ELAINE\n (smiling)\n Simon.", "They shake hands and turn into the terminal.\n \n \n INT. MISSION CONTROL" ], [ "Forget it. The boys on the board want\n that shuttle to go on schedule.\n \n CUT TO:", "EXT. GANTRY - CLOSEUP OF SHUTTLE - NIGHT\n \n MUSIC: BIG SPACE THEME", "INT. LUNAR SHUTTLE\n \n The crew are tossed from side to side and try to regain\n control of the ship.", "EXT. SHIP - SPACE\n \n It careens towards the sun.\n \n \n INT. MISSION CONTROL", "INT. COCKPIT\n \n The G-force returns to normal as the shuttle breaks earth's", "EXT. NIGHT SKY\n \n The Lunar shuttle careens towards the terminal, out of\n control.", "EXT. SHIP - SPACE\n \n It careens towards the planet surface.\n \n \n INT. COCKPIT", "INT. MISSION CONTROL ROOM\n \n PAN along Controllers at their monitors. Monitors show the\n shuttle on gantry.", "Mercury shuttle. That is, until I report\n she's got more flaws than the Titanic.", "INT. LUNAR SHUTTLE COCKPIT - NIGHT\n \n Three crew members watch the lit landing strip as their\n shuttle approaches.", "INT. SHUTTLE COCKPIT - MORNING\n \n Computerized panels line all walls. Windows are similar to", "O'BRIAN\n You're right. They're off course and\n heading right for the sun. I've seen\n enough, Bob.", "The ship slingshots in the opposite direction, disappearing\n into the void leaving a trail of light.\n \n \n INT. COCKPIT", "(rushes up with diagrams)\n These are their position calculations.\n They've got about ten minutes before they\n start to burn up.", "What makes you think your husband might\n want to blow up that shuttle, ma'am?\n \n She goes into her purse for the insurance form.", "SHUTTLE.\" They walk and talk.\n \n KRUGER\n Commissioner, we both know the Mercury", "BACK TO SCENE\n \n KRAMER\n But flying that shuttle is a whole", "EXT. SHIP - SPACE\n \n It roars towards the sun. The nose of the ship begins to\n glow red.", "It careens through the asteroid field towards the sun.\n \n \n INT. CABIN\n \n Ted lies unconscious.", "EXT. SHIP - SPACE\n \n It shoots towards sun.\n \n \n INT. MISSION CONTROL" ], [ "and, Kurtz, you know why.\n \n SIMON\n You're still crazy, Striker. Come on,", "KRAMER\n (on radio)\n Now, Striker, there are a few things you", "Then it's settled. The bomb is Striker's\n only chance. Are there any questions?\n \n CONTROLLERS", "Striker, this is Jack McCrosky, chief\n controller. I want you to listen to me and\n listen good.", "KRAMER (V.O.)\n Now, Striker! Kill WORP!", "SIMON\n You're tired, Striker, overworked. That\n wiring meets all the safety\n specifications.", "TED STRIKER is at the controls. His oxygen mask hangs loose\n from his helmet. Clouds outside shoot by -- he's going at", "McCROSKY (V.O.)\n I've got some news for you, Striker.\n \n Ted and Elaine smile hopefully at each other.", "This is it, Striker. You got one shot and\n one shot only.\n \n \n INT. CABIN", "Just hold on, Striker, we'll get back to\n you.\n \n \n INT. COCKPIT", "Striker stands over the coffee machine, sweating like mad.\n The Passengers with cups hang over him. He makes contact\n with a wire.", "KRUGER\n (on radio)\n Look, Striker, I don't know how you got", "Striker, this is McCrosky. Give me five\n minutes and keep your fingers crossed.\n (to Stinson)", "Striker wipes his forehead. Elaine holds a tan reflector up\n to her face and turns to the sun.\n \n \n INT. CABIN", "What the hell is a man doing with a...\n forget it.\n (on radio)\n It'll have to do, Striker.", "STRIKER (V.O.)\n That's right. When the bomb explodes\n we're going to have a ten foot hole in the", "(on radio)\n Okay, Striker. You're going to have to\n pull that lever panel off.", "Striker, we're monitoring you. You're\n right on course. At that speed you should\n hit Mercury in about six minutes. So give", "Ted Striker was right six months ago when\n he test-piloted this sucker. And what did\n he get for telling the truth? A one-way", "KRAMER (V.O.)\n Striker, this is Rex Kramer on Alpha Beta.\n Do you read me? Over." ], [ "A man with a suitcase on a leash walks beside them. The\n case pulls him along like a dog and takes a leak on a post.", "Joe Salucci wipes his brow, lays his case on his lap.\n \n \n ANGLE ON FRONT OF CABIN", "JOE\n (jumping up with his case)\n Don't anyone move!", "TESTA\n Something to read, sir?\n \n JOE\n (clutching his case)", "Joe Salucci snaps his attache case closed. Wipes the sweat\n from his brow. Takes out a \"Des Moines\" ticket and throws", "JOE\n All right.\n (hands her an envelope)\n Here.", "Joe Salucci clutches his attache case and wipes his brow.\n Mary leans over him.\n \n MARY", "Joe bolts. Passengers panic. Ted tackles him. The case\n flies into the air in SLOW MOTION. It turns slowly, hanging", "(to Joe Salucci)\n Welcome aboard. Can I take your case?\n \n JOE\n (clutching case)", "Passengers are taking their seats. Ted spots Elaine and\n moves towards her. The Terrorists look confused. Joe\n Salucci clutches his case and wipes his brow. Mary takes", "INT. TERMINAL GIFT SHOP\n \n Joe Salucci stands at the counter.", "JOE SALUCCI (imagine Van Heflin) bids his WIFE (imagine\n Cher) goodbye. Joe is very nervous, sweating a lot. His", "TED\n Joe, you don't want to blow that thing and\n kill all these innocent people.\n \n JOE", "JOHN\n (handing him a bag)\n Thanks.\n \n PORTER", "TED\n I'm sure.\n \n Ted is almost up to Joe when:", "JOE\n (to Cashier)\n Time, Newsweek, the Lifesavers, and the\n second time bomb from the right.", "You should really put that case in the\n compartment above your head, sir.\n \n JOE\n (nervously)", "smoking a joint. He smiles and leaves.\n \n \n INT. CABIN", "Wife hands him a few crumpled bills.\n \n WIFE\n Take this, Joey. It's my last few bucks.", "Ted is tied to a chair surrounded by packing crates -- one\n is stamped \"JIMMY HOFFA, THIS END UP\" with the arrow\n pointing to the ground. Ted struggles to free his hands." ], [ "I don't want to live anymore.\n \n TED\n Joe, the insurance policy won't help your", "KRUGER\n He's impotent.\n \n COMMISSIONER\n He's suicidal.", "TED\n Joe, you don't want to blow that thing and\n kill all these innocent people.\n \n JOE", "JOE\n I said, no!\n \n Mary leaves, giving him a worried look.", "JOE SALUCCI (imagine Van Heflin) bids his WIFE (imagine\n Cher) goodbye. Joe is very nervous, sweating a lot. His", "Have you considered suicide, my son?\n \n A panel on the other side of Simon slides open.\n \n JIMMY (V.O.)", "Yes. He's dying a-n-d wants to be buried\n on Mercury.\n \n TED", "(handing McCrosky the insurance\n form)\n Joey was supposed to go to Des Moines for\n an operation to cure his impotence.", "Joe Salucci clutches his attache case and wipes his brow.\n Mary leans over him.\n \n MARY", "JOE\n All right.\n (hands her an envelope)\n Here.", "TED\n I'm sure.\n \n Ted is almost up to Joe when:", "JOE\n (anxiously looking around)\n I don't want to hear that word!", "Yes -- he's dying and wants to be buried\n in the new l-a-n-d.\n \n MARY", "hurt you and no one has to know what's\n wrong with you.\n \n JOE\n You're sure?", "Joe Salucci.\n \n She approaches very distressed looking.\n \n McCROSKY", "He thinks about his wife. SPLIT SCREEN FLASHBACK OF THEIR\n BEDROOM. Marge, a cigar in her mouth, is in bed with five", "TED\n (inching up on him)\n That's right, Joe. Now, no one's going to", "(crying on Simon's shoulder)\n Simon, why has he become so... so...\n \n SIMON\n So mentally ill?", "He's finally come to terms with his own\n psychosis.\n \n ELAINE", "I just wish it was that simple. We really\n were in love. You know how it is when you\n laugh all the time." ], [ "Striker stands over the coffee machine, sweating like mad.\n The Passengers with cups hang over him. He makes contact\n with a wire.", "He tried to disconnect ROK. It gassed\n him. That computer is running this ship\n and we're heading right for the sun.", "SIMON\n You're tired, Striker, overworked. That\n wiring meets all the safety\n specifications.", "(on radio)\n Okay, Striker. You're going to have to\n pull that lever panel off.", "TED STRIKER is at the controls. His oxygen mask hangs loose\n from his helmet. Clouds outside shoot by -- he's going at", "INT. COMPUTER CORE\n \n The clock on the time bomb TICKS down.\n \n \n INT. COCKPIT", "What the hell is a man doing with a...\n forget it.\n (on radio)\n It'll have to do, Striker.", "Striker, this is Jack McCrosky, chief\n controller. I want you to listen to me and\n listen good.", "minutes, if they hold together. They've\n lost their computer and are coming in at\n zero point five WORP on manual control,\n sir.", "Striker, we're monitoring you. You're\n right on course. At that speed you should\n hit Mercury in about six minutes. So give", "this ship. That computer's gone bananas.\n \n McCROSKY\n (holding up the book)", "An electrical fire in the core has played\n havoc with the ROK-4000 computer. It's\n locked us on a direct line with the sun", "The electrical fire continues.\n \n \n INT. COCKPIT", "TED\n (on radio)\n This is Striker.\n \n \n INT. MISSION CONTROL", "Mission control, this is Mayflower. Over.\n \n McCROSKY (V.O.)\n Go ahead, Striker.", "after the initial brew cycle overheats the\n system!! Now listen to me, Striker, and\n listen good.", "Sparks fly. A fire starts.\n \n \n INT. COCKPIT\n \n OVEUR", "INT. COCKPIT\n \n Ted sticks the bobby pin into the wires. Sparks fly. The", "Then it's settled. The bomb is Striker's\n only chance. Are there any questions?\n \n CONTROLLERS", "yourself enough time to kill those WORP\n engines.\n \n \n INT. MISSION CONTROL" ], [ "THE END", "That's right, Striker. And we're getting\n married when we return.", "She kisses him. He recoils, wipes off his mouth, and\n leaves. She looks at the envelope, then yells at him\n through the crowd.", "flies out with the debris. Edith faints. Ted gets up,\n brushes himself off and heads to the ticket counter just as", "That's all behind us now, Elaine. And no\n matter what happens, I want you to know\n I've always loved you.", "ELAINE\n And I can hardly believe that I'm engaged\n to someone like you, Simon. I'm a very\n lucky woman.", "He thinks about his wife. SPLIT SCREEN FLASHBACK OF THEIR\n BEDROOM. Marge, a cigar in her mouth, is in bed with five", "The b.g. moves faster. The wind gets stronger. They pass a\n marathon refreshment stand and are handed wet sponges and\n cups of Gatoraid.", "The group prod Elaine to try the bull. A cowboy hat flies\n across the room. She grabs it, pulls it on, and moves to", "of babies for Mr. and Mrs. Simon Kurtz.\n \n He kisses Elaine and smiles.\n \n SIMON", "He ignores her. Rumack walks up and puts an arm around her\n shoulder. Elaine starts to sob.\n \n RUMACK", "ELAINE\n I think so.\n \n SIMON\n That's my girl.", "finally pull her out. She hasn't recognized Ted.\n \n ELAINE\n (to Ted)", "It comes off in her hands. She keeps pulling. His jacket\n comes off, his pants, underwear, socks, an entire", "her! Stay with her, Striker!\n \n Ted and Elaine kiss.\n \n KRAMER (V.O.)", "They kiss and part.\n \n \n ANGLE ON \"1ST CLASS\" TICKET LINE", "They are locked in each other's arms in the middle of\n lovemaking and laughing heir heads off.\n \n TED (V.O.)", "Elaine pulls him up.\n \n OVEUR\n (still gasping)", "They are also dressed in black and drenched. He holds her\n high by the waist, twirls her around as they laugh.\n \n TED (V.O.)", "in her mouth)\n We've got a condition red with our\n marriage. I think you're in love with" ], [ "and, Kurtz, you know why.\n \n SIMON\n You're still crazy, Striker. Come on,", "Striker stands over the coffee machine, sweating like mad.\n The Passengers with cups hang over him. He makes contact\n with a wire.", "KRAMER (V.O.)\n Now, Striker! Kill WORP!", "This is it, Striker. You got one shot and\n one shot only.\n \n \n INT. CABIN", "TED STRIKER is at the controls. His oxygen mask hangs loose\n from his helmet. Clouds outside shoot by -- he's going at", "What the hell is a man doing with a...\n forget it.\n (on radio)\n It'll have to do, Striker.", "KRAMER\n (on radio)\n Now, Striker, there are a few things you", "Striker, this is Jack McCrosky, chief\n controller. I want you to listen to me and\n listen good.", "Then it's settled. The bomb is Striker's\n only chance. Are there any questions?\n \n CONTROLLERS", "KRUGER\n (on radio)\n Look, Striker, I don't know how you got", "The wind is still blowing in his hair even though he stands\n still. Ted has a FLASHBACK.\n \n DISSOLVE TO:", "STRIKER (V.O.)\n That's right. When the bomb explodes\n we're going to have a ten foot hole in the", "Stinson turns to two burly men in leather jerkins and black\n hoods. They hold a large caldron of molten lead next to\n window.", "(on radio)\n Okay, Striker. You're going to have to\n pull that lever panel off.", "Stella, covered in blood, kneels beside BILLY, a young man\n bandaged head to toe, lying on a stretcher with lots of I.V.", "I'll put you on the radio with Striker.\n Jeez you look familiar. Did you ever play\n water polo?", "DOCTOR'S VOICE\n Striker, listen to me! This is Doctor\n Krane! You're twisted around, Striker.", "(trying to place the name)\n Striker... Striker... Striker...\n \n CONTROLLER 3", "McCROSKY\n Striker's the guy who flew that 736 into\n Chicago over 20 years ago without a crew.", "Striker wipes his forehead. Elaine holds a tan reflector up\n to her face and turns to the sun.\n \n \n INT. CABIN" ], [ "JOE\n All right.\n (hands her an envelope)\n Here.", "He cleans the floor and an ashtray and finds a baseball\n behind the Captain's seat which he pockets.\n \n OVEUR", "Wife hands him a few crumpled bills.\n \n WIFE\n Take this, Joey. It's my last few bucks.", "JOE\n I said, no!\n \n Mary leaves, giving him a worried look.", "TESTA\n Something to read, sir?\n \n JOE\n (clutching his case)", "JOE\n (to Cashier)\n Time, Newsweek, the Lifesavers, and the\n second time bomb from the right.", "(handing McCrosky the insurance\n form)\n Joey was supposed to go to Des Moines for\n an operation to cure his impotence.", "(gasping)\n Pills...\n (points to his mouth)\n Pocket...\n (points to his pocket)", "TED\n I'm sure.\n \n Ted is almost up to Joe when:", "JOE\n (jumping up with his case)\n Don't anyone move!", "Joe Salucci clutches his attache case and wipes his brow.\n Mary leans over him.\n \n MARY", "INT. TERMINAL GIFT SHOP\n \n Joe Salucci stands at the counter.", "it away. Looks at another ticket -- \"Mercury.\" Takes a\n last drag from his cigarette, throws it on the ground and", "Joe Salucci snaps his attache case closed. Wipes the sweat\n from his brow. Takes out a \"Des Moines\" ticket and throws", "JOE SALUCCI (imagine Van Heflin) bids his WIFE (imagine\n Cher) goodbye. Joe is very nervous, sweating a lot. His", "You'll need a hot meal when you get there.\n \n JOE\n We've spent everything on these", "JOHN\n (handing him a bag)\n Thanks.\n \n PORTER", "It comes off in her hands. She keeps pulling. His jacket\n comes off, his pants, underwear, socks, an entire", "JOE\n (anxiously looking around)\n I don't want to hear that word!", "THE END" ], [ "(on radio)\n This is Mayflower One calling mission\n control. Do you read me? Over.", "The Mayflower bounces across the surface.\n \n \n INT. CABIN", "CONTROLLER 1 (V.O.)\n Do you read, Mayflower? Over. This is\n mission control. Over.", "the Mayflower appears over a hill. They all jump for cover\n as it crashes through the synthesizer.\n \n \n INT. COCKPIT", "EXT. PLANET SURFACE - DAWN\n \n The Mayflower careens to a smoking, crunching, shattering\n stop.", "Hello. This is the Mayflower. Over!\n Come in, anyone.\n \n \n INT. MISSION CONTROL", "KRUGER (V.O.)\n Come in, Mayflower. This is Bud Kruger.\n Over.", "control. Over. Come in, Mayflower!\n Over!\n \n Jimmy pokes his head in.", "This is Mercury One control. We have\n condition green. Mark launch 'T' minus\n two hours and counting. I repeat, we have", "Mission control, this is Mayflower. Over.\n \n McCROSKY (V.O.)\n Go ahead, Striker.", "We read you, Mayflower! Identify yourself\n and give your position.\n \n \n INT. COCKPIT", "CONTROLLER 1 (V.O.)\n (on radio)\n Come in, Mayflower. This is mission", "(taking mike)\n Let me try, sir. Come in, Mayflower.\n Over. Come in. Over. Damnit!", "on the Enterprise bridge. As he talks, he nonchalantly\n swivels so his back is to the huge window. We see the\n Mayflower approaching on the screen.", "EXT. SHIP\n \n Rockets fire.\n \n CONTROLLER 1 (V.O.)", "This is Mercury control at \"T\" minus fifty\n minutes and counting. Commence loading of\n passengers requiring special boarding\n assistance.", "Yes, sir, commander.\n (into radio)\n This is Mercury One. Everything seems A-\n okay up here and ready for count-down.", "The Mayflower comes right at the screen and crashes through\n it. Kramer still has his back to the screen and doesn't\n notice what has happened -- the room behind him has been", "Come in Mayflower!\n \n ELAINE\n How could I ever have doubted you?", "McCROSKY\n (holding radio mike)\n Come in, Mayflower. Over. Do you read" ] ]

[ "In beginning of story, what is occurring that the Sarge doesn't like?", "What is the name of the computer officer on board?", "What is the name of the artificial intelligence onboard Mayflower One?", "Why did Joe Seluchi board the Mayflower One with a bomb?", "After leaving Elaine, where was Striker committed to?", "Who revealed Seluchi had a bomb on the Mayflower One?", "What happened to Striker in Macho Grande?", "Why did Striker escape the asylum?", "Who got married at the end of the story?", "How was Striker put in an insane asylum?", "Why did Striker believe that the lawsuit was used to silence him?", "What did Striker know about the test flight that Ted piloted?", "When did Striker escape the asylum?", "When did Striker buy tickets for the Lunar Shuttle Launch?", "What happens when the Mayflower One suffers a short circuit? ", "What is ROK? ", "Why did Joe the passenger take a bomb on the plane?", "How does Striker get the bomb from Joe?", "How did Striker blow up ROK?", "What is the name of the shuttle that is voyaging to the Moon?", "What dangerous course does the shuttle get sent on?", "Why does Striker believe there was a lawsuit against him?", "What does Joe have in his suitcase?", "Why did Joe want to commit suicide?", "What does Striker use to stop the haywire computer?", "Who marries at the end of the story?", "What is the name of the event that Striker experienced that left him haunted?", "What item does Joe ask for at the end of the story?", "Where did the Mayflower One launch from?" ]

[ [ "rush to launch from Houston", "The shuttle is bring rushed to launch" ], [ "Elaine Dickinson", "Elaine Dickinson." ], [ "ROK", "ROK" ], [ "to commit suicide so wife can collect insurance", "to commit suicide" ], [ "an insane asylum", "Insane asylum. " ], [ "the air traffic controller", "Steve McCroskey" ], [ "He lost his whole crew.", "He lost his entire squadron" ], [ "He heard about the upcoming lunar shuttle launch.", "to go on the lunar shuttle " ], [ "Ted and Elaine", "Ted and Elaine" ], [ "He was declared mentally incompetent in lawsuit.", "a lawsuit declared him mentally incompetent" ], [ "He knew about problems with the lunar shuttle that made it unsafe.", "He knew that the lunar shuttle was unsafe." ], [ "That the lunar shuttle crashed.", "It had its own problems. " ], [ "When he read about the lunar shuttle launch.", "when he learns of a moon shuttle launch" ], [ "After he read about the launch and escaped the asylum.", "after escaping the asylum" ], [ "ROK goes insane and sends the ship towards the sun.", "The computer went crazy and sent the shuttle towards the sun." ], [ "An artificially intelligent computer.", "an intelligent computer on the shuttle" ], [ "To commit suicide so that his wife can claim insurance money.", "To commit suicide. " ], [ "He wrestles him.", "wrestles it away" ], [ "He used the bomb he took from Joe.", "He wrestled the bomb from the passenger and used it to blow up ROK. " ], [ "The Mayflower One", "Mayflower One" ], [ "A path to the Sun", "towards the Sun" ], [ "To silence him from speaking out about the dangers on the shuttle", "To silence him." ], [ "A bomb", " a bomb" ], [ "So his wife could collect the insurance money", "to keep his wife from collecting insurance money" ], [ "The bomb that was in Joe's suitcase", "a bomb" ], [ "Ted and Elaine", "Ted and Elaine" ], [ "Macho Grande", "The War" ], [ "He wants his briefcase back", "His briefcase. " ], [ "Houston Texas", "Houston" ] ]

[ [ "Eylisium! The heaven for heroes, to\n venture further and farther then any of\n man's machine dared before it.", "(HAUNTING REALIZATION)\n Elysium. This was a one-way ticket.\n BOWER'S gaze goes distant as...", "PAYTON\n\n (NOT FAMILIAR)\n Elysium...? Where are we?", "I\n PAYTON looks to the name plate that reads Elysium and a small\n emblem above it, a global shape with a spiral design.", "PAYTON\n Where... are we?\n\n BOWER\n We're aboard the Elysium. From what I've\n\n GATHERED-", "BOWER\n (under his breath)\n Eden.\n\n CUT TO:\n\n INT. SLEEP CH.A.MBER/CONTROL DESK", "through the room. The walls are lined with hundreds of sleep\n chambers, stacked ten high on either side.\n They round a corner into the main atrium to see dishevelled", "They crawl out onto the top of a massive cylinder shaped\n shaft, numerous catwalks lining the walls with nothing but an\n abyss of darkness below them. An odor hits all of them in\n unison.", "They reach the bottom level where a distant RUMBLE has grown\n louder. They follow the sound through a field of debris to a\n clear path leading to an open hatchway.", "layer of dust. Under the smear is...\n Elysium - Flight Systems - Operation Terminal #87153-D.\n He pulls focus to see... his FINGERS are trembling", "BOWER (ON RADIO)\n The Eden.\n PAYTON nods, memories returning as he mumbles the name.", "LELAND (CONT`D)\n King Lonely no longer wanted to play...\n he yearned to see the morning Sun on a\n Tanis day. He returned to his bed of", "They both back away with horror only to see a mountain of\n carcasses on both sides. The only route is upward and they\n begin to crawl up the slope on their bellies, over dead", "CONTINUED:\n\n NADIA\n What is that?\n\n BOWER\n It's gone... into the final cycle.", "BOWER (P.O.)\n Where was I... when I heard we'd lost\n Eden? Just like every other kid on my", "WEASEL is headed directly for BOWER until.., a HISS from\n HEFLIN calls him back. WEASEL takes one last look before\n turning back, the torch fades from view, taking us into", "LELAND\n This is where they live. Reactor is the\n Keeper's temple.", "was an illusion. A glass compartment door left slightly ajar\n was reflecting a circular light panel, smeared with oil to\n give the illusion of craters. His shoulders drop in defeat.", "LELAND (CONT'D)\n A gallant knight who will wake the fiery\n beast, light the rockets torch that will", "That's why I came. There was nothing\n left for me there. She stayed on Earth.\n Gone... with everyone else. And I left\n because of her." ], [ "BOWER\n (under his breath)\n Tanis.\n\n NADIA\n (off his look)\n You couldn't remember?", "LELAND (CONT`D)\n King Lonely no longer wanted to play...\n he yearned to see the morning Sun on a\n Tanis day. He returned to his bed of", "Slowly, TANAKA emerges from a hiding place, dropping down\n from the rafters overhead. With a grin he turns to head back\n the other direction to see...", "TANAKA quickly follow. They help her push it shut, sealing\n the lock with a CLANK.", "CONTINUED:\n They exchange silent gestures and TANAKA heads one direction\n as BOWER heads the other... to corner it. The FIGURE begins", "TANAKA hits the floor, rolls to his feet and keeps running.\n HEFLIN and the HUNTERS slash the tangled snare with their\n weapons, trying to break through.", "TANAKA is running at full sprint, bounding over dishevelled\n equipment and weaving through debris as the pack of enraged", "TANAKA, a Japanese man in ripped and modified clothing.\n Unlike the awkward gauntness of the HUNTERS, he has a full-", "(TO TANAKA)\n Hey...? Let's go!\n Distant THUMPS are heard somewhere in the room and they", "BOWER and NADIA are now completely engrossed in the story,\n both getting to their feet and walking closer to hear.\n TANAKA is asleep. LELAND is thrilled by their attention,", "TANAKA jumps to the neighboring catwalk and breaks through a\n hatch, coated with vines and vegetation. HEFLIN screeches a", "1 just said. They stare at one another in silence.\n TANAKA hands him a flashlight. BOWER does his best charades,\n gesturing to himself and pointing to the ship.", "NADIA is already gone. BOWER and TANAKA chase after her as\n the walls come to life, HUNTERS swarming onto their path like\n a pack of wild dogs.", "TANAKA frowns as BOWER backs away, gesturing. BOWER reaches\n the next intersection and looks back. TANAKA is gone. He", "TANAKA lunges, but NADIA blocks his attack. The CHILD HUNTER\n erupts with a horrific SCREECH, HISSING at them before", "TANAKA\n HIIISSST! ( .and whispered Japanese)\n\n (CONTINUED)", "I skin. Everyone is too stunned to react except for TANAKA,\n who instantly raises his weapon, preparing to kill it.", "BOWER (CONT'D)\n Knock it off! Both of ya!\n TANAKA and NADIA slowly recover, both quickly try to find\n their weapons on the floor.", "TAANAKA\n Shee-ip?\n\n BOWER\n Yes, I'm going to the reactor to try to-", "TANAKA gasps with shock, collapsing to his knees, eyes wide\n before going to the floor. The CHILD begins to feed." ], [ "EXT. OUTER SPACE\n\n We slowly float towards an astroid field. As we grow closer\n it's the sea of sleep pods slowly floating through space.", "A FEMALE CREW MEMBER, a beautiful young woman, deep in hyper--\n slumber suddenly twitches... her EYES opening wide with a\n GASP as she stares into CAMERA.", "CUT TO:\n\n INT. SLEEP CHAMBER COMPARTMENT - CONT.", "CUT TO:\n\n INT. SLEEP CHAMBER COMPARTMENT - CONT.", "It's a power surge that sends FLICKERING LIGHTS across the\n massive corridor and a BLINKING LIGHT is activated on a\n nearby sleep-chamber. And then...", "The control panel on a sleep-chamber is FLASHING as a\n passenger KICKS his hatch open from the inside. The haggard", "INT. SLEEP CHAMBER/CONTROL DESK\n\n PAYTON vigorously cranks the power lever and slides his\n finger across the screen of the ship's blueprint.", "CUT TO:\n\n INT. SLEEP CHAMBER/MAIN CORRIDOR", "CUT TO:\n\n INT. SLEEP CHAMBER/MAIN CORRIDOR - CONT.", "I\n\n DISSOLVE TO:\n\n I\n\n INT. SLEEP CHAMBER/CONTROL DESK", "INT. SLEEP CHAMBER/CONTROL DESK - LATER\n\n PAYTON is asleep, seated on the floor, back to the wall. He\n is awoken by...", "Inside a coffin-size chamber, a dim glow of light seeps\n through a small glass porthole. A MAN is asleep, a mask\n attached to his face, tubes of liquid feeding into his arms.", "85.\n\n INT. SLEEP CHAMBER/CONTROL DESK", "EXTENDED HYPER-SLEEP-\n\n PAYTON\n Corporal?\n\n BOWER\n Yes, sir. This is disorientation from-", "INT, PERSONNEL SLEEP CHAMBER/MAIN CORRIDOR - LATER\n Light breaks through as our gang wedges open a door, all\n sneering in unison when hit by an odor.", "GALLO enters, now wearing the CAPTAIN'S uniform, he\n straightens his collar and kneels next to one of the pods,\n typing into the panel. A grin appears as he removes the", "CUT TO:\n\n INT. SLEEP CHAMBER/CONTROL DESK - CONT.", "CUT TO:\n\n INT. SLEEP CHAMBER/CONTROL DESK - CONT.", "CUT TO:\n\n INT. SLEEP CHAMBER/CONTROL DESK - CONT.", "FOLLOW THRU:\n\n INT. SLEEP CHAMBER - CONT." ], [ "It's a power surge that sends FLICKERING LIGHTS across the\n massive corridor and a BLINKING LIGHT is activated on a\n nearby sleep-chamber. And then...", "PAYTON\n Hmm. Ventilation... maybe. Systems keep\n re-booting after each surge. That could\n be anything.\n THUMPS fade as the ship eerily MOANS and CREAKS.", "Nothing on this ship will ever turn on\n again. Ever. Not the air, not the\n lights, the heat... not even the pod's\n escape launch systems.", "I\n Pitch black. Sounds of the ship surround us along with the\n occasional FLICKER of LIGHT. A whispered conversation\n between BOWER and the radio slowly comes into ear-shot as we\n find him, hidden beneath a console.", "FLICKERING LIGHTS. The power surge is enough to ignite a\n small landslide underneath them.", "A wall of monitors FLICKER, only offering a quick glance of\n surveillance cameras on the ship, images too quick and\n distorted to recognize but resembling empty corridors and\n vast cargo compartments.", "As BOWER and NADIA run, the ship comes to life all around\n them, every LIGHT FLASHING and every mechanism ENGAGING at", "The SHUDDER hits the control desk, rattling the monitors and\n 1 WARNING LIGHTS and BUZZERS ignite as the ship feels full", "Our group is now crowded on the catwalk above the tank,\n huddled around an assortment of patched together electronic\n equipment. BOWER is speaking into a receiver, bound together\n with wire while LELAND cranks the power lever.", "CONTINUED:\n The SCREENS FLICKER BRIGHTLY, all of the systems engaging.\n GALLO is shocked, pressing his face against the glass,\n peering across the computer terminals that are igniting.", "The HUNTER'S scatter in a panic as the BRIGHT FLAMES are\n blinding and a tremendous SHUDDER travels through the ship\n like an earthquake...", "His beam of light stabs into the darkness of the massive\n corridor. This is our first sense of the enormity of the\n ship, endless steel ribbed passageways that stretch in both\n directions as far as the light will illuminate.", "PAYTON\n Power surges keep coming across in longer\n increments, just like you said.\n\n (MORE)\n\n (CONTINUED)", "BOWER types quickly, flipping numerous switches and... a\n SHUDDER is felt, the tower begins to TREMBLE with a low bass\n MOAN, like an engine trying to turn over.", "PLEASE GOD! NO! NO GOD DAMMIT!\n Control panels flash and hydraulics ignite. Like a row of", "INT. SLEEP CHAMBER/CONTROL DESK\n\n PAYTON vigorously cranks the power lever and slides his\n finger across the screen of the ship's blueprint.", "I\n simple as that. A systems malfunction.\n BOWER pauses his climb, looking up towards the \"apparent", "PAYTON spins the hand-crank, allowing the computer screen to\n glow brighter. He quickly works the keyboard, pulling up a\n diagram of the ship.", "1 just said. They stare at one another in silence.\n TANAKA hands him a flashlight. BOWER does his best charades,\n gesturing to himself and pointing to the ship.", "to a control panel, holds down a switch and presses her palm\n F across a scanner.\n As the power SURGE passes, the control panel activates," ], [ "GALLO\n Orbital Dysfunctional Syndrome.\n Pandorum. Ever witnessed the symptoms of\n first-hand?\n\n PAYTON\n I've seen it before. But nothing that-", "BOWER\n I'm just thinking, maybe there's\n something we haven't considered. Eden\n failed... because of ODS syndrome. The", "I\n simple as that. A systems malfunction.\n BOWER pauses his climb, looking up towards the \"apparent", "They are sent spinning into a wild tumble as bubbles and gas\n erupt across the outer surface. BOWER and NADIA slam into\n one another as the chamber turns end over end.", "CONTINUED:\n NADIA walks towards the windows and suddenly jumps back with\n fright to realize one of the flight control chairs has a", "layer of dust. Under the smear is...\n Elysium - Flight Systems - Operation Terminal #87153-D.\n He pulls focus to see... his FINGERS are trembling", "CONTINUED:\n The SCREENS FLICKER BRIGHTLY, all of the systems engaging.\n GALLO is shocked, pressing his face against the glass,\n peering across the computer terminals that are igniting.", "travels through his body while he staggers towards a nearby\n computer terminal. He taps the keys on a computer terminal.\n Nothing. He frowns, leaning closer.", "GALLO'S gaze is hollow and translucent as he stares through\n the glass porthole in the empty sleep chamber, his mind is\n deeply pondering. Pupils dilated.", "GALLO\n Do you know the symptoms of Pandorum?\n\n PAYTON\n What?", "Inside a coffin-size chamber, a dim glow of light seeps\n through a small glass porthole. A MAN is asleep, a mask\n attached to his face, tubes of liquid feeding into his arms.", "one officer who was suffering from\n Pandorum. Cabin Fever. Maybe there was\n something similar with one of the earlier", "was an illusion. A glass compartment door left slightly ajar\n was reflecting a circular light panel, smeared with oil to\n give the illusion of craters. His shoulders drop in defeat.", "He squints at his darkened surroundings with confusion. A\n drip of liquid catches his eye and he staggers back to his\n sleep pod. He grabs the dangling tubes that were ripped from", "different with all the systems engaged, BLINDING LIGHT coming\n from the monitors and computer terminals.\n They move through the room, passing the empty sleep chambers", "wrist. He's the only person in the room. Heavy blood\n streams are running from his nose and ears.\n Y77e will now refer to PAYTON by his real name, GALLO.", "GALLO (CONT'D)\n ODS came through with flying colors. No\n logic, no reasoning left. No future, no", "CONTINUED:\n\n NADIA\n What is that?\n\n BOWER\n It's gone... into the final cycle.", "EXTENDED HYPER-SLEEP-\n\n PAYTON\n Corporal?\n\n BOWER\n Yes, sir. This is disorientation from-", "PAYTON'S eyes scan across the dim flickering computer screen,\n a radar scan across a chart of planets... with no Earth shown\n on the screen." ], [ "GALLO\n Orbital Dysfunctional Syndrome.\n Pandorum. Ever witnessed the symptoms of\n first-hand?\n\n PAYTON\n I've seen it before. But nothing that-", "Nothing on this ship will ever turn on\n again. Ever. Not the air, not the\n lights, the heat... not even the pod's\n escape launch systems.", "went lunar, launched the entire ship,\n five thousand people killed with the flip\n of a switch. All from a bad case of\n cabin fever-?", "was an illusion. A glass compartment door left slightly ajar\n was reflecting a circular light panel, smeared with oil to\n give the illusion of craters. His shoulders drop in defeat.", "I\n simple as that. A systems malfunction.\n BOWER pauses his climb, looking up towards the \"apparent", "PAYTON\n What are you suggesting, Corporal?\n\n GALLO\n We can still launch ourselves in the\n pods. Before the ignition systems are\n completely dead, sir.", "BOWER\n I'm just thinking, maybe there's\n something we haven't considered. Eden\n failed... because of ODS syndrome. The", "layer of dust. Under the smear is...\n Elysium - Flight Systems - Operation Terminal #87153-D.\n He pulls focus to see... his FINGERS are trembling", "one officer who was suffering from\n Pandorum. Cabin Fever. Maybe there was\n something similar with one of the earlier", "PAYTON\n Launching ourselves... into deep space\n when we don't even know where we are? We\n wouldn't last more then a few days inside\n those things. That's suicide-", "is heading into permanent shutdown and\n there will be no return. This entire\n ship will float off into eternity with no\n way of stopping it. We need to reset it.", "BOWER (ON RADIO) (CONT`D)\n The ship is dying and I think that's why\n it finally woke us up. The entire system", "TEAMS-\n\n PAYTON\n No, no, no. You're talking about- Eden\n was lost because of a mechanical failure,", "FADE TO BLACK:\n\n INT. COMMAND DECK", "Through the wreckage he spots... what appears to be a WINDOW.\n The haze of outer space and an odd-colored MOON are visible.", "(HAUNTING REALIZATION)\n Elysium. This was a one-way ticket.\n BOWER'S gaze goes distant as...", "PAYTON'S eyes scan across the dim flickering computer screen,\n a radar scan across a chart of planets... with no Earth shown\n on the screen.", "CONTINUED:\n NADIA walks towards the windows and suddenly jumps back with\n fright to realize one of the flight control chairs has a", "PLEASE GOD! NO! NO GOD DAMMIT!\n Control panels flash and hydraulics ignite. Like a row of", "He squints at his darkened surroundings with confusion. A\n drip of liquid catches his eye and he staggers back to his\n sleep pod. He grabs the dangling tubes that were ripped from" ], [ "CONTINUED.\n\n GALLO\n Don't talk to me like some child that\n needs reassurance. Think I don't know\n the risks? Think I don't know this ship?", "GALLO\n I know this ship and what she's capable\n of better then anyone. I know her... and\n I know what she can and can't do.\n\n PAYTON\n Easy...", "GALLO (CONT'D)\n It's already dead. You really believe\n that kid will be able to save this ship?\n\n PAYTON\n He can do it.", "GALLO\n This ship is not dying.\n PAYTON refuses to look to GALLO, continuing his work.", "CONTINUED: (2)\n\n GALLO\n\n (IMPRESSED)\n How the hell would you know all that?", "GALLO\n We can't stay on this ship. You know\n that as well as I do-", "GALLO\n I'm getting off this ship. My flight's\n over. OVER!\n Another panel on the console begins to gently blink as...\n\n CUT TO:", "GALLO\n You can see why I was hesitant... to tell\n even you. My fellow crew members didn't", "GALLO (CONT'D)\n You don't believe me.\n\n PAYTON\n I didn't say that-", "GALLO\n Finish the code...\n\n (CONTINUED)", "GALLO\n Listen, I'm not a navigator. Stars all\n look alike. I don't know! How the hell", "GALLO\n Whatever it was, they knew it was coming.\n Wished us well. We're all that's left.\n PAYTON sits back in shock, shaking his head in disbelief.", "GALLO\n I guess this thing does land itself.\n Just doesn't float too well.", "GALLO steps closer behind him, his shadowed outline showing\n an imposing posture, his voice is forced and unsteady.", "GALLO'S hands are beginning to tremble as he struggles\n through the story.", "GALLO\n\n I'LL FUCKING CARVE YOU UP- HEAR ME!?\n\n I'LL GUT YOU LIKE A FUCKING-", "GALLO\n\n (DRYLY)\n Mine too.\n\n BOWER\n Who the hell are you?\n GALLO keeps his gaze towards the windows, emotionless.", "GALLO\n I was younger then you when I first came\n on board. Funny, I can't even remember\n what it was like... before this flight\n began. It's all I know.", "I\n this. Trust me.\n No response. GALLO'S shadow moves behind him, his voice\n taking on a slight raspier and \"older\" tone.\n\n I", "GALLO\n (licking his lips)\n I wanna see it. I'll bet you'd be a" ], [ "Nothing on this ship will ever turn on\n again. Ever. Not the air, not the\n lights, the heat... not even the pod's\n escape launch systems.", "PAYTON\n Hmm. Ventilation... maybe. Systems keep\n re-booting after each surge. That could\n be anything.\n THUMPS fade as the ship eerily MOANS and CREAKS.", "PLEASE GOD! NO! NO GOD DAMMIT!\n Control panels flash and hydraulics ignite. Like a row of", "CONTINUED:\n The SCREENS FLICKER BRIGHTLY, all of the systems engaging.\n GALLO is shocked, pressing his face against the glass,\n peering across the computer terminals that are igniting.", "It's a power surge that sends FLICKERING LIGHTS across the\n massive corridor and a BLINKING LIGHT is activated on a\n nearby sleep-chamber. And then...", "the seat backs... it appears the control deck has been\n suddenly evacuated.\n Muffled SCREAMS are heard somewhere deeper inside the ship.", "GET IN!\n He pulls her inside and turns to the control panel. He hits\n the keypad to read: >>> DETACHMENT INITIATED >>>", "Another KICK bursts open the hatch and a BIG PASSENGER crawls\n out, slamming onto the floor with a shiver of agony, gasping\n for breath, muscles twitching.", "is heading into permanent shutdown and\n there will be no return. This entire\n ship will float off into eternity with no\n way of stopping it. We need to reset it.", "The SHUDDER hits the control desk, rattling the monitors and\n 1 WARNING LIGHTS and BUZZERS ignite as the ship feels full", "His scream is muffled under three inches of glass. The hatch\n door is hit with a THUD and white gases erupt from the edges.", "the barrel towards the hatch, nearly point blank.\n KA-CRAAAACK! The energy blast from the weapon hits the hatch\n like a lightening bolt sending a tremendous JOLT through the", "chamber, frantically trying to pull the hatch closed. TANAKA\n follows suite, jumping inside another chamber and BOWER\n scrambles, in search of an open door as footsteps are heard", "SHIIIISSSSH! High pressure steam erupts from the reactor's\n pressure relief valves. The HUNTERS back pedal in fear as", "His beam of light stabs into the darkness of the massive\n corridor. This is our first sense of the enormity of the\n ship, endless steel ribbed passageways that stretch in both\n directions as far as the light will illuminate.", "trap has triggered... SLAMMING the hatch closed. Trapped!\n They instantly turn back to the door, yanking and tugging in", "The HUNTER'S scatter in a panic as the BRIGHT FLAMES are\n blinding and a tremendous SHUDDER travels through the ship\n like an earthquake...", "As BOWER and NADIA run, the ship comes to life all around\n them, every LIGHT FLASHING and every mechanism ENGAGING at", "PAYTON rapidly pounds his fingers into the keyboard and...\n LIGHTS activate... causing one of the security doors to\n engage... sliding open. But, it's the wrong door, revealing\n a corridor leading endlessly into the back of the ship.", "The control panel on a sleep-chamber is FLASHING as a\n passenger KICKS his hatch open from the inside. The haggard" ], [ "TANAKA hits the floor, rolls to his feet and keeps running.\n HEFLIN and the HUNTERS slash the tangled snare with their\n weapons, trying to break through.", "I skin. Everyone is too stunned to react except for TANAKA,\n who instantly raises his weapon, preparing to kill it.", "TANAKA is running at full sprint, bounding over dishevelled\n equipment and weaving through debris as the pack of enraged", "TANAKA quickly follow. They help her push it shut, sealing\n the lock with a CLANK.", "HUNTERS emerge from every direction to follow his path.\n One HUNTER gains quickly at a sprinter's pace and TANAKA runs", "NADIA remains poised, ready to fight, knife raised. Sighing\n with defeat, BOWER gestures, hands raised as he motions for\n TANAKA and they slowly back towards the door.", "They both back away with horror only to see a mountain of\n carcasses on both sides. The only route is upward and they\n begin to crawl up the slope on their bellies, over dead", "NADIA is already gone. BOWER and TANAKA chase after her as\n the walls come to life, HUNTERS swarming onto their path like\n a pack of wild dogs.", "BOWER and NADIA are now completely engrossed in the story,\n both getting to their feet and walking closer to hear.\n TANAKA is asleep. LELAND is thrilled by their attention,", "BOWER gasps and the entire pack of HUNTERS moves toward them\n and... suddenly, TANAKA bangs his bladed weapon against the", "Slowly, TANAKA emerges from a hiding place, dropping down\n from the rafters overhead. With a grin he turns to head back\n the other direction to see...", "1 just said. They stare at one another in silence.\n TANAKA hands him a flashlight. BOWER does his best charades,\n gesturing to himself and pointing to the ship.", "Upon seeing the sleeping HUNTERS, LELAND fearfully backs\n away, exiting the room. NADIA and TANAKA grip the ladders,", "Chop, chop, chop... now there's only one.\n The sketches reveal violence between the three pilots, two of\n them killed, one remaining alive.", "CONTINUED:\n They exchange silent gestures and TANAKA heads one direction\n as BOWER heads the other... to corner it. The FIGURE begins", "NADIA follows him with a frown as LELAND and TANAKA remain\n poised with weapons near the doorway.\n BOWER'S walk slows as he moves past rows of sleep chambers,", "LELAND (CONT`D)\n King Lonely no longer wanted to play...\n he yearned to see the morning Sun on a\n Tanis day. He returned to his bed of", "TANAKA lunges, but NADIA blocks his attack. The CHILD HUNTER\n erupts with a horrific SCREECH, HISSING at them before", "TANAKA jumps to the neighboring catwalk and breaks through a\n hatch, coated with vines and vegetation. HEFLIN screeches a", "TANAKA, a Japanese man in ripped and modified clothing.\n Unlike the awkward gauntness of the HUNTERS, he has a full-" ], [ "His beam of light stabs into the darkness of the massive\n corridor. This is our first sense of the enormity of the\n ship, endless steel ribbed passageways that stretch in both\n directions as far as the light will illuminate.", "Inside the flight deck it's ghostly vacant, rows of empty\n flight chairs and numerous guidance computers gently\n blinking. With half filled coffee-cups and jackets hung over", "I\n Pitch black. Sounds of the ship surround us along with the\n occasional FLICKER of LIGHT. A whispered conversation\n between BOWER and the radio slowly comes into ear-shot as we\n find him, hidden beneath a console.", "(WHISPER)\n How could you have- You telling me\n people have been running around on board\n for several months!?\n\n NADIA\n Longer. I wasn't the first one up.", "SHUSH... THUD. Doors open to another sleep chamber\n compartment, completely undisturbed. Four undisturbed sleep-\n chambers are lined against the wall.", "Nothing on this ship will ever turn on\n again. Ever. Not the air, not the\n lights, the heat... not even the pod's\n escape launch systems.", "A tunneled stairwell widens out into the main flight bridge.\n A stunning sight, a split-level glass control deck, rows of\n blinking control panels and flight chairs. It appears", "As BOWER and NADIA run, the ship comes to life all around\n them, every LIGHT FLASHING and every mechanism ENGAGING at", "BOWER\n Where are we?\n\n NADIA\n Main corridor. Hyper-sleep chamber,\n Personnel. Keep your light down.\n\n (CONTINUED)", "CONTINUED:\n NADIA walks towards the windows and suddenly jumps back with\n fright to realize one of the flight control chairs has a", "PASSENGERS and HUNTERS engaged in a variety of activities all\n across the ship. Some are seen fighting, some searching for\n food, some searching for a way out, some alone weeping. A", "went lunar, launched the entire ship,\n five thousand people killed with the flip\n of a switch. All from a bad case of\n cabin fever-?", "GALLO\n I'm getting off this ship. My flight's\n over. OVER!\n Another panel on the console begins to gently blink as...\n\n CUT TO:", "1 just said. They stare at one another in silence.\n TANAKA hands him a flashlight. BOWER does his best charades,\n gesturing to himself and pointing to the ship.", "PAYTON spins the hand-crank, allowing the computer screen to\n glow brighter. He quickly works the keyboard, pulling up a\n diagram of the ship.", "BOWER\n I'm not the only flight crew officer\n awake. We're not in this alone.\n\n CUT TO:", "part of the passenger manifest. Possibly\n a glitch in the LFS support system, a\n breakdown in the main grid must have\n woken passengers, instead of the flight", "is heading into permanent shutdown and\n there will be no return. This entire\n ship will float off into eternity with no\n way of stopping it. We need to reset it.", "EXT. OUTER SPACE\n\n We slowly float towards an astroid field. As we grow closer\n it's the sea of sleep pods slowly floating through space.", "PAYTON\n Where's the... rest of the crew? It's\n our shift? Our rotation-\n\n BOWER\n I believe so." ], [ "It's a power surge that sends FLICKERING LIGHTS across the\n massive corridor and a BLINKING LIGHT is activated on a\n nearby sleep-chamber. And then...", "PAYTON\n Hmm. Ventilation... maybe. Systems keep\n re-booting after each surge. That could\n be anything.\n THUMPS fade as the ship eerily MOANS and CREAKS.", "Nothing on this ship will ever turn on\n again. Ever. Not the air, not the\n lights, the heat... not even the pod's\n escape launch systems.", "I\n Pitch black. Sounds of the ship surround us along with the\n occasional FLICKER of LIGHT. A whispered conversation\n between BOWER and the radio slowly comes into ear-shot as we\n find him, hidden beneath a console.", "The SHUDDER hits the control desk, rattling the monitors and\n 1 WARNING LIGHTS and BUZZERS ignite as the ship feels full", "A wall of monitors FLICKER, only offering a quick glance of\n surveillance cameras on the ship, images too quick and\n distorted to recognize but resembling empty corridors and\n vast cargo compartments.", "As BOWER and NADIA run, the ship comes to life all around\n them, every LIGHT FLASHING and every mechanism ENGAGING at", "FLICKERING LIGHTS. The power surge is enough to ignite a\n small landslide underneath them.", "Our group is now crowded on the catwalk above the tank,\n huddled around an assortment of patched together electronic\n equipment. BOWER is speaking into a receiver, bound together\n with wire while LELAND cranks the power lever.", "CONTINUED:\n The SCREENS FLICKER BRIGHTLY, all of the systems engaging.\n GALLO is shocked, pressing his face against the glass,\n peering across the computer terminals that are igniting.", "PAYTON\n Power surges keep coming across in longer\n increments, just like you said.\n\n (MORE)\n\n (CONTINUED)", "The HUNTER'S scatter in a panic as the BRIGHT FLAMES are\n blinding and a tremendous SHUDDER travels through the ship\n like an earthquake...", "His beam of light stabs into the darkness of the massive\n corridor. This is our first sense of the enormity of the\n ship, endless steel ribbed passageways that stretch in both\n directions as far as the light will illuminate.", "BOWER (ON RADIO) (CONT`D)\n The ship is dying and I think that's why\n it finally woke us up. The entire system", "INT. SLEEP CHAMBER/CONTROL DESK\n\n PAYTON vigorously cranks the power lever and slides his\n finger across the screen of the ship's blueprint.", "PLEASE GOD! NO! NO GOD DAMMIT!\n Control panels flash and hydraulics ignite. Like a row of", "1 just said. They stare at one another in silence.\n TANAKA hands him a flashlight. BOWER does his best charades,\n gesturing to himself and pointing to the ship.", "PAYTON spins the hand-crank, allowing the computer screen to\n glow brighter. He quickly works the keyboard, pulling up a\n diagram of the ship.", "BOWER types quickly, flipping numerous switches and... a\n SHUDDER is felt, the tower begins to TREMBLE with a low bass\n MOAN, like an engine trying to turn over.", "I\n simple as that. A systems malfunction.\n BOWER pauses his climb, looking up towards the \"apparent" ], [ "GALLO\n Orbital Dysfunctional Syndrome.\n Pandorum. Ever witnessed the symptoms of\n first-hand?\n\n PAYTON\n I've seen it before. But nothing that-", "BOWER\n I'm just thinking, maybe there's\n something we haven't considered. Eden\n failed... because of ODS syndrome. The", "They are sent spinning into a wild tumble as bubbles and gas\n erupt across the outer surface. BOWER and NADIA slam into\n one another as the chamber turns end over end.", "I\n simple as that. A systems malfunction.\n BOWER pauses his climb, looking up towards the \"apparent", "GALLO\n Do you know the symptoms of Pandorum?\n\n PAYTON\n What?", "one officer who was suffering from\n Pandorum. Cabin Fever. Maybe there was\n something similar with one of the earlier", "He squints at his darkened surroundings with confusion. A\n drip of liquid catches his eye and he staggers back to his\n sleep pod. He grabs the dangling tubes that were ripped from", "GALLO'S gaze is hollow and translucent as he stares through\n the glass porthole in the empty sleep chamber, his mind is\n deeply pondering. Pupils dilated.", "was an illusion. A glass compartment door left slightly ajar\n was reflecting a circular light panel, smeared with oil to\n give the illusion of craters. His shoulders drop in defeat.", "travels through his body while he staggers towards a nearby\n computer terminal. He taps the keys on a computer terminal.\n Nothing. He frowns, leaning closer.", "CONTINUED:\n NADIA walks towards the windows and suddenly jumps back with\n fright to realize one of the flight control chairs has a", "layer of dust. Under the smear is...\n Elysium - Flight Systems - Operation Terminal #87153-D.\n He pulls focus to see... his FINGERS are trembling", "Inside a coffin-size chamber, a dim glow of light seeps\n through a small glass porthole. A MAN is asleep, a mask\n attached to his face, tubes of liquid feeding into his arms.", "CONTINUED:\n The SCREENS FLICKER BRIGHTLY, all of the systems engaging.\n GALLO is shocked, pressing his face against the glass,\n peering across the computer terminals that are igniting.", "EXTENDED HYPER-SLEEP-\n\n PAYTON\n Corporal?\n\n BOWER\n Yes, sir. This is disorientation from-", "wrist. He's the only person in the room. Heavy blood\n streams are running from his nose and ears.\n Y77e will now refer to PAYTON by his real name, GALLO.", "different with all the systems engaged, BLINDING LIGHT coming\n from the monitors and computer terminals.\n They move through the room, passing the empty sleep chambers", "ceiling. A shiver of uneasiness goes through him as he sits,\n trapped within the room alone. He tries to divert his fears,\n turning to the control screen, giving the hand-crank a whirl.", "It's a power surge that sends FLICKERING LIGHTS across the\n massive corridor and a BLINKING LIGHT is activated on a\n nearby sleep-chamber. And then...", "PLEASE GOD! NO! NO GOD DAMMIT!\n Control panels flash and hydraulics ignite. Like a row of" ], [ "PAYTON (CONT'D)\n Corporal... Gallo?\n\n GALLO\n\n (TREMBLING)\n Yes, sir.", "GALLO (CONT'D)\n You don't want to go in there, Corporal.\n PAYTON throws him a glare, continuing to type in commands as\n the room erupts with activity.", "PAYTON\n Is this your blood... Corporal?\n\n GALLO\n Some of it is... sir.", "GALLO\n Corporal...\n PAYTON slams him against the wall, making him older.\n\n PAYTON\n\n (RAGE SIMMERING)", "GALLO\n\n OPEN THIS HATCH CORPORAL!\n\n E CUT TO:\n\n I", "GALLO\n Who the hell are you?\n\n PAYTON\n Payton... Lieutenant Payton.\n\n GALLO\n Lieutenant? You're... a lieutenant?", "GALLO\n\n (DRYLY)\n Mine too.\n\n BOWER\n Who the hell are you?\n GALLO keeps his gaze towards the windows, emotionless.", "GALLO\n Your mind... has turned against itself,\n\n CORPORAL-", "CONTINUED: (2)\n\n GALLO\n\n (IMPRESSED)\n How the hell would you know all that?", "I\n this. Trust me.\n No response. GALLO'S shadow moves behind him, his voice\n taking on a slight raspier and \"older\" tone.\n\n I", "GALLO\n You wanna stay here to die, that's your\n choice, not mine!\n\n PAYTON\n .to stand-down... Corporal.", "PAYTON\n You're not well, Corporal. You just need\n the proper treatment-\n\n GALLO", "He glances over to see... YOUNG GALLO, the younger version of\n himself, who is seated nearby, watching with a grin. The\n blood is gone from his face, appearing clean-cut, clean", "GALLO (CONT'D)\n You don't believe me.\n\n PAYTON\n I didn't say that-", "GALLO\n You ready for the new world, corporal?\n BOWER keeps the gun on him as he goes to the windows. NADIA", "GALLO (CONT`D)\n Who's being irrational here, Lieutenant?\n Tell me? Who's being delusional!? Hmm?\n PAYTON raises his hands, calmly submitting.", "GALLO\n\n (DEVILISH GRIN)\n They'll know what you did.\n\n PAYTON\n\n SHUT-UP!", "GALLO\n Finish the code...\n\n (CONTINUED)", "GALLO\n Whatever it was, they knew it was coming.\n Wished us well. We're all that's left.\n PAYTON sits back in shock, shaking his head in disbelief.", "BOWER (CONT'D)\n What is it?\n GALLO looks up with a blood-soaked grin.\n\n BOWER (CONT'D)\n What do you see!?" ], [ "EXT. OUTER SPACE\n\n We slowly float towards an astroid field. As we grow closer\n it's the sea of sleep pods slowly floating through space.", "Moonlight cuts across the hull, displaying the name; EDEN.", "is heading into permanent shutdown and\n there will be no return. This entire\n ship will float off into eternity with no\n way of stopping it. We need to reset it.", "I NADIA\n Do you know where this ship is headed?\n\n BOWER\n I'm working on it.\n\n NADIA\n Can you fly it?", "POV\n They are pulling away from the side of the ship. The\n exterior hull of the massive space ship slides past at a high", "PAYTON'S eyes scan across the dim flickering computer screen,\n a radar scan across a chart of planets... with no Earth shown\n on the screen.", "CUT TO:\n\n EXT. SHIP \"EDEN\" - CONT.", "Nothing on this ship will ever turn on\n again. Ever. Not the air, not the\n lights, the heat... not even the pod's\n escape launch systems.", "BOWER\n .Tanis. Planetary processing and\n population. We're a settler's vessel.", "His beam of light stabs into the darkness of the massive\n corridor. This is our first sense of the enormity of the\n ship, endless steel ribbed passageways that stretch in both\n directions as far as the light will illuminate.", "GALLO\n I'm getting off this ship. My flight's\n over. OVER!\n Another panel on the console begins to gently blink as...\n\n CUT TO:", "PAYTON\n This is no regular transport. We're not\n out collecting data off the belt or\n hauling cargo... we are the cargo. It", "PAYTON\n Where... are we?\n\n BOWER\n We're aboard the Elysium. From what I've\n\n GATHERED-", "BOWER\n Where are we?\n\n NADIA\n Main corridor. Hyper-sleep chamber,\n Personnel. Keep your light down.\n\n (CONTINUED)", "As BOWER and NADIA run, the ship comes to life all around\n them, every LIGHT FLASHING and every mechanism ENGAGING at", "I\n Pitch black. Sounds of the ship surround us along with the\n occasional FLICKER of LIGHT. A whispered conversation\n between BOWER and the radio slowly comes into ear-shot as we\n find him, hidden beneath a console.", "The HUNTER'S scatter in a panic as the BRIGHT FLAMES are\n blinding and a tremendous SHUDDER travels through the ship\n like an earthquake...", "PAYTON spins the hand-crank, allowing the computer screen to\n glow brighter. He quickly works the keyboard, pulling up a\n diagram of the ship.", "GALLO (CONT'D)\n It's already dead. You really believe\n that kid will be able to save this ship?\n\n PAYTON\n He can do it.", "1 just said. They stare at one another in silence.\n TANAKA hands him a flashlight. BOWER does his best charades,\n gesturing to himself and pointing to the ship." ], [ "Moonlight cuts across the hull, displaying the name; EDEN.", "BOWER\n Didn't even know the ship's name until I\n saw it-on the console. For all I know\n this was another damn training exercise-", "CONTINUED.\n\n GALLO\n Don't talk to me like some child that\n needs reassurance. Think I don't know\n the risks? Think I don't know this ship?", "Nothing on this ship will ever turn on\n again. Ever. Not the air, not the\n lights, the heat... not even the pod's\n escape launch systems.", "GALLO\n I know this ship and what she's capable\n of better then anyone. I know her... and\n I know what she can and can't do.\n\n PAYTON\n Easy...", "is heading into permanent shutdown and\n there will be no return. This entire\n ship will float off into eternity with no\n way of stopping it. We need to reset it.", "NADIA\n This ship was built to outlast our\n children's children... and any engineer\n could tell ya the warranty is running", "I NADIA\n Do you know where this ship is headed?\n\n BOWER\n I'm working on it.\n\n NADIA\n Can you fly it?", "BOWER (ON RADIO) (CONT`D)\n The ship is dying and I think that's why\n it finally woke us up. The entire system", "The HUNTER'S scatter in a panic as the BRIGHT FLAMES are\n blinding and a tremendous SHUDDER travels through the ship\n like an earthquake...", "PAYTON\n What are you suggesting, Corporal?\n\n GALLO\n We can still launch ourselves in the\n pods. Before the ignition systems are\n completely dead, sir.", "As BOWER and NADIA run, the ship comes to life all around\n them, every LIGHT FLASHING and every mechanism ENGAGING at", "went lunar, launched the entire ship,\n five thousand people killed with the flip\n of a switch. All from a bad case of\n cabin fever-?", "TEAMS-\n\n PAYTON\n No, no, no. You're talking about- Eden\n was lost because of a mechanical failure,", "GALLO\n I'm getting off this ship. My flight's\n over. OVER!\n Another panel on the console begins to gently blink as...\n\n CUT TO:", "BOWER\n Hold on. Please- There's not much time\n left before we lose everything onboard.\n You understand what I'm trying to-", "His beam of light stabs into the darkness of the massive\n corridor. This is our first sense of the enormity of the\n ship, endless steel ribbed passageways that stretch in both\n directions as far as the light will illuminate.", "GALLO (CONT'D)\n It's already dead. You really believe\n that kid will be able to save this ship?\n\n PAYTON\n He can do it.", "CUT TO:\n\n EXT. SHIP \"EDEN\" - CONT.", "GALLO\n You can see why I was hesitant... to tell\n even you. My fellow crew members didn't" ], [ "BOWER types in a command and the computer begins to scroll\n through the flight computer's time-code. Starting with the\n launch date and time the numbers begin to roll faster and", "NADIA\n Don't know. There's no way to tell time\n in here. Two... maybe three months.\n\n BOWER", "The time-code display rolls centuries past, more then a\n thousand years accounted for as it finally slows to a stop.", "(WHISPER)\n How could you have- You telling me\n people have been running around on board\n for several months!?\n\n NADIA\n Longer. I wasn't the first one up.", "BOWER\n Flight log. It'll tell us how long we've\n I been out... and how far we've gone.", "BOWER\n six... maybe eight hours ago. I had to\n crawl all the way from the upper deck", "PAYTON\n What are you suggesting, Corporal?\n\n GALLO\n We can still launch ourselves in the\n pods. Before the ignition systems are\n completely dead, sir.", "went lunar, launched the entire ship,\n five thousand people killed with the flip\n of a switch. All from a bad case of\n cabin fever-?", "1 just said. They stare at one another in silence.\n TANAKA hands him a flashlight. BOWER does his best charades,\n gesturing to himself and pointing to the ship.", "FOLLOW THRU:\n\n INT. COMMAND BRIDGE - CONT.", "one officer who was suffering from\n Pandorum. Cabin Fever. Maybe there was\n something similar with one of the earlier", "I\n Pitch black. Sounds of the ship surround us along with the\n occasional FLICKER of LIGHT. A whispered conversation\n between BOWER and the radio slowly comes into ear-shot as we\n find him, hidden beneath a console.", "(IN AWE)\n What's happened... to us? Where are we?\n BOWER goes to the nearest control console, tapping the\n keyboard. The computer instantly responds, data scrolling\n across the screen.", "hundred and twenty-three year flight.\n NADIA begins to gather a few items shoving them into a bag.\n TANAKKA leans closer to the glass display with fascination,", "Inside the flight deck it's ghostly vacant, rows of empty\n flight chairs and numerous guidance computers gently\n blinking. With half filled coffee-cups and jackets hung over", "MONTHS!?\n His voice echoes across the cavernous atrium and she glares-\n\n NADIA\n Quiet! You wanna get us killed!?\n\n BOWER", "BOWER\n it means we have less time then I\n thought. The last phase... before\n shutdown. It means we're... done.\n BOWER is oddly defeated, taking a seat, hanging his head.", "CONTINUED:\n NADIA walks towards the windows and suddenly jumps back with\n fright to realize one of the flight control chairs has a", "His beam of light stabs into the darkness of the massive\n corridor. This is our first sense of the enormity of the\n ship, endless steel ribbed passageways that stretch in both\n directions as far as the light will illuminate.", "past, no hope. A dangerous mix when\n you're stuck inside a tin can like this.\n The blow was more then he could handle.\n My lieutenant wasn't far behind." ], [ "PAYTON\n Where... are we?\n\n BOWER\n We're aboard the Elysium. From what I've\n\n GATHERED-", "(HAUNTING REALIZATION)\n Elysium. This was a one-way ticket.\n BOWER'S gaze goes distant as...", "went lunar, launched the entire ship,\n five thousand people killed with the flip\n of a switch. All from a bad case of\n cabin fever-?", "PASSENGERS and HUNTERS engaged in a variety of activities all\n across the ship. Some are seen fighting, some searching for\n food, some searching for a way out, some alone weeping. A", "Eylisium! The heaven for heroes, to\n venture further and farther then any of\n man's machine dared before it.", "(WHISPER)\n How could you have- You telling me\n people have been running around on board\n for several months!?\n\n NADIA\n Longer. I wasn't the first one up.", "That's why I came. There was nothing\n left for me there. She stayed on Earth.\n Gone... with everyone else. And I left\n because of her.", "Chop, chop, chop... now there's only one.\n The sketches reveal violence between the three pilots, two of\n them killed, one remaining alive.", "I\n PAYTON looks to the name plate that reads Elysium and a small\n emblem above it, a global shape with a spiral design.", "Nothing on this ship will ever turn on\n again. Ever. Not the air, not the\n lights, the heat... not even the pod's\n escape launch systems.", "LELAND continues across the wall-drawings, showing the one\n remaining pilot all alone aboard the massive ship.\n\n LELAND\n One little Indian left... all alone with\n his doom.", "BOWER\n Jesus...\n As they venture deeper inside they see numerous sleep-\n chambers, open hatches and empty. The further they move\n along the wall, more and more empty pods, too many to count.", "(BEAT)\n Only a few... who would be right.\n The further we move into the ship... signs of violence", "part of the passenger manifest. Possibly\n a glitch in the LFS support system, a\n breakdown in the main grid must have\n woken passengers, instead of the flight", "BOWER\n What's there to think about!? I\n remember! There was thousands of\n passengers that weren't part of the\n development team. Families that-", "They crawl out onto the top of a massive cylinder shaped\n shaft, numerous catwalks lining the walls with nothing but an\n abyss of darkness below them. An odor hits all of them in\n unison.", "through the room. The walls are lined with hundreds of sleep\n chambers, stacked ten high on either side.\n They round a corner into the main atrium to see dishevelled", "layer of dust. Under the smear is...\n Elysium - Flight Systems - Operation Terminal #87153-D.\n He pulls focus to see... his FINGERS are trembling", "BOWER\n Huh?\n\n SHEPARD\n Where's the rest of your squad?\n\n BOWER\n Squad? My Lieutenant and I were the-", "HUNTERS gather in a circle in ceremonial fashion, praying\n thanks for the feast the ship has presented.\n They watch helplessly as the BIG PASSENGER is then brutally" ], [ "His beam of light stabs into the darkness of the massive\n corridor. This is our first sense of the enormity of the\n ship, endless steel ribbed passageways that stretch in both\n directions as far as the light will illuminate.", "I\n Pitch black. Sounds of the ship surround us along with the\n occasional FLICKER of LIGHT. A whispered conversation\n between BOWER and the radio slowly comes into ear-shot as we\n find him, hidden beneath a console.", "1 just said. They stare at one another in silence.\n TANAKA hands him a flashlight. BOWER does his best charades,\n gesturing to himself and pointing to the ship.", "was an illusion. A glass compartment door left slightly ajar\n was reflecting a circular light panel, smeared with oil to\n give the illusion of craters. His shoulders drop in defeat.", "(TO NADIA)\n What's out there?\n NADIA shakes her head, rubbing away the sludge from the\n glass, squinting harder.", "Nothing on this ship will ever turn on\n again. Ever. Not the air, not the\n lights, the heat... not even the pod's\n escape launch systems.", "A wall of monitors FLICKER, only offering a quick glance of\n surveillance cameras on the ship, images too quick and\n distorted to recognize but resembling empty corridors and\n vast cargo compartments.", "A darkness like no other, a silence that is unsettling.\n Sharp pinholes of light show a sea of distant stars across", "with no sign of GALLO. On the far wall; cockpit windows\n coated with a black fungus that obscures the view, but hints", "Moonlight cuts across the hull, displaying the name; EDEN.", "Through the wreckage he spots... what appears to be a WINDOW.\n The haze of outer space and an odd-colored MOON are visible.", "window\", inside what appears to be a bluish moon, dotted with\n craters. He eagerly continues his climb, growing closer.", "GALLO\n Listen, I'm not a navigator. Stars all\n look alike. I don't know! How the hell", "Its roll seems to slow for a brief moment and BOWER squints\n toward the porthole to see...", "BOWER (ON RADIO) (CONT`D)\n The ship is dying and I think that's why\n it finally woke us up. The entire system", "That's why I came. There was nothing\n left for me there. She stayed on Earth.\n Gone... with everyone else. And I left\n because of her.", "Inside the flight deck it's ghostly vacant, rows of empty\n flight chairs and numerous guidance computers gently\n blinking. With half filled coffee-cups and jackets hung over", "the void of outer space. Our own motion is only realized as\n an enormous object slowly moves towards us, taking shape.\n A SPACE SHIP of unimaginable size, a tubular freighter easily", "Through the porthole... silhouetted HUNTERS move past with\n weapons in hand, search and destroy style. One HUNTER steps\n up only a few feet from their porthole and they freeze,", "PAYTON'S eyes scan across the dim flickering computer screen,\n a radar scan across a chart of planets... with no Earth shown\n on the screen." ], [ "Chop, chop, chop... now there's only one.\n The sketches reveal violence between the three pilots, two of\n them killed, one remaining alive.", "LELAND continues across the wall-drawings, showing the one\n remaining pilot all alone aboard the massive ship.\n\n LELAND\n One little Indian left... all alone with\n his doom.", "(CONTINUED)\n\n \n\n \n\n \n\n \n\n 34.", "(CONTINUED)\n\n \n\n \n\n \n\n \n\n 37.", "(CONTINUED)\n\n \n\n \n\n \n\n \n\n 41.", "(CONTINUED)\n\n \n\n \n\n \n\n \n\n 11.", "(CONTINUED)\n\n \n\n \n\n \n\n \n\n 117.", "(CONTINUED)\n\n \n\n \n\n \n\n \n\n 13.", "(CONTINUED)\n\n \n\n \n\n \n\n \n\n 118.", "(CONTINUED)\n\n \n\n \n\n \n\n \n\n 42.", "(CONTINUED)\n\n \n\n \n\n \n\n \n\n 27.", "(CONTINUED)\n\n \n\n \n\n \n\n \n\n 31.", "(CONTINUED)\n\n \n\n \n\n \n\n \n\n 29.", "(CONTINUED)\n\n \n\n \n\n \n\n \n\n 74.", "PASSENGERS and HUNTERS engaged in a variety of activities all\n across the ship. Some are seen fighting, some searching for\n food, some searching for a way out, some alone weeping. A", "(CONTINUED)\n\n \n\n \n\n \n\n \n\n 21.", "(CONTINUED)\n\n \n\n \n\n \n\n \n\n 22.", "BOWER\n Huh?\n\n SHEPARD\n Where's the rest of your squad?\n\n BOWER\n Squad? My Lieutenant and I were the-", "(CONTINUED)\n\n \n\n \n\n \n\n \n\n 26.", "(CONTINUED)\n\n \n\n \n\n \n\n \n\n 119." ], [ "1 just said. They stare at one another in silence.\n TANAKA hands him a flashlight. BOWER does his best charades,\n gesturing to himself and pointing to the ship.", "TANAKA quickly follow. They help her push it shut, sealing\n the lock with a CLANK.", "BOWER and NADIA are now completely engrossed in the story,\n both getting to their feet and walking closer to hear.\n TANAKA is asleep. LELAND is thrilled by their attention,", "PASSENGERS and HUNTERS engaged in a variety of activities all\n across the ship. Some are seen fighting, some searching for\n food, some searching for a way out, some alone weeping. A", "LELAND (CONT`D)\n King Lonely no longer wanted to play...\n he yearned to see the morning Sun on a\n Tanis day. He returned to his bed of", "Our group is now crowded on the catwalk above the tank,\n huddled around an assortment of patched together electronic\n equipment. BOWER is speaking into a receiver, bound together\n with wire while LELAND cranks the power lever.", "HUNTERS gather in a circle in ceremonial fashion, praying\n thanks for the feast the ship has presented.\n They watch helplessly as the BIG PASSENGER is then brutally", "chamber, frantically trying to pull the hatch closed. TANAKA\n follows suite, jumping inside another chamber and BOWER\n scrambles, in search of an open door as footsteps are heard", "sail our mighty ship to port! A new king\n to deliver us to paradise! Hail to the\n new King... Hail!", "BOWER\n (under his breath)\n Tanis.\n\n NADIA\n (off his look)\n You couldn't remember?", "BOWER and NADIA watch intently as TANAKA lazily sips the\n soup. The first image is off the ship's launch and LELAND", "(WHISPER)\n How could you have- You telling me\n people have been running around on board\n for several months!?\n\n NADIA\n Longer. I wasn't the first one up.", "I\n BOWER nods with a frown and she heads up the corridor. BOWER\n and TANAXA watch on.\n\n (CONTINUED)", "NADIA remains poised, ready to fight, knife raised. Sighing\n with defeat, BOWER gestures, hands raised as he motions for\n TANAKA and they slowly back towards the door.", "As BOWER and NADIA run, the ship comes to life all around\n them, every LIGHT FLASHING and every mechanism ENGAGING at", "went lunar, launched the entire ship,\n five thousand people killed with the flip\n of a switch. All from a bad case of\n cabin fever-?", "SHIT-\n NADIA gestures for them to stay put. TANAKA wants to leave,\n but BOWER grabs his shoulder. They both grip weapons,", "NADIA follows him with a frown as LELAND and TANAKA remain\n poised with weapons near the doorway.\n BOWER'S walk slows as he moves past rows of sleep chambers,", "ANOTHER ONE-\n BOWER quickly finds his weapon on the floor and HEFLIN slowly\n begins to TAP his spear against the wall, echoing a continual\n clank through the hull.", "I skin. Everyone is too stunned to react except for TANAKA,\n who instantly raises his weapon, preparing to kill it." ], [ "NADIA\n Don't know. There's no way to tell time\n in here. Two... maybe three months.\n\n BOWER", "NADIA\n This ship was built to outlast our\n children's children... and any engineer\n could tell ya the warranty is running", "The time-code display rolls centuries past, more then a\n thousand years accounted for as it finally slows to a stop.", "Nothing on this ship will ever turn on\n again. Ever. Not the air, not the\n lights, the heat... not even the pod's\n escape launch systems.", "His beam of light stabs into the darkness of the massive\n corridor. This is our first sense of the enormity of the\n ship, endless steel ribbed passageways that stretch in both\n directions as far as the light will illuminate.", "BOWER\n six... maybe eight hours ago. I had to\n crawl all the way from the upper deck", "1 just said. They stare at one another in silence.\n TANAKA hands him a flashlight. BOWER does his best charades,\n gesturing to himself and pointing to the ship.", "I\n Pitch black. Sounds of the ship surround us along with the\n occasional FLICKER of LIGHT. A whispered conversation\n between BOWER and the radio slowly comes into ear-shot as we\n find him, hidden beneath a console.", "BOWER (ON RADIO) (CONT`D)\n The ship is dying and I think that's why\n it finally woke us up. The entire system", "(WHISPER)\n How could you have- You telling me\n people have been running around on board\n for several months!?\n\n NADIA\n Longer. I wasn't the first one up.", "They reach the bottom level where a distant RUMBLE has grown\n louder. They follow the sound through a field of debris to a\n clear path leading to an open hatchway.", "BOWER\n You said two years. You think we've been\n asleep for two years?", "Pitch black. A low CHURNING is heard, a motor that is\n pumping as the water lowers, allowing us to see across the", "hundred and twenty-three year flight.\n NADIA begins to gather a few items shoving them into a bag.\n TANAKKA leans closer to the glass display with fascination,", "As BOWER and NADIA run, the ship comes to life all around\n them, every LIGHT FLASHING and every mechanism ENGAGING at", "went lunar, launched the entire ship,\n five thousand people killed with the flip\n of a switch. All from a bad case of\n cabin fever-?", "Moonlight cuts across the hull, displaying the name; EDEN.", "sail our mighty ship to port! A new king\n to deliver us to paradise! Hail to the\n new King... Hail!", "His scream is muffled under three inches of glass. The hatch\n door is hit with a THUD and white gases erupt from the edges.", "They crawl out onto the top of a massive cylinder shaped\n shaft, numerous catwalks lining the walls with nothing but an\n abyss of darkness below them. An odor hits all of them in\n unison." ], [ "PASSENGERS and HUNTERS engaged in a variety of activities all\n across the ship. Some are seen fighting, some searching for\n food, some searching for a way out, some alone weeping. A", "Nothing on this ship will ever turn on\n again. Ever. Not the air, not the\n lights, the heat... not even the pod's\n escape launch systems.", "went lunar, launched the entire ship,\n five thousand people killed with the flip\n of a switch. All from a bad case of\n cabin fever-?", "LELAND continues across the wall-drawings, showing the one\n remaining pilot all alone aboard the massive ship.\n\n LELAND\n One little Indian left... all alone with\n his doom.", "Chop, chop, chop... now there's only one.\n The sketches reveal violence between the three pilots, two of\n them killed, one remaining alive.", "(BEAT)\n Only a few... who would be right.\n The further we move into the ship... signs of violence", "(WHISPER)\n How could you have- You telling me\n people have been running around on board\n for several months!?\n\n NADIA\n Longer. I wasn't the first one up.", "BOWER (ON RADIO) (CONT`D)\n The ship is dying and I think that's why\n it finally woke us up. The entire system", "BOWER\n Jesus...\n As they venture deeper inside they see numerous sleep-\n chambers, open hatches and empty. The further they move\n along the wall, more and more empty pods, too many to count.", "I\n Pitch black. Sounds of the ship surround us along with the\n occasional FLICKER of LIGHT. A whispered conversation\n between BOWER and the radio slowly comes into ear-shot as we\n find him, hidden beneath a console.", "HUNTERS gather in a circle in ceremonial fashion, praying\n thanks for the feast the ship has presented.\n They watch helplessly as the BIG PASSENGER is then brutally", "GALLO (CONT'D)\n It's already dead. You really believe\n that kid will be able to save this ship?\n\n PAYTON\n He can do it.", "1 just said. They stare at one another in silence.\n TANAKA hands him a flashlight. BOWER does his best charades,\n gesturing to himself and pointing to the ship.", "BOWER\n Hold on. Please- There's not much time\n left before we lose everything onboard.\n You understand what I'm trying to-", "part of the passenger manifest. Possibly\n a glitch in the LFS support system, a\n breakdown in the main grid must have\n woken passengers, instead of the flight", "one officer who was suffering from\n Pandorum. Cabin Fever. Maybe there was\n something similar with one of the earlier", "NADIR\n It' seems to be the only living thing left\n on this ship worth protecting.\n Regardless of the situation, we still", "BOWER\n Umm, not sure. It had to have been the\n flight computer. There's no one here...\n (off his look)\n .except us.", "systems, finding them would be easy. Are\n you hearing me? We save the ship... we\n can save them all.", "His beam of light stabs into the darkness of the massive\n corridor. This is our first sense of the enormity of the\n ship, endless steel ribbed passageways that stretch in both\n directions as far as the light will illuminate." ], [ "Inside a coffin-size chamber, a dim glow of light seeps\n through a small glass porthole. A MAN is asleep, a mask\n attached to his face, tubes of liquid feeding into his arms.", "CONTINUED:\n He feels his neck for a pulse. He notices the dried blood\n under his nose then gently pulls aside the blanket to see", "his arm and he sucks on the tube, pulling as much liquid into\n his mouth as possible.\n After a few heavy gulps, he suddenly heaves towards the", "THUD, THUD... THUD! The door bursts open and BOWER scampers\n out, struggling to rip away the feeding tubes. He HITS the", "GALLO\n It's not something you can easily detect.\n Starts with a shiver. An itch. A slow", "39.\n\n INT. INFIRMARY - CONT.", "GALLO collapses onto the floor, crumbling into a fetal\n position, naked. His hands are locked in claw-like grips,", "He squints at his darkened surroundings with confusion. A\n drip of liquid catches his eye and he staggers back to his\n sleep pod. He grabs the dangling tubes that were ripped from", "wrist. He's the only person in the room. Heavy blood\n streams are running from his nose and ears.\n Y77e will now refer to PAYTON by his real name, GALLO.", "GALLO'S hands are beginning to tremble as he struggles\n through the story.", "travels through his body while he staggers towards a nearby\n computer terminal. He taps the keys on a computer terminal.\n Nothing. He frowns, leaning closer.", "(CONTINUED)\n\n \n\n \n\n \n\n \n\n 3.", "pipe and the pistol-gripped syringe, glaring down at him.\n The heavy streams of blood are oozing from his nose and ears,\n insanity shown in his hollow gaze.", "to the floor. They viciously pound it with pipes and blades\n until it finally stops flinching beneath them.\n Its pale white skin seeps a thick black colored blood. The", "CONTINUED:\n He smiles, revealing several missing teeth. No one laughs.", "(CONTINUED)\n\n \n\n \n\n \n\n \n\n 11.", "(CONTINUED)\n\n \n\n \n\n \n\n \n\n 2.", "I\n\n (CONTINUED)", "(CONTINUED)\n\n \n\n \n\n \n\n \n\n 119.", "(CONTINUED)\n\n \n\n \n\n \n\n \n\n I" ], [ "Inside a coffin-size chamber, a dim glow of light seeps\n through a small glass porthole. A MAN is asleep, a mask\n attached to his face, tubes of liquid feeding into his arms.", "EXT. OUTER SPACE\n\n We slowly float towards an astroid field. As we grow closer\n it's the sea of sleep pods slowly floating through space.", "A FEMALE CREW MEMBER, a beautiful young woman, deep in hyper--\n slumber suddenly twitches... her EYES opening wide with a\n GASP as she stares into CAMERA.", "He squints at his darkened surroundings with confusion. A\n drip of liquid catches his eye and he staggers back to his\n sleep pod. He grabs the dangling tubes that were ripped from", "CUT TO:\n\n INT. SLEEP CHAMBER COMPARTMENT - CONT.", "CUT TO:\n\n INT. SLEEP CHAMBER COMPARTMENT - CONT.", "It's a power surge that sends FLICKERING LIGHTS across the\n massive corridor and a BLINKING LIGHT is activated on a\n nearby sleep-chamber. And then...", "SHUSH... THUD. Doors open to another sleep chamber\n compartment, completely undisturbed. Four undisturbed sleep-\n chambers are lined against the wall.", "The control panel on a sleep-chamber is FLASHING as a\n passenger KICKS his hatch open from the inside. The haggard", "SHEPARD\n You... just woke up?\n\n (CONTINUED)", "EXTENDED HYPER-SLEEP-\n\n PAYTON\n Corporal?\n\n BOWER\n Yes, sir. This is disorientation from-", "I\n\n DISSOLVE TO:\n\n I\n\n INT. SLEEP CHAMBER/CONTROL DESK", "CUT TO:\n\n INT. SLEEP CHAMBER/MAIN CORRIDOR - CONT.", "CUT TO:\n\n INT. SLEEP CHAMBER/MAIN CORRIDOR", "part of the passenger manifest. Possibly\n a glitch in the LFS support system, a\n breakdown in the main grid must have\n woken passengers, instead of the flight", "through the room. The walls are lined with hundreds of sleep\n chambers, stacked ten high on either side.\n They round a corner into the main atrium to see dishevelled", "M. HYPER-SLEEP CHAMBER\n A RUMBLE passes... EYELIDS TWITCH... A GASP.", "INT. SLEEP CHAMBER/CONTROL DESK - LATER\n\n PAYTON is asleep, seated on the floor, back to the wall. He\n is awoken by...", "Another KICK bursts open the hatch and a BIG PASSENGER crawls\n out, slamming onto the floor with a shiver of agony, gasping\n for breath, muscles twitching.", "INT. SLEEP CHAMBER/CONTROL DESK\n\n PAYTON vigorously cranks the power lever and slides his\n finger across the screen of the ship's blueprint." ], [ "assortment of crudely made weapons, spears and blades of\n sharpened metal.\n The apparent leader of the pack is HEFLIN, the largest and", "HEFLIN waiting for him.\n They stare one another down, both raising their bladed\n weapons as LIGHTS shatter and implode around them from their\n own intensity.", "I skin. Everyone is too stunned to react except for TANAKA,\n who instantly raises his weapon, preparing to kill it.", "Chop, chop, chop... now there's only one.\n The sketches reveal violence between the three pilots, two of\n them killed, one remaining alive.", "the wall as he's literally being reeled in like a fish. He\n sees the FIGURE charging with a bladed spear. He's knows\n he's done for and...", "ANOTHER ONE-\n BOWER quickly finds his weapon on the floor and HEFLIN slowly\n begins to TAP his spear against the wall, echoing a continual\n clank through the hull.", "LELAND (CONT'D)\n A gallant knight who will wake the fiery\n beast, light the rockets torch that will", "command and the HUNTERS ignite in a chain-reaction, grabbing\n their weapons and taking chase like a swarm of attack dogs.\n They climb the wall with inhuman speed and rush out the", "POW! BOWER charges into the HUNTER, tackling it and they\n spin into a brutal and distorted fight, seen under the", "BOWER\n This is our chance.\n BOWER leads the way out of the hiding place, heading quickly\n towards the open hatch where an eerie glow and rumble is\n felt. They crawl through the hatch and enter into...", "NADIA remains poised, ready to fight, knife raised. Sighing\n with defeat, BOWER gestures, hands raised as he motions for\n TANAKA and they slowly back towards the door.", "directly for the open hatchway. (The hatchway they detoured\n earlier.) He dives through as the sprinting HUNTER is almost\n upon him.", "human. It grabs BOWER by the head with a GROWL and...", "fastened down within a thirty foot radius. This little thing\n packs a punch.\n The HUNTERS turn towards BOWER, the lead hunter turning to\n reveal itself as...", "with his bladed pipe into the HUNTER'S face. It's a hit that\n would normally kill anything, nearly taking its head off.", "With WEASEL SCREECHING wildly and engulfed in flame, BOWER\n viciously continues pummeling him, throwing a rage of blows", "attacked and eaten alive. WEASEL leads other HUNTERS under\n the flickering light in a demented and twisted celebratory\n dance, a frenzy of pure evil.", "LELAND (CONT`D)\n King Lonely no longer wanted to play...\n he yearned to see the morning Sun on a\n Tanis day. He returned to his bed of", "The sword play is crude, but powerful and brutal. HEFLIN\n can't match his skills and pile-drives him, ripping into him", "CONTINUED:\n She leads the way along the wall and into a compartment of\n unimaginable size, fifty foot high steel walls that channel" ], [ "PAYTON (CONT'D)\n What's your name? Huh? Can you hear me?\n\n GALLO\n\n (MUMBLING)\n Gallo.", "PAYTON (CONT'D)\n\n IDENTIFY YOURSELF!\n His flashlight pans up the wall to the ventilation shaft.", "CONTINUED: (2)\n\n PAYTON\n I figured you'd tell me.", "PAYTON (CONT'D)\n Tell me... what happened?\n GALLO is hyper-ventilating, eyes wide with terror. A droplet", "CONTINUED: (2)\n PAYTON is ALONE. He's just injected the syringe into his own", "PAYTON (CONT'D)\n Com'on. Try to drink a little. Here.\n GALLO is unresponsive, wide eyes locked in a trance.", "PAYTON (CONT'D)\n Corporal?\n\n GASP, GASP, GASP...", "PAYTON\n Five? How do you know that?\n BOWER pulls up his sleeve, exposing his tattoo ID. PAYTON\n nods, \"good thinking.\"", "PAYTON\n Who are you?\n\n BOWER\n Bower. Corporal... Bower, sir. I'm the-\n\n (CONTINUED)", "PAYTON pulls on his flight uniform and squeezes his feet into\n his shoes. BOWER notices the identification tattoo on his\n forearm, partially obscured from view;", "NADIA\n Who's... Payton?\n\n BOWER\n I remember her. I remember-\n His eyes pull focus, coming out of his daze, memories\n returning with confusion.", "CONTINUED: (3)\n Off his stare, he understands the implication.\n\n PAYTON (CONT' D )\n Your crew?", "PAYTON suddenly leans forward in his chair, memory sparked.\n\n PAYTON\n What did you say?\n\n I", "PAYTON (CONT'D)\n Bower? Can you hear me?\n\n (CLICK)\n Bower? Answer me, God dammit.", "BOWER (CONT'D)\n Payton!? Do you copy!? HEY!?\n Finally...", "CONTINUED: (2)\n The more PAYTON inquires, the more GALLO begins to unravel,\n emotionally. His eyes widen with terror, breath quickening.", "PAYTON (CONT'D)\n .you're okay-\n GALLO tucks his shaking hands under the blanket, defensively.", "CUT TO:\n\n INT. SLEEP CHAMBER/CONTROL, DESK\n\n PAYTON is remembering, eyes widening with the realization,\n not completely at ease with the thought.", "PAYTON\n Jesus, don't scare me like that! Where\n are you?\n\n CUT TO:\n\n INT. STORAGE BIN", "PAYTON (ON RADIO) (CONT'D)\n Watch yourself!\n BOWER hesitates, the flashlight reveals SHEPARD'S" ], [ "BOWER (CONT'D)", "CONTINUED: (3)\n\n BOWER (CONT'D)", "CONTINUED: (2)\n\n BOWER (CONT'D)", "NADIA\n What about your duty? What about... your\n wife!? There's still a chance she's-\n\n BOWER\n She's dead.", "BOWER (CONT'D)\n Payton!? Where is your wife?\n\n PAYTON\n What?", "BOWER (CONT'D)\n (under his breath)\n How could I have... left her? Why would\n I have done that? I loved her...\n BOWER snaps out of his trance.", "BOWER\n Yeah... well no sympathy here. She left\n me with a few sore spots too, pal.", "BOWER (CONT'D)\n Bower? Bower...?\n The loss of memory heightens his fear even more as a shiver", "BOWER\n Why would I-leave her? I can't even\n remember saying good-bye. Why would I?\n\n CUT TO:", "CONTINUED: (2)\n BOWER is quickly growing drowsy, slurring his words as he", "CONTINUED:\n\n BOWER (CONT'D)\n The fucking breeding tests- The wives,\n the husbands- The- She's on this God\n damn flight!", "BOWER\n Marianne.\n\n NADIA\n you... knew her?\n\n BOWER\n I remember her. Payton's wife.", "BOWER (CONT'D)\n\n (BITTERLY)\n\n I'M NOT IN CHARGE HERE!!", "BOWER\n She's not on this flight. She wouldn't\n come with me. She wouldn't marry me.\n (sigh of disgust)", "NADIA (CONT'D)\n You think she's... here?\n\n BOWER\n She's not here. She's dead.\n\n (CONTINUED)", "BOWER (CONT'D)\n Oh, I- didn't even think of that.\n\n (CONTINUED)", "BOWER (CONT'D)\n You crazy fucking bitch-\n He wields the only weapon he can find... his shoe. And her", "I\n As the dozens and dozens of nameplates move past his\n flashlight, BOWER pauses.\n\n BOWER\n Wait a second. My wife-", "PAYTON (CONT'D)\n Wife...?\n\n BOWER\n Yeah... I think so.", "BOWER (CONT`D)\n No, no... N00000!\n He slides head first into a vertical drop, the shaft" ], [ "CONTINUED:\n\n BOWER\n What are you talking about?\n PAYTON glances across the control console, nodding with more\n memories returning.", "NADIA\n Who's... Payton?\n\n BOWER\n I remember her. I remember-\n His eyes pull focus, coming out of his daze, memories\n returning with confusion.", "PAYTON\n Must be newlyweds. How can you forget\n something like that?\n\n BOWER\n What do-you remember? Anything yet?", "CONTINUED:\n\n BOWER (CONT'D)\n it says that the memory loss is only\n suppose to be a momentary loss that's-", "CONTINUED:\n\n PAYTON\n Bower...? You alright? BOWER!?\n\n CUT TO:", "PAYTON\n\n (NOT FAMILIAR)\n Bower?\n\n BOWER\n That's right. You're waking from", "BOWER (CONT'D)\n Bower? Bower...?\n The loss of memory heightens his fear even more as a shiver", "CONTINUED: (2)\n\n BOWER (CONT'D)\n\n (PANICKED)\n Payton...? Are you there? Answer me.", "BOWER (CONT'D)\n Payton!? Where is your wife?\n\n PAYTON\n What?", "BOWER\n Where could he have gone?\n PAYTON gazes off blankly. A RUMBLE of FLICKERING LIGHTS pass\n and the computer screens slowly fade, going black.", "BOWER\n I dunno. I can't remember my own- but I\n know everything there is to know about\n that damn reactor.\n\n PAYTON\n The training stuck.", "BOWER (CONT'D)\n Payton!? Do you copy!? HEY!?\n Finally...", "BOWER\n Sir... I don't know where anyone is.\n PAYTON takes breaths, trying to regain his senses, glancing\n around at their darkened surroundings.", "PAYTON (CONT'D)\n Bower? Can you hear me?\n\n (CLICK)\n Bower? Answer me, God dammit.", "CONTINUED:\n\n PAYTON\n Bower? BOWER!? Stop it. Stop it!\n Just listen to me. Put it out of your\n head. Stop moving and breath. Listen to", "PAYTON\n Bower!? What happened? Bower!?\n All he can hear is the muffled, panicked struggle. The\n RUMBLE of a power surge approaches.\n\n CUT TO:", "PAYTON\n Bower .\n\n BOWER\n Yeah?\n\n (CONTINUED)", "PAYTON\n Who are you?\n\n BOWER\n Bower. Corporal... Bower, sir. I'm the-\n\n (CONTINUED)", "BOWER (CONT'D)\n (reading to himself)\n .in the event of mild memory loss...\n resulting from extended-", "BOWER\n Marianne.\n\n NADIA\n you... knew her?\n\n BOWER\n I remember her. Payton's wife." ], [ "LELAND (CONT'D)", "LELAND\n Whoa... WHOA! What the hell was that!?\n LELAND is exposed from his hiding place, waving the smoke", "LELAND (CONT'D)\n No idea.\n He turns back to his make-shift stove, chuckling to himself.", "LELAND (CONT'D)\n You're crazy... You can't-", "LELAND (CONT`D)\n King Lonely no longer wanted to play...\n he yearned to see the morning Sun on a\n Tanis day. He returned to his bed of", "LELAND\n We made it! We- I'm with your boy. I\n was the one helping with-", "LELAND (CONT`D)\n Refused to go to bed, stayed up to play\n in his room. Oh, and what naughty little", "LELAND (CONT'D)\n What did you do!?\n BOWER whirls the lever on the weapon and points it at him.\n\n BOWER\n Shut off the gas!", "LELAND and GALLO exchange a look... GALLO seeming to snap out\n of his trance. LELAND approaches, wheezing for air.", "LELAND (CONT'D)\n Three of our bravest... atop the watch\n tower as we slept. A slumber deeper then\n any have dared... with only three little\n Indians left to mind the store...", "A small propane flame is lit. LELAND hovers over a make-\n shift stove, heating a can of water. He pours in some powder\n and stirs it up with the meticulous nature of a chef\n preparing fine cuisine.", "LELAND (CONT'D)\n A gallant knight who will wake the fiery\n beast, light the rockets torch that will", "LELAND\n Mmmm. Lemme think. What's today,\n Tuesday? That would be about, mmm...\n He counts in his head and across his fingers, carefully\n calculating, then a grin.", "LELAND\n Little bastard rang the bell.\n They all quickly turn back, running down a side corridor and\n into...\n\n FOLLOW THRU:", "LELAND\n No, no, no. Back in der' big boy!\n\n (CONTINUED)", "I story has been crudely sketched out along the wall of the\n tank. LELAND lurks through the shadows, telling the tale", "LELAND\n Save yer questions til the end please.\n We'll have a review.\n LELAND continues his performance as NADIA leans toward BOWER\n with concern.", "BOWER looks for a path downward along the tangled metal of\n catwalks, coated in algae. LELAND'S fear has instantly\n surfaced, unable to move.", "LELAND (CONT'D)\n Tough crowd. Com'in, com'in. Grab a\n bunk. Three singles or will a queen do?", "LELAND is knocked off his feet and he GASPS with shock." ] ]

[ "What is Elysium?", "What is Tanis?", "Who awakens from hypersleep?", "What causes power surges in the ship?", "What is the nickname of Orbital Dysfuntion Syndrome?", "What mission was ruined by cause of Orbital Dysfuntion Syndrome?", "What does Gallo Claim about he ship?", "What triggers the hull breach emergency system?", "How many survivors reach Tanus?", "What is the length of a shift for people maintaining the ship during its flight? ", "What is causing the power surges to the ship? ", "What is the nickname for Orbital Dysfunction Syndrome? ", "What is the true identity of Corporal Gallo? ", "What is the name of the planet the ship is headed to? ", "What was the name of a previous ship attempting the same mission? ", "How much time had actually elapsed since the beginning of the mission? ", "How many people were originally on the Elysium? ", "What was the actual reason no stars could be seen out of the windows of the ship? ", "What was the final number of survivors from the mission? ", "How many people were put aboard the ship to be sent to Tanis?", "How many years did the ship spend stationary and underwater after arriving at its destination?", "How many people survived from the original number of humans aboard the ship?", "What is the name of the medical condition that is central to the story?", "Who woke up from hypersleep at the beginning of the story?", "Who did the humanoid leader challenge in single combat?", "What is Payton's real identity?", "What happened to Bower's wife?", "Why do Bower and Payton have partial amnesia?", "How did Leland survive for years?" ]

[ [ "An interstellar ark", "The spaceship leaving earth" ], [ "An earth like planet", "A earth-like planet" ], [ "Bower and Payton", "Corporal Bower and Lieutenant Payton" ], [ "Unstable nuclear reactor", "Unstable nuclear reactor" ], [ "Pandorum", "Pandorum. " ], [ "The Eden Mission", "Eden" ], [ "It is lost in space", "That the ship is lost in space. " ], [ "The flood", "Water flooding the ship" ], [ "1213", "1213" ], [ "Two years ", "Two years." ], [ "An unstable nuclear reactor ", "The reactor being off." ], [ "Pandorum", "Pandorum" ], [ "Lieutenant Payton", "Payton" ], [ "Tanis", "Tanis" ], [ "Eden", "Eden" ], [ "923 years ", "923 years" ], [ "60,000", "60,000" ], [ "The ship was underwater", "They were under water and not in space." ], [ "1,213", "1213" ], [ "60000.", "60,000" ], [ "800.", "800" ], [ "1213.", "1213" ], [ "Orbital Dysfunction Syndrome or Pandorum.", "Orbital Dysfunction Syndrom or Pandorum" ], [ "Corporal Bower and Lieutenant Payton.", "Corporal Bower and Lt. Payton" ], [ "Manh.", "Mahn" ], [ "Gallo.", "A younger Gallo." ], [ "She divorced him, stayed on Earth, and disappeared with the rest of Earth.", "She divorced him and stayed on Earth" ], [ "Improper emergency from the hibernatory state.", "They were awakened from hypersleep to early." ], [ "Water leaking into the ship, algae, and cannibalism.", "By drinking leaking water,eating algae,and eating other humans." ] ]

[ [ "1. Now as to Hades, wherein the souls of the good things they\nsee, and rejoice in the righteous and unrighteous are detained, it is", "5. This is the discourse concerning Hades, wherein the souls of all men\nare confined until a proper season, which God hath determined, when", "necessary to speak of it. Hades is a place in the world not regularly\nfinished; a subterraneous region, wherein the light of this world does\nnot shine; from which circumstance, that in this region the light does", "not shine, it cannot be but there must be in it perpetual darkness. This\nregion is allotted as a place of custody for souls, ill which angels\nare appointed as guardians to them, who distribute to them temporary", "through that are conducted down by the angels appointed over souls, they\ndo not go the same way; but the just are guided to the right hand, and", "AN EXTRACT OUT OF JOSEPHUS'S DISCOURSE TO THE GREEKS CONCERNING HADES\n\nBy Flavius Josephus\n\n\nTranslated by William Whiston", "incorruptible and never-fading kingdom. These are now indeed confined in\nHades, but not in the same place wherein the unjust are confined.", "that are set over these souls drag them into the neighborhood of hell\nitself; who, when they are hard by it, continually hear the noise of\nit, and do not stand clear of the hot vapor itself; but when they have", "3. For there is one descent into this region, at whose gate we believe\nthere stands an archangel with an host; which gate when those pass", "but as prisoners driven by violence; to whom are sent the angels\nappointed over them to reproach them and threaten them with their\nterrible looks, and to thrust them still downwards. Now those angels", "in order to fulfill the will of his Father, shall come as Judge, whom\nwe call Christ. For Minos and Rhadamanthus are not the judges, as", "4. But as to the unjust, they are dragged by force to the left hand by\nthe angels allotted for punishment, no longer going with a good-will,", "are led with hymns, sung by the angels appointed over that place, unto a\nregion of light, in which the just have dwelt from the beginning of the", "and so as never to be destroyed any more. And to every body shall its\nown soul be restored. And when it hath clothed itself with that body, it", "2. In this region there is a certain place set apart, as a lake of\nunquenchable fire, whereinto we suppose no one hath hitherto been cast;", "the countenance of the and of the just, which they see, always smiles\nthem, while they wait for that rest and eternal new life in heaven,\nwhich is to succeed this region. This place we call The Bosom of", "them; for the just are no longer seen by them, nor are they thought\nworthy of remembrance. But the just shall remember only their righteous\nactions, whereby they have attained the heavenly kingdom, in which", "as to God himself, shall be adjudged to this everlasting punishment,\nas having been the causes of defilement; while the just shall obtain an", "End of the Project Gutenberg EBook of An Extract out of Josephus's Discourse\nto The Greeks Concerning Hades, by Flavius Josephus", "righteously now in this world, and never having had it as a snare, it\nwill receive it again with great gladness. But as for the unjust,\nthey will receive their bodies not changed, not freed from diseases or" ], [ "necessary to speak of it. Hades is a place in the world not regularly\nfinished; a subterraneous region, wherein the light of this world does\nnot shine; from which circumstance, that in this region the light does", "5. This is the discourse concerning Hades, wherein the souls of all men\nare confined until a proper season, which God hath determined, when", "3. For there is one descent into this region, at whose gate we believe\nthere stands an archangel with an host; which gate when those pass", "1. Now as to Hades, wherein the souls of the good things they\nsee, and rejoice in the righteous and unrighteous are detained, it is", "AN EXTRACT OUT OF JOSEPHUS'S DISCOURSE TO THE GREEKS CONCERNING HADES\n\nBy Flavius Josephus\n\n\nTranslated by William Whiston", "incorruptible and never-fading kingdom. These are now indeed confined in\nHades, but not in the same place wherein the unjust are confined.", "not shine, it cannot be but there must be in it perpetual darkness. This\nregion is allotted as a place of custody for souls, ill which angels\nare appointed as guardians to them, who distribute to them temporary", "that are set over these souls drag them into the neighborhood of hell\nitself; who, when they are hard by it, continually hear the noise of\nit, and do not stand clear of the hot vapor itself; but when they have", "through that are conducted down by the angels appointed over souls, they\ndo not go the same way; but the just are guided to the right hand, and", "in order to fulfill the will of his Father, shall come as Judge, whom\nwe call Christ. For Minos and Rhadamanthus are not the judges, as", "2. In this region there is a certain place set apart, as a lake of\nunquenchable fire, whereinto we suppose no one hath hitherto been cast;", "but as prisoners driven by violence; to whom are sent the angels\nappointed over them to reproach them and threaten them with their\nterrible looks, and to thrust them still downwards. Now those angels", "End of the Project Gutenberg EBook of An Extract out of Josephus's Discourse\nto The Greeks Concerning Hades, by Flavius Josephus", "the countenance of the and of the just, which they see, always smiles\nthem, while they wait for that rest and eternal new life in heaven,\nwhich is to succeed this region. This place we call The Bosom of", "and so as never to be destroyed any more. And to every body shall its\nown soul be restored. And when it hath clothed itself with that body, it", "are led with hymns, sung by the angels appointed over that place, unto a\nregion of light, in which the just have dwelt from the beginning of the", "4. But as to the unjust, they are dragged by force to the left hand by\nthe angels allotted for punishment, no longer going with a good-will,", "and that without end, and a certain fiery worm, never dying, and not\ndestroying the body, but continuing its eruption out of the body with", "righteously now in this world, and never having had it as a snare, it\nwill receive it again with great gladness. But as for the unjust,\nthey will receive their bodies not changed, not freed from diseases or", "body will be raised again; for although it be dissolved, it is not\nperished; for the earth receives its remains, and preserves them; and\nwhile they are like seed, and are mixed among the more fruitful soil," ], [ "necessary to speak of it. Hades is a place in the world not regularly\nfinished; a subterraneous region, wherein the light of this world does\nnot shine; from which circumstance, that in this region the light does", "1. Now as to Hades, wherein the souls of the good things they\nsee, and rejoice in the righteous and unrighteous are detained, it is", "4. But as to the unjust, they are dragged by force to the left hand by\nthe angels allotted for punishment, no longer going with a good-will,", "that are set over these souls drag them into the neighborhood of hell\nitself; who, when they are hard by it, continually hear the noise of\nit, and do not stand clear of the hot vapor itself; but when they have", "5. This is the discourse concerning Hades, wherein the souls of all men\nare confined until a proper season, which God hath determined, when", "through that are conducted down by the angels appointed over souls, they\ndo not go the same way; but the just are guided to the right hand, and", "AN EXTRACT OUT OF JOSEPHUS'S DISCOURSE TO THE GREEKS CONCERNING HADES\n\nBy Flavius Josephus\n\n\nTranslated by William Whiston", "incorruptible and never-fading kingdom. These are now indeed confined in\nHades, but not in the same place wherein the unjust are confined.", "2. In this region there is a certain place set apart, as a lake of\nunquenchable fire, whereinto we suppose no one hath hitherto been cast;", "but as prisoners driven by violence; to whom are sent the angels\nappointed over them to reproach them and threaten them with their\nterrible looks, and to thrust them still downwards. Now those angels", "not shine, it cannot be but there must be in it perpetual darkness. This\nregion is allotted as a place of custody for souls, ill which angels\nare appointed as guardians to them, who distribute to them temporary", "3. For there is one descent into this region, at whose gate we believe\nthere stands an archangel with an host; which gate when those pass", "are led with hymns, sung by the angels appointed over that place, unto a\nregion of light, in which the just have dwelt from the beginning of the", "the countenance of the and of the just, which they see, always smiles\nthem, while they wait for that rest and eternal new life in heaven,\nwhich is to succeed this region. This place we call The Bosom of", "hereby are they punished; for a chaos deep and large is fixed between\nthem; insomuch that a just man that hath compassion upon them cannot be", "and that without end, and a certain fiery worm, never dying, and not\ndestroying the body, but continuing its eruption out of the body with", "those things beyond what we have here; with whom there is no place of\ntoil, no burning heat, no piercing cold, nor are any briers there; but", "distempers, nor made glorious, but with the same diseases wherein they\ndied; and such as they were in their unbelief, the same shall they be\nwhen they shall be faithfully judged.", "have done well an everlasting fruition; but allotting to the lovers of\nwicked works eternal punishment. To these belong the unquenchable fire,", "End of the Project Gutenberg EBook of An Extract out of Josephus's Discourse\nto The Greeks Concerning Hades, by Flavius Josephus" ], [ "righteously now in this world, and never having had it as a snare, it\nwill receive it again with great gladness. But as for the unjust,\nthey will receive their bodies not changed, not freed from diseases or", "4. But as to the unjust, they are dragged by force to the left hand by\nthe angels allotted for punishment, no longer going with a good-will,", "but it is prepared for a day afore-determined by God, in which one\nrighteous sentence shall deservedly be passed upon all men; when the", "as to God himself, shall be adjudged to this everlasting punishment,\nas having been the causes of defilement; while the just shall obtain an", "6. For all men, the just as well as the unjust, shall be brought before\nGod the word: for to him hath the Father committed all judgment: and he,", "them; for the just are no longer seen by them, nor are they thought\nworthy of remembrance. But the just shall remember only their righteous\nactions, whereby they have attained the heavenly kingdom, in which", "and so as never to be destroyed any more. And to every body shall its\nown soul be restored. And when it hath clothed itself with that body, it", "incorruptible and never-fading kingdom. These are now indeed confined in\nHades, but not in the same place wherein the unjust are confined.", "body will be raised again; for although it be dissolved, it is not\nperished; for the earth receives its remains, and preserves them; and\nwhile they are like seed, and are mixed among the more fruitful soil,", "he will make a resurrection of all men from the dead, not procuring\na transmigration of souls from one body to another, but raising again", "Heaven will not then be uninhabitable by men, and it will not be\nimpossible to discover the way of ascending thither. The earth will not", "5. This is the discourse concerning Hades, wherein the souls of all men\nare confined until a proper season, which God hath determined, when", "those very bodies, which you Greeks, seeing to be dissolved, do not\nbelieve [their resurrection]. But learn not to disbelieve it; for while", "distempers, nor made glorious, but with the same diseases wherein they\ndied; and such as they were in their unbelief, the same shall they be\nwhen they shall be faithfully judged.", "have done well an everlasting fruition; but allotting to the lovers of\nwicked works eternal punishment. To these belong the unquenchable fire,", "they flourish, and what is sown is indeed sown bare grain, but at the\nmighty sound of God the Creator, it will sprout up, and be raised in a", "sentence for every one, according to his works; at whose judgment-seat\nwhen all men, and angels, and demons shall stand, they will send forth", "the countenance of the and of the just, which they see, always smiles\nthem, while they wait for that rest and eternal new life in heaven,\nwhich is to succeed this region. This place we call The Bosom of", "one voice, and say, Just Is Thy Judgment; the rejoinder to which will\nbring a just sentence upon both parties, by giving justly to those that", "through that are conducted down by the angels appointed over souls, they\ndo not go the same way; but the just are guided to the right hand, and" ], [ "in order to fulfill the will of his Father, shall come as Judge, whom\nwe call Christ. For Minos and Rhadamanthus are not the judges, as", "and so as never to be destroyed any more. And to every body shall its\nown soul be restored. And when it hath clothed itself with that body, it", "8. In whatsoever ways I shall find you, in them shall I judge you\nentirely: so cries the End of all things. And he who hath at first", "he will make a resurrection of all men from the dead, not procuring\na transmigration of souls from one body to another, but raising again", "but it is prepared for a day afore-determined by God, in which one\nrighteous sentence shall deservedly be passed upon all men; when the", "6. For all men, the just as well as the unjust, shall be brought before\nGod the word: for to him hath the Father committed all judgment: and he,", "righteously now in this world, and never having had it as a snare, it\nwill receive it again with great gladness. But as for the unjust,\nthey will receive their bodies not changed, not freed from diseases or", "those very bodies, which you Greeks, seeing to be dissolved, do not\nbelieve [their resurrection]. But learn not to disbelieve it; for while", "body will be raised again; for although it be dissolved, it is not\nperished; for the earth receives its remains, and preserves them; and\nwhile they are like seed, and are mixed among the more fruitful soil,", "as to God himself, shall be adjudged to this everlasting punishment,\nas having been the causes of defilement; while the just shall obtain an", "distempers, nor made glorious, but with the same diseases wherein they\ndied; and such as they were in their unbelief, the same shall they be\nwhen they shall be faithfully judged.", "5. This is the discourse concerning Hades, wherein the souls of all men\nare confined until a proper season, which God hath determined, when", "sentence for every one, according to his works; at whose judgment-seat\nwhen all men, and angels, and demons shall stand, they will send forth", "The Sake Of Those Who Seek After Truth. This person, exercising the\nrighteous judgment of the Father towards all men, hath prepared a just", "resurrection of the body; for although it be dissolved for a time on\naccount of the original transgression, it exists still, and is cast into", "them; for the just are no longer seen by them, nor are they thought\nworthy of remembrance. But the just shall remember only their righteous\nactions, whereby they have attained the heavenly kingdom, in which", "one voice, and say, Just Is Thy Judgment; the rejoinder to which will\nbring a just sentence upon both parties, by giving justly to those that", "incorruptible and never-fading kingdom. These are now indeed confined in\nHades, but not in the same place wherein the unjust are confined.", "the countenance of the and of the just, which they see, always smiles\nthem, while they wait for that rest and eternal new life in heaven,\nwhich is to succeed this region. This place we call The Bosom of", "4. But as to the unjust, they are dragged by force to the left hand by\nthe angels allotted for punishment, no longer going with a good-will," ], [ "in order to fulfill the will of his Father, shall come as Judge, whom\nwe call Christ. For Minos and Rhadamanthus are not the judges, as", "AN EXTRACT OUT OF JOSEPHUS'S DISCOURSE TO THE GREEKS CONCERNING HADES\n\nBy Flavius Josephus\n\n\nTranslated by William Whiston", "5. This is the discourse concerning Hades, wherein the souls of all men\nare confined until a proper season, which God hath determined, when", "1. Now as to Hades, wherein the souls of the good things they\nsee, and rejoice in the righteous and unrighteous are detained, it is", "necessary to speak of it. Hades is a place in the world not regularly\nfinished; a subterraneous region, wherein the light of this world does\nnot shine; from which circumstance, that in this region the light does", "incorruptible and never-fading kingdom. These are now indeed confined in\nHades, but not in the same place wherein the unjust are confined.", "End of the Project Gutenberg EBook of An Extract out of Josephus's Discourse\nto The Greeks Concerning Hades, by Flavius Josephus", "those very bodies, which you Greeks, seeing to be dissolved, do not\nbelieve [their resurrection]. But learn not to disbelieve it; for while", "distempers, nor made glorious, but with the same diseases wherein they\ndied; and such as they were in their unbelief, the same shall they be\nwhen they shall be faithfully judged.", "as to God himself, shall be adjudged to this everlasting punishment,\nas having been the causes of defilement; while the just shall obtain an", "through that are conducted down by the angels appointed over souls, they\ndo not go the same way; but the just are guided to the right hand, and", "them; for the just are no longer seen by them, nor are they thought\nworthy of remembrance. But the just shall remember only their righteous\nactions, whereby they have attained the heavenly kingdom, in which", "judgment, and in effect punished thereby: and not only so, but where\nthey see the place [or choir] of the fathers and of the just, even", "2. In this region there is a certain place set apart, as a lake of\nunquenchable fire, whereinto we suppose no one hath hitherto been cast;", "but it is prepared for a day afore-determined by God, in which one\nrighteous sentence shall deservedly be passed upon all men; when the", "4. But as to the unjust, they are dragged by force to the left hand by\nthe angels allotted for punishment, no longer going with a good-will,", "3. For there is one descent into this region, at whose gate we believe\nthere stands an archangel with an host; which gate when those pass", "sentence for every one, according to his works; at whose judgment-seat\nwhen all men, and angels, and demons shall stand, they will send forth", "not shine, it cannot be but there must be in it perpetual darkness. This\nregion is allotted as a place of custody for souls, ill which angels\nare appointed as guardians to them, who distribute to them temporary", "righteously now in this world, and never having had it as a snare, it\nwill receive it again with great gladness. But as for the unjust,\nthey will receive their bodies not changed, not freed from diseases or" ], [ "have done well an everlasting fruition; but allotting to the lovers of\nwicked works eternal punishment. To these belong the unquenchable fire,", "6. For all men, the just as well as the unjust, shall be brought before\nGod the word: for to him hath the Father committed all judgment: and he,", "sentence for every one, according to his works; at whose judgment-seat\nwhen all men, and angels, and demons shall stand, they will send forth", "4. But as to the unjust, they are dragged by force to the left hand by\nthe angels allotted for punishment, no longer going with a good-will,", "in order to fulfill the will of his Father, shall come as Judge, whom\nwe call Christ. For Minos and Rhadamanthus are not the judges, as", "as to God himself, shall be adjudged to this everlasting punishment,\nas having been the causes of defilement; while the just shall obtain an", "8. In whatsoever ways I shall find you, in them shall I judge you\nentirely: so cries the End of all things. And he who hath at first", "but it is prepared for a day afore-determined by God, in which one\nrighteous sentence shall deservedly be passed upon all men; when the", "one voice, and say, Just Is Thy Judgment; the rejoinder to which will\nbring a just sentence upon both parties, by giving justly to those that", "The Sake Of Those Who Seek After Truth. This person, exercising the\nrighteous judgment of the Father towards all men, hath prepared a just", "righteously now in this world, and never having had it as a snare, it\nwill receive it again with great gladness. But as for the unjust,\nthey will receive their bodies not changed, not freed from diseases or", "2. In this region there is a certain place set apart, as a lake of\nunquenchable fire, whereinto we suppose no one hath hitherto been cast;", "them; for the just are no longer seen by them, nor are they thought\nworthy of remembrance. But the just shall remember only their righteous\nactions, whereby they have attained the heavenly kingdom, in which", "incorruptible and never-fading kingdom. These are now indeed confined in\nHades, but not in the same place wherein the unjust are confined.", "distempers, nor made glorious, but with the same diseases wherein they\ndied; and such as they were in their unbelief, the same shall they be\nwhen they shall be faithfully judged.", "judgment, and in effect punished thereby: and not only so, but where\nthey see the place [or choir] of the fathers and of the just, even", "and so as never to be destroyed any more. And to every body shall its\nown soul be restored. And when it hath clothed itself with that body, it", "5. This is the discourse concerning Hades, wherein the souls of all men\nare confined until a proper season, which God hath determined, when", "but as prisoners driven by violence; to whom are sent the angels\nappointed over them to reproach them and threaten them with their\nterrible looks, and to thrust them still downwards. Now those angels", "through that are conducted down by the angels appointed over souls, they\ndo not go the same way; but the just are guided to the right hand, and" ], [ "The Sake Of Those Who Seek After Truth. This person, exercising the\nrighteous judgment of the Father towards all men, hath prepared a just", "them; for the just are no longer seen by them, nor are they thought\nworthy of remembrance. But the just shall remember only their righteous\nactions, whereby they have attained the heavenly kingdom, in which", "but it is prepared for a day afore-determined by God, in which one\nrighteous sentence shall deservedly be passed upon all men; when the", "6. For all men, the just as well as the unjust, shall be brought before\nGod the word: for to him hath the Father committed all judgment: and he,", "in order to fulfill the will of his Father, shall come as Judge, whom\nwe call Christ. For Minos and Rhadamanthus are not the judges, as", "one voice, and say, Just Is Thy Judgment; the rejoinder to which will\nbring a just sentence upon both parties, by giving justly to those that", "through that are conducted down by the angels appointed over souls, they\ndo not go the same way; but the just are guided to the right hand, and", "righteously now in this world, and never having had it as a snare, it\nwill receive it again with great gladness. But as for the unjust,\nthey will receive their bodies not changed, not freed from diseases or", "8. In whatsoever ways I shall find you, in them shall I judge you\nentirely: so cries the End of all things. And he who hath at first", "as to God himself, shall be adjudged to this everlasting punishment,\nas having been the causes of defilement; while the just shall obtain an", "sentence for every one, according to his works; at whose judgment-seat\nwhen all men, and angels, and demons shall stand, they will send forth", "the countenance of the and of the just, which they see, always smiles\nthem, while they wait for that rest and eternal new life in heaven,\nwhich is to succeed this region. This place we call The Bosom of", "incorruptible and never-fading kingdom. These are now indeed confined in\nHades, but not in the same place wherein the unjust are confined.", "have done well an everlasting fruition; but allotting to the lovers of\nwicked works eternal punishment. To these belong the unquenchable fire,", "and so as never to be destroyed any more. And to every body shall its\nown soul be restored. And when it hath clothed itself with that body, it", "4. But as to the unjust, they are dragged by force to the left hand by\nthe angels allotted for punishment, no longer going with a good-will,", "1. Now as to Hades, wherein the souls of the good things they\nsee, and rejoice in the righteous and unrighteous are detained, it is", "with righteous angels, and spirits [of God], and with his word, as a\nchoir of righteous men and women that never grow old, and continue in", "judgment, and in effect punished thereby: and not only so, but where\nthey see the place [or choir] of the fathers and of the just, even", "5. This is the discourse concerning Hades, wherein the souls of all men\nare confined until a proper season, which God hath determined, when" ], [ "in order to fulfill the will of his Father, shall come as Judge, whom\nwe call Christ. For Minos and Rhadamanthus are not the judges, as", "6. For all men, the just as well as the unjust, shall be brought before\nGod the word: for to him hath the Father committed all judgment: and he,", "8. In whatsoever ways I shall find you, in them shall I judge you\nentirely: so cries the End of all things. And he who hath at first", "but it is prepared for a day afore-determined by God, in which one\nrighteous sentence shall deservedly be passed upon all men; when the", "sentence for every one, according to his works; at whose judgment-seat\nwhen all men, and angels, and demons shall stand, they will send forth", "The Sake Of Those Who Seek After Truth. This person, exercising the\nrighteous judgment of the Father towards all men, hath prepared a just", "as to God himself, shall be adjudged to this everlasting punishment,\nas having been the causes of defilement; while the just shall obtain an", "one voice, and say, Just Is Thy Judgment; the rejoinder to which will\nbring a just sentence upon both parties, by giving justly to those that", "and so as never to be destroyed any more. And to every body shall its\nown soul be restored. And when it hath clothed itself with that body, it", "them; for the just are no longer seen by them, nor are they thought\nworthy of remembrance. But the just shall remember only their righteous\nactions, whereby they have attained the heavenly kingdom, in which", "righteously now in this world, and never having had it as a snare, it\nwill receive it again with great gladness. But as for the unjust,\nthey will receive their bodies not changed, not freed from diseases or", "have done well an everlasting fruition; but allotting to the lovers of\nwicked works eternal punishment. To these belong the unquenchable fire,", "5. This is the discourse concerning Hades, wherein the souls of all men\nare confined until a proper season, which God hath determined, when", "4. But as to the unjust, they are dragged by force to the left hand by\nthe angels allotted for punishment, no longer going with a good-will,", "kingdom which is there. For what God hath now concealed in silence [will\nbe then made manifest,] what neither eye hath seen, nor ear hath heard,", "Heaven will not then be uninhabitable by men, and it will not be\nimpossible to discover the way of ascending thither. The earth will not", "distempers, nor made glorious, but with the same diseases wherein they\ndied; and such as they were in their unbelief, the same shall they be\nwhen they shall be faithfully judged.", "the countenance of the and of the just, which they see, always smiles\nthem, while they wait for that rest and eternal new life in heaven,\nwhich is to succeed this region. This place we call The Bosom of", "through that are conducted down by the angels appointed over souls, they\ndo not go the same way; but the just are guided to the right hand, and", "incorruptible and never-fading kingdom. These are now indeed confined in\nHades, but not in the same place wherein the unjust are confined." ], [ "1. Now as to Hades, wherein the souls of the good things they\nsee, and rejoice in the righteous and unrighteous are detained, it is", "5. This is the discourse concerning Hades, wherein the souls of all men\nare confined until a proper season, which God hath determined, when", "necessary to speak of it. Hades is a place in the world not regularly\nfinished; a subterraneous region, wherein the light of this world does\nnot shine; from which circumstance, that in this region the light does", "incorruptible and never-fading kingdom. These are now indeed confined in\nHades, but not in the same place wherein the unjust are confined.", "AN EXTRACT OUT OF JOSEPHUS'S DISCOURSE TO THE GREEKS CONCERNING HADES\n\nBy Flavius Josephus\n\n\nTranslated by William Whiston", "but as prisoners driven by violence; to whom are sent the angels\nappointed over them to reproach them and threaten them with their\nterrible looks, and to thrust them still downwards. Now those angels", "not shine, it cannot be but there must be in it perpetual darkness. This\nregion is allotted as a place of custody for souls, ill which angels\nare appointed as guardians to them, who distribute to them temporary", "that are set over these souls drag them into the neighborhood of hell\nitself; who, when they are hard by it, continually hear the noise of\nit, and do not stand clear of the hot vapor itself; but when they have", "4. But as to the unjust, they are dragged by force to the left hand by\nthe angels allotted for punishment, no longer going with a good-will,", "2. In this region there is a certain place set apart, as a lake of\nunquenchable fire, whereinto we suppose no one hath hitherto been cast;", "as to God himself, shall be adjudged to this everlasting punishment,\nas having been the causes of defilement; while the just shall obtain an", "in order to fulfill the will of his Father, shall come as Judge, whom\nwe call Christ. For Minos and Rhadamanthus are not the judges, as", "3. For there is one descent into this region, at whose gate we believe\nthere stands an archangel with an host; which gate when those pass", "through that are conducted down by the angels appointed over souls, they\ndo not go the same way; but the just are guided to the right hand, and", "hereby are they punished; for a chaos deep and large is fixed between\nthem; insomuch that a just man that hath compassion upon them cannot be", "are led with hymns, sung by the angels appointed over that place, unto a\nregion of light, in which the just have dwelt from the beginning of the", "End of the Project Gutenberg EBook of An Extract out of Josephus's Discourse\nto The Greeks Concerning Hades, by Flavius Josephus", "the countenance of the and of the just, which they see, always smiles\nthem, while they wait for that rest and eternal new life in heaven,\nwhich is to succeed this region. This place we call The Bosom of", "them; for the just are no longer seen by them, nor are they thought\nworthy of remembrance. But the just shall remember only their righteous\nactions, whereby they have attained the heavenly kingdom, in which", "8. In whatsoever ways I shall find you, in them shall I judge you\nentirely: so cries the End of all things. And he who hath at first" ], [ "the countenance of the and of the just, which they see, always smiles\nthem, while they wait for that rest and eternal new life in heaven,\nwhich is to succeed this region. This place we call The Bosom of", "through that are conducted down by the angels appointed over souls, they\ndo not go the same way; but the just are guided to the right hand, and", "3. For there is one descent into this region, at whose gate we believe\nthere stands an archangel with an host; which gate when those pass", "Abraham.", "and so as never to be destroyed any more. And to every body shall its\nown soul be restored. And when it hath clothed itself with that body, it", "Heaven will not then be uninhabitable by men, and it will not be\nimpossible to discover the way of ascending thither. The earth will not", "5. This is the discourse concerning Hades, wherein the souls of all men\nare confined until a proper season, which God hath determined, when", "them; for the just are no longer seen by them, nor are they thought\nworthy of remembrance. But the just shall remember only their righteous\nactions, whereby they have attained the heavenly kingdom, in which", "necessary to speak of it. Hades is a place in the world not regularly\nfinished; a subterraneous region, wherein the light of this world does\nnot shine; from which circumstance, that in this region the light does", "that are set over these souls drag them into the neighborhood of hell\nitself; who, when they are hard by it, continually hear the noise of\nit, and do not stand clear of the hot vapor itself; but when they have", "body will be raised again; for although it be dissolved, it is not\nperished; for the earth receives its remains, and preserves them; and\nwhile they are like seed, and are mixed among the more fruitful soil,", "those things beyond what we have here; with whom there is no place of\ntoil, no burning heat, no piercing cold, nor are any briers there; but", "not shine, it cannot be but there must be in it perpetual darkness. This\nregion is allotted as a place of custody for souls, ill which angels\nare appointed as guardians to them, who distribute to them temporary", "righteously now in this world, and never having had it as a snare, it\nwill receive it again with great gladness. But as for the unjust,\nthey will receive their bodies not changed, not freed from diseases or", "1. Now as to Hades, wherein the souls of the good things they\nsee, and rejoice in the righteous and unrighteous are detained, it is", "AN EXTRACT OUT OF JOSEPHUS'S DISCOURSE TO THE GREEKS CONCERNING HADES\n\nBy Flavius Josephus\n\n\nTranslated by William Whiston", "are led with hymns, sung by the angels appointed over that place, unto a\nregion of light, in which the just have dwelt from the beginning of the", "incorruptible and never-fading kingdom. These are now indeed confined in\nHades, but not in the same place wherein the unjust are confined.", "7. And now, if you Gentiles will be persuaded by these motives, and\nleave your vain imaginations about your pedigrees, and gaining of", "4. But as to the unjust, they are dragged by force to the left hand by\nthe angels allotted for punishment, no longer going with a good-will," ], [ "as to God himself, shall be adjudged to this everlasting punishment,\nas having been the causes of defilement; while the just shall obtain an", "5. This is the discourse concerning Hades, wherein the souls of all men\nare confined until a proper season, which God hath determined, when", "4. But as to the unjust, they are dragged by force to the left hand by\nthe angels allotted for punishment, no longer going with a good-will,", "not shine, it cannot be but there must be in it perpetual darkness. This\nregion is allotted as a place of custody for souls, ill which angels\nare appointed as guardians to them, who distribute to them temporary", "1. Now as to Hades, wherein the souls of the good things they\nsee, and rejoice in the righteous and unrighteous are detained, it is", "but it is prepared for a day afore-determined by God, in which one\nrighteous sentence shall deservedly be passed upon all men; when the", "that are set over these souls drag them into the neighborhood of hell\nitself; who, when they are hard by it, continually hear the noise of\nit, and do not stand clear of the hot vapor itself; but when they have", "through that are conducted down by the angels appointed over souls, they\ndo not go the same way; but the just are guided to the right hand, and", "but as prisoners driven by violence; to whom are sent the angels\nappointed over them to reproach them and threaten them with their\nterrible looks, and to thrust them still downwards. Now those angels", "2. In this region there is a certain place set apart, as a lake of\nunquenchable fire, whereinto we suppose no one hath hitherto been cast;", "and so as never to be destroyed any more. And to every body shall its\nown soul be restored. And when it hath clothed itself with that body, it", "8. In whatsoever ways I shall find you, in them shall I judge you\nentirely: so cries the End of all things. And he who hath at first", "in order to fulfill the will of his Father, shall come as Judge, whom\nwe call Christ. For Minos and Rhadamanthus are not the judges, as", "judgment, and in effect punished thereby: and not only so, but where\nthey see the place [or choir] of the fathers and of the just, even", "have done well an everlasting fruition; but allotting to the lovers of\nwicked works eternal punishment. To these belong the unquenchable fire,", "hereby are they punished; for a chaos deep and large is fixed between\nthem; insomuch that a just man that hath compassion upon them cannot be", "sentence for every one, according to his works; at whose judgment-seat\nwhen all men, and angels, and demons shall stand, they will send forth", "6. For all men, the just as well as the unjust, shall be brought before\nGod the word: for to him hath the Father committed all judgment: and he,", "AN EXTRACT OUT OF JOSEPHUS'S DISCOURSE TO THE GREEKS CONCERNING HADES\n\nBy Flavius Josephus\n\n\nTranslated by William Whiston", "one voice, and say, Just Is Thy Judgment; the rejoinder to which will\nbring a just sentence upon both parties, by giving justly to those that" ], [ "3. For there is one descent into this region, at whose gate we believe\nthere stands an archangel with an host; which gate when those pass", "5. This is the discourse concerning Hades, wherein the souls of all men\nare confined until a proper season, which God hath determined, when", "and so as never to be destroyed any more. And to every body shall its\nown soul be restored. And when it hath clothed itself with that body, it", "not shine, it cannot be but there must be in it perpetual darkness. This\nregion is allotted as a place of custody for souls, ill which angels\nare appointed as guardians to them, who distribute to them temporary", "through that are conducted down by the angels appointed over souls, they\ndo not go the same way; but the just are guided to the right hand, and", "1. Now as to Hades, wherein the souls of the good things they\nsee, and rejoice in the righteous and unrighteous are detained, it is", "body will be raised again; for although it be dissolved, it is not\nperished; for the earth receives its remains, and preserves them; and\nwhile they are like seed, and are mixed among the more fruitful soil,", "incorruptible and never-fading kingdom. These are now indeed confined in\nHades, but not in the same place wherein the unjust are confined.", "and that without end, and a certain fiery worm, never dying, and not\ndestroying the body, but continuing its eruption out of the body with", "distempers, nor made glorious, but with the same diseases wherein they\ndied; and such as they were in their unbelief, the same shall they be\nwhen they shall be faithfully judged.", "but as prisoners driven by violence; to whom are sent the angels\nappointed over them to reproach them and threaten them with their\nterrible looks, and to thrust them still downwards. Now those angels", "necessary to speak of it. Hades is a place in the world not regularly\nfinished; a subterraneous region, wherein the light of this world does\nnot shine; from which circumstance, that in this region the light does", "AN EXTRACT OUT OF JOSEPHUS'S DISCOURSE TO THE GREEKS CONCERNING HADES\n\nBy Flavius Josephus\n\n\nTranslated by William Whiston", "them; for the just are no longer seen by them, nor are they thought\nworthy of remembrance. But the just shall remember only their righteous\nactions, whereby they have attained the heavenly kingdom, in which", "clothed and glorious condition, though not before it has been dissolved,\nand mixed [with the earth]. So that we have not rashly believed the", "he will make a resurrection of all men from the dead, not procuring\na transmigration of souls from one body to another, but raising again", "the countenance of the and of the just, which they see, always smiles\nthem, while they wait for that rest and eternal new life in heaven,\nwhich is to succeed this region. This place we call The Bosom of", "are led with hymns, sung by the angels appointed over that place, unto a\nregion of light, in which the just have dwelt from the beginning of the", "that are set over these souls drag them into the neighborhood of hell\nitself; who, when they are hard by it, continually hear the noise of\nit, and do not stand clear of the hot vapor itself; but when they have", "4. But as to the unjust, they are dragged by force to the left hand by\nthe angels allotted for punishment, no longer going with a good-will," ], [ "4. But as to the unjust, they are dragged by force to the left hand by\nthe angels allotted for punishment, no longer going with a good-will,", "through that are conducted down by the angels appointed over souls, they\ndo not go the same way; but the just are guided to the right hand, and", "incorruptible and never-fading kingdom. These are now indeed confined in\nHades, but not in the same place wherein the unjust are confined.", "but as prisoners driven by violence; to whom are sent the angels\nappointed over them to reproach them and threaten them with their\nterrible looks, and to thrust them still downwards. Now those angels", "them; for the just are no longer seen by them, nor are they thought\nworthy of remembrance. But the just shall remember only their righteous\nactions, whereby they have attained the heavenly kingdom, in which", "1. Now as to Hades, wherein the souls of the good things they\nsee, and rejoice in the righteous and unrighteous are detained, it is", "as to God himself, shall be adjudged to this everlasting punishment,\nas having been the causes of defilement; while the just shall obtain an", "2. In this region there is a certain place set apart, as a lake of\nunquenchable fire, whereinto we suppose no one hath hitherto been cast;", "5. This is the discourse concerning Hades, wherein the souls of all men\nare confined until a proper season, which God hath determined, when", "Heaven will not then be uninhabitable by men, and it will not be\nimpossible to discover the way of ascending thither. The earth will not", "not shine, it cannot be but there must be in it perpetual darkness. This\nregion is allotted as a place of custody for souls, ill which angels\nare appointed as guardians to them, who distribute to them temporary", "have done well an everlasting fruition; but allotting to the lovers of\nwicked works eternal punishment. To these belong the unquenchable fire,", "are led with hymns, sung by the angels appointed over that place, unto a\nregion of light, in which the just have dwelt from the beginning of the", "judgment, and in effect punished thereby: and not only so, but where\nthey see the place [or choir] of the fathers and of the just, even", "that are set over these souls drag them into the neighborhood of hell\nitself; who, when they are hard by it, continually hear the noise of\nit, and do not stand clear of the hot vapor itself; but when they have", "hereby are they punished; for a chaos deep and large is fixed between\nthem; insomuch that a just man that hath compassion upon them cannot be", "6. For all men, the just as well as the unjust, shall be brought before\nGod the word: for to him hath the Father committed all judgment: and he,", "one voice, and say, Just Is Thy Judgment; the rejoinder to which will\nbring a just sentence upon both parties, by giving justly to those that", "the countenance of the and of the just, which they see, always smiles\nthem, while they wait for that rest and eternal new life in heaven,\nwhich is to succeed this region. This place we call The Bosom of", "righteously now in this world, and never having had it as a snare, it\nwill receive it again with great gladness. But as for the unjust,\nthey will receive their bodies not changed, not freed from diseases or" ], [ "5. This is the discourse concerning Hades, wherein the souls of all men\nare confined until a proper season, which God hath determined, when", "AN EXTRACT OUT OF JOSEPHUS'S DISCOURSE TO THE GREEKS CONCERNING HADES\n\nBy Flavius Josephus\n\n\nTranslated by William Whiston", "1. Now as to Hades, wherein the souls of the good things they\nsee, and rejoice in the righteous and unrighteous are detained, it is", "you believe that the soul is created, and yet is made immortal by\nGod, according to the doctrine of Plato, and this in time, be not", "those very bodies, which you Greeks, seeing to be dissolved, do not\nbelieve [their resurrection]. But learn not to disbelieve it; for while", "through that are conducted down by the angels appointed over souls, they\ndo not go the same way; but the just are guided to the right hand, and", "in order to fulfill the will of his Father, shall come as Judge, whom\nwe call Christ. For Minos and Rhadamanthus are not the judges, as", "but it is prepared for a day afore-determined by God, in which one\nrighteous sentence shall deservedly be passed upon all men; when the", "incorruptible and never-fading kingdom. These are now indeed confined in\nHades, but not in the same place wherein the unjust are confined.", "and so as never to be destroyed any more. And to every body shall its\nown soul be restored. And when it hath clothed itself with that body, it", "as to God himself, shall be adjudged to this everlasting punishment,\nas having been the causes of defilement; while the just shall obtain an", "them; for the just are no longer seen by them, nor are they thought\nworthy of remembrance. But the just shall remember only their righteous\nactions, whereby they have attained the heavenly kingdom, in which", "End of the Project Gutenberg EBook of An Extract out of Josephus's Discourse\nto The Greeks Concerning Hades, by Flavius Josephus", "2. In this region there is a certain place set apart, as a lake of\nunquenchable fire, whereinto we suppose no one hath hitherto been cast;", "not shine, it cannot be but there must be in it perpetual darkness. This\nregion is allotted as a place of custody for souls, ill which angels\nare appointed as guardians to them, who distribute to them temporary", "the countenance of the and of the just, which they see, always smiles\nthem, while they wait for that rest and eternal new life in heaven,\nwhich is to succeed this region. This place we call The Bosom of", "4. But as to the unjust, they are dragged by force to the left hand by\nthe angels allotted for punishment, no longer going with a good-will,", "that are set over these souls drag them into the neighborhood of hell\nitself; who, when they are hard by it, continually hear the noise of\nit, and do not stand clear of the hot vapor itself; but when they have", "you Greeks do suppose, but he whom God and the Father hath glorified:\nConcerning Whom We Have Elsewhere Given A More Particular Account, For", "righteously now in this world, and never having had it as a snare, it\nwill receive it again with great gladness. But as for the unjust,\nthey will receive their bodies not changed, not freed from diseases or" ], [ "4. But as to the unjust, they are dragged by force to the left hand by\nthe angels allotted for punishment, no longer going with a good-will,", "them; for the just are no longer seen by them, nor are they thought\nworthy of remembrance. But the just shall remember only their righteous\nactions, whereby they have attained the heavenly kingdom, in which", "incorruptible and never-fading kingdom. These are now indeed confined in\nHades, but not in the same place wherein the unjust are confined.", "hereby are they punished; for a chaos deep and large is fixed between\nthem; insomuch that a just man that hath compassion upon them cannot be", "admitted, nor can one that is unjust, if he were bold enough to attempt\nit, pass over it.", "through that are conducted down by the angels appointed over souls, they\ndo not go the same way; but the just are guided to the right hand, and", "one voice, and say, Just Is Thy Judgment; the rejoinder to which will\nbring a just sentence upon both parties, by giving justly to those that", "1. Now as to Hades, wherein the souls of the good things they\nsee, and rejoice in the righteous and unrighteous are detained, it is", "as to God himself, shall be adjudged to this everlasting punishment,\nas having been the causes of defilement; while the just shall obtain an", "righteously now in this world, and never having had it as a snare, it\nwill receive it again with great gladness. But as for the unjust,\nthey will receive their bodies not changed, not freed from diseases or", "5. This is the discourse concerning Hades, wherein the souls of all men\nare confined until a proper season, which God hath determined, when", "Heaven will not then be uninhabitable by men, and it will not be\nimpossible to discover the way of ascending thither. The earth will not", "6. For all men, the just as well as the unjust, shall be brought before\nGod the word: for to him hath the Father committed all judgment: and he,", "judgment, and in effect punished thereby: and not only so, but where\nthey see the place [or choir] of the fathers and of the just, even", "8. In whatsoever ways I shall find you, in them shall I judge you\nentirely: so cries the End of all things. And he who hath at first", "and so as never to be destroyed any more. And to every body shall its\nown soul be restored. And when it hath clothed itself with that body, it", "that are set over these souls drag them into the neighborhood of hell\nitself; who, when they are hard by it, continually hear the noise of\nit, and do not stand clear of the hot vapor itself; but when they have", "3. For there is one descent into this region, at whose gate we believe\nthere stands an archangel with an host; which gate when those pass", "necessary to speak of it. Hades is a place in the world not regularly\nfinished; a subterraneous region, wherein the light of this world does\nnot shine; from which circumstance, that in this region the light does", "not shine, it cannot be but there must be in it perpetual darkness. This\nregion is allotted as a place of custody for souls, ill which angels\nare appointed as guardians to them, who distribute to them temporary" ], [ "through that are conducted down by the angels appointed over souls, they\ndo not go the same way; but the just are guided to the right hand, and", "5. This is the discourse concerning Hades, wherein the souls of all men\nare confined until a proper season, which God hath determined, when", "them; for the just are no longer seen by them, nor are they thought\nworthy of remembrance. But the just shall remember only their righteous\nactions, whereby they have attained the heavenly kingdom, in which", "1. Now as to Hades, wherein the souls of the good things they\nsee, and rejoice in the righteous and unrighteous are detained, it is", "as to God himself, shall be adjudged to this everlasting punishment,\nas having been the causes of defilement; while the just shall obtain an", "and so as never to be destroyed any more. And to every body shall its\nown soul be restored. And when it hath clothed itself with that body, it", "the countenance of the and of the just, which they see, always smiles\nthem, while they wait for that rest and eternal new life in heaven,\nwhich is to succeed this region. This place we call The Bosom of", "but it is prepared for a day afore-determined by God, in which one\nrighteous sentence shall deservedly be passed upon all men; when the", "one voice, and say, Just Is Thy Judgment; the rejoinder to which will\nbring a just sentence upon both parties, by giving justly to those that", "The Sake Of Those Who Seek After Truth. This person, exercising the\nrighteous judgment of the Father towards all men, hath prepared a just", "incorruptible and never-fading kingdom. These are now indeed confined in\nHades, but not in the same place wherein the unjust are confined.", "righteously now in this world, and never having had it as a snare, it\nwill receive it again with great gladness. But as for the unjust,\nthey will receive their bodies not changed, not freed from diseases or", "4. But as to the unjust, they are dragged by force to the left hand by\nthe angels allotted for punishment, no longer going with a good-will,", "you believe that the soul is created, and yet is made immortal by\nGod, according to the doctrine of Plato, and this in time, be not", "that are set over these souls drag them into the neighborhood of hell\nitself; who, when they are hard by it, continually hear the noise of\nit, and do not stand clear of the hot vapor itself; but when they have", "not shine, it cannot be but there must be in it perpetual darkness. This\nregion is allotted as a place of custody for souls, ill which angels\nare appointed as guardians to them, who distribute to them temporary", "6. For all men, the just as well as the unjust, shall be brought before\nGod the word: for to him hath the Father committed all judgment: and he,", "are led with hymns, sung by the angels appointed over that place, unto a\nregion of light, in which the just have dwelt from the beginning of the", "8. In whatsoever ways I shall find you, in them shall I judge you\nentirely: so cries the End of all things. And he who hath at first", "AN EXTRACT OUT OF JOSEPHUS'S DISCOURSE TO THE GREEKS CONCERNING HADES\n\nBy Flavius Josephus\n\n\nTranslated by William Whiston" ], [ "righteously now in this world, and never having had it as a snare, it\nwill receive it again with great gladness. But as for the unjust,\nthey will receive their bodies not changed, not freed from diseases or", "and so as never to be destroyed any more. And to every body shall its\nown soul be restored. And when it hath clothed itself with that body, it", "incorruptible and never-fading kingdom. These are now indeed confined in\nHades, but not in the same place wherein the unjust are confined.", "4. But as to the unjust, they are dragged by force to the left hand by\nthe angels allotted for punishment, no longer going with a good-will,", "distempers, nor made glorious, but with the same diseases wherein they\ndied; and such as they were in their unbelief, the same shall they be\nwhen they shall be faithfully judged.", "body will be raised again; for although it be dissolved, it is not\nperished; for the earth receives its remains, and preserves them; and\nwhile they are like seed, and are mixed among the more fruitful soil,", "them; for the just are no longer seen by them, nor are they thought\nworthy of remembrance. But the just shall remember only their righteous\nactions, whereby they have attained the heavenly kingdom, in which", "those very bodies, which you Greeks, seeing to be dissolved, do not\nbelieve [their resurrection]. But learn not to disbelieve it; for while", "as to God himself, shall be adjudged to this everlasting punishment,\nas having been the causes of defilement; while the just shall obtain an", "but it is prepared for a day afore-determined by God, in which one\nrighteous sentence shall deservedly be passed upon all men; when the", "5. This is the discourse concerning Hades, wherein the souls of all men\nare confined until a proper season, which God hath determined, when", "the countenance of the and of the just, which they see, always smiles\nthem, while they wait for that rest and eternal new life in heaven,\nwhich is to succeed this region. This place we call The Bosom of", "6. For all men, the just as well as the unjust, shall be brought before\nGod the word: for to him hath the Father committed all judgment: and he,", "and that without end, and a certain fiery worm, never dying, and not\ndestroying the body, but continuing its eruption out of the body with", "he will make a resurrection of all men from the dead, not procuring\na transmigration of souls from one body to another, but raising again", "through that are conducted down by the angels appointed over souls, they\ndo not go the same way; but the just are guided to the right hand, and", "resurrection of the body; for although it be dissolved for a time on\naccount of the original transgression, it exists still, and is cast into", "have done well an everlasting fruition; but allotting to the lovers of\nwicked works eternal punishment. To these belong the unquenchable fire,", "1. Now as to Hades, wherein the souls of the good things they\nsee, and rejoice in the righteous and unrighteous are detained, it is", "one voice, and say, Just Is Thy Judgment; the rejoinder to which will\nbring a just sentence upon both parties, by giving justly to those that" ], [ "them; for the just are no longer seen by them, nor are they thought\nworthy of remembrance. But the just shall remember only their righteous\nactions, whereby they have attained the heavenly kingdom, in which", "the countenance of the and of the just, which they see, always smiles\nthem, while they wait for that rest and eternal new life in heaven,\nwhich is to succeed this region. This place we call The Bosom of", "one voice, and say, Just Is Thy Judgment; the rejoinder to which will\nbring a just sentence upon both parties, by giving justly to those that", "as to God himself, shall be adjudged to this everlasting punishment,\nas having been the causes of defilement; while the just shall obtain an", "through that are conducted down by the angels appointed over souls, they\ndo not go the same way; but the just are guided to the right hand, and", "righteously now in this world, and never having had it as a snare, it\nwill receive it again with great gladness. But as for the unjust,\nthey will receive their bodies not changed, not freed from diseases or", "incorruptible and never-fading kingdom. These are now indeed confined in\nHades, but not in the same place wherein the unjust are confined.", "The Sake Of Those Who Seek After Truth. This person, exercising the\nrighteous judgment of the Father towards all men, hath prepared a just", "but it is prepared for a day afore-determined by God, in which one\nrighteous sentence shall deservedly be passed upon all men; when the", "4. But as to the unjust, they are dragged by force to the left hand by\nthe angels allotted for punishment, no longer going with a good-will,", "6. For all men, the just as well as the unjust, shall be brought before\nGod the word: for to him hath the Father committed all judgment: and he,", "1. Now as to Hades, wherein the souls of the good things they\nsee, and rejoice in the righteous and unrighteous are detained, it is", "5. This is the discourse concerning Hades, wherein the souls of all men\nare confined until a proper season, which God hath determined, when", "have done well an everlasting fruition; but allotting to the lovers of\nwicked works eternal punishment. To these belong the unquenchable fire,", "judgment, and in effect punished thereby: and not only so, but where\nthey see the place [or choir] of the fathers and of the just, even", "and so as never to be destroyed any more. And to every body shall its\nown soul be restored. And when it hath clothed itself with that body, it", "hereby are they punished; for a chaos deep and large is fixed between\nthem; insomuch that a just man that hath compassion upon them cannot be", "8. In whatsoever ways I shall find you, in them shall I judge you\nentirely: so cries the End of all things. And he who hath at first", "Heaven will not then be uninhabitable by men, and it will not be\nimpossible to discover the way of ascending thither. The earth will not", "are led with hymns, sung by the angels appointed over that place, unto a\nregion of light, in which the just have dwelt from the beginning of the" ], [ "necessary to speak of it. Hades is a place in the world not regularly\nfinished; a subterraneous region, wherein the light of this world does\nnot shine; from which circumstance, that in this region the light does", "1. Now as to Hades, wherein the souls of the good things they\nsee, and rejoice in the righteous and unrighteous are detained, it is", "5. This is the discourse concerning Hades, wherein the souls of all men\nare confined until a proper season, which God hath determined, when", "AN EXTRACT OUT OF JOSEPHUS'S DISCOURSE TO THE GREEKS CONCERNING HADES\n\nBy Flavius Josephus\n\n\nTranslated by William Whiston", "incorruptible and never-fading kingdom. These are now indeed confined in\nHades, but not in the same place wherein the unjust are confined.", "that are set over these souls drag them into the neighborhood of hell\nitself; who, when they are hard by it, continually hear the noise of\nit, and do not stand clear of the hot vapor itself; but when they have", "not shine, it cannot be but there must be in it perpetual darkness. This\nregion is allotted as a place of custody for souls, ill which angels\nare appointed as guardians to them, who distribute to them temporary", "3. For there is one descent into this region, at whose gate we believe\nthere stands an archangel with an host; which gate when those pass", "but as prisoners driven by violence; to whom are sent the angels\nappointed over them to reproach them and threaten them with their\nterrible looks, and to thrust them still downwards. Now those angels", "2. In this region there is a certain place set apart, as a lake of\nunquenchable fire, whereinto we suppose no one hath hitherto been cast;", "the countenance of the and of the just, which they see, always smiles\nthem, while they wait for that rest and eternal new life in heaven,\nwhich is to succeed this region. This place we call The Bosom of", "are led with hymns, sung by the angels appointed over that place, unto a\nregion of light, in which the just have dwelt from the beginning of the", "End of the Project Gutenberg EBook of An Extract out of Josephus's Discourse\nto The Greeks Concerning Hades, by Flavius Josephus", "4. But as to the unjust, they are dragged by force to the left hand by\nthe angels allotted for punishment, no longer going with a good-will,", "through that are conducted down by the angels appointed over souls, they\ndo not go the same way; but the just are guided to the right hand, and", "as to God himself, shall be adjudged to this everlasting punishment,\nas having been the causes of defilement; while the just shall obtain an", "hereby are they punished; for a chaos deep and large is fixed between\nthem; insomuch that a just man that hath compassion upon them cannot be", "those things beyond what we have here; with whom there is no place of\ntoil, no burning heat, no piercing cold, nor are any briers there; but", "clothed and glorious condition, though not before it has been dissolved,\nand mixed [with the earth]. So that we have not rashly believed the", "and that without end, and a certain fiery worm, never dying, and not\ndestroying the body, but continuing its eruption out of the body with" ], [ "necessary to speak of it. Hades is a place in the world not regularly\nfinished; a subterraneous region, wherein the light of this world does\nnot shine; from which circumstance, that in this region the light does", "1. Now as to Hades, wherein the souls of the good things they\nsee, and rejoice in the righteous and unrighteous are detained, it is", "5. This is the discourse concerning Hades, wherein the souls of all men\nare confined until a proper season, which God hath determined, when", "incorruptible and never-fading kingdom. These are now indeed confined in\nHades, but not in the same place wherein the unjust are confined.", "AN EXTRACT OUT OF JOSEPHUS'S DISCOURSE TO THE GREEKS CONCERNING HADES\n\nBy Flavius Josephus\n\n\nTranslated by William Whiston", "that are set over these souls drag them into the neighborhood of hell\nitself; who, when they are hard by it, continually hear the noise of\nit, and do not stand clear of the hot vapor itself; but when they have", "not shine, it cannot be but there must be in it perpetual darkness. This\nregion is allotted as a place of custody for souls, ill which angels\nare appointed as guardians to them, who distribute to them temporary", "2. In this region there is a certain place set apart, as a lake of\nunquenchable fire, whereinto we suppose no one hath hitherto been cast;", "are led with hymns, sung by the angels appointed over that place, unto a\nregion of light, in which the just have dwelt from the beginning of the", "End of the Project Gutenberg EBook of An Extract out of Josephus's Discourse\nto The Greeks Concerning Hades, by Flavius Josephus", "but as prisoners driven by violence; to whom are sent the angels\nappointed over them to reproach them and threaten them with their\nterrible looks, and to thrust them still downwards. Now those angels", "3. For there is one descent into this region, at whose gate we believe\nthere stands an archangel with an host; which gate when those pass", "the countenance of the and of the just, which they see, always smiles\nthem, while they wait for that rest and eternal new life in heaven,\nwhich is to succeed this region. This place we call The Bosom of", "in order to fulfill the will of his Father, shall come as Judge, whom\nwe call Christ. For Minos and Rhadamanthus are not the judges, as", "and so as never to be destroyed any more. And to every body shall its\nown soul be restored. And when it hath clothed itself with that body, it", "them; for the just are no longer seen by them, nor are they thought\nworthy of remembrance. But the just shall remember only their righteous\nactions, whereby they have attained the heavenly kingdom, in which", "through that are conducted down by the angels appointed over souls, they\ndo not go the same way; but the just are guided to the right hand, and", "those very bodies, which you Greeks, seeing to be dissolved, do not\nbelieve [their resurrection]. But learn not to disbelieve it; for while", "distempers, nor made glorious, but with the same diseases wherein they\ndied; and such as they were in their unbelief, the same shall they be\nwhen they shall be faithfully judged.", "4. But as to the unjust, they are dragged by force to the left hand by\nthe angels allotted for punishment, no longer going with a good-will," ], [ "the countenance of the and of the just, which they see, always smiles\nthem, while they wait for that rest and eternal new life in heaven,\nwhich is to succeed this region. This place we call The Bosom of", "Abraham.", "5. This is the discourse concerning Hades, wherein the souls of all men\nare confined until a proper season, which God hath determined, when", "1. Now as to Hades, wherein the souls of the good things they\nsee, and rejoice in the righteous and unrighteous are detained, it is", "incorruptible and never-fading kingdom. These are now indeed confined in\nHades, but not in the same place wherein the unjust are confined.", "and so as never to be destroyed any more. And to every body shall its\nown soul be restored. And when it hath clothed itself with that body, it", "through that are conducted down by the angels appointed over souls, they\ndo not go the same way; but the just are guided to the right hand, and", "body will be raised again; for although it be dissolved, it is not\nperished; for the earth receives its remains, and preserves them; and\nwhile they are like seed, and are mixed among the more fruitful soil,", "necessary to speak of it. Hades is a place in the world not regularly\nfinished; a subterraneous region, wherein the light of this world does\nnot shine; from which circumstance, that in this region the light does", "them; for the just are no longer seen by them, nor are they thought\nworthy of remembrance. But the just shall remember only their righteous\nactions, whereby they have attained the heavenly kingdom, in which", "3. For there is one descent into this region, at whose gate we believe\nthere stands an archangel with an host; which gate when those pass", "AN EXTRACT OUT OF JOSEPHUS'S DISCOURSE TO THE GREEKS CONCERNING HADES\n\nBy Flavius Josephus\n\n\nTranslated by William Whiston", "that are set over these souls drag them into the neighborhood of hell\nitself; who, when they are hard by it, continually hear the noise of\nit, and do not stand clear of the hot vapor itself; but when they have", "are led with hymns, sung by the angels appointed over that place, unto a\nregion of light, in which the just have dwelt from the beginning of the", "those things beyond what we have here; with whom there is no place of\ntoil, no burning heat, no piercing cold, nor are any briers there; but", "not shine, it cannot be but there must be in it perpetual darkness. This\nregion is allotted as a place of custody for souls, ill which angels\nare appointed as guardians to them, who distribute to them temporary", "righteously now in this world, and never having had it as a snare, it\nwill receive it again with great gladness. But as for the unjust,\nthey will receive their bodies not changed, not freed from diseases or", "and that without end, and a certain fiery worm, never dying, and not\ndestroying the body, but continuing its eruption out of the body with", "2. In this region there is a certain place set apart, as a lake of\nunquenchable fire, whereinto we suppose no one hath hitherto been cast;", "Heaven will not then be uninhabitable by men, and it will not be\nimpossible to discover the way of ascending thither. The earth will not" ], [ "the countenance of the and of the just, which they see, always smiles\nthem, while they wait for that rest and eternal new life in heaven,\nwhich is to succeed this region. This place we call The Bosom of", "incorruptible and never-fading kingdom. These are now indeed confined in\nHades, but not in the same place wherein the unjust are confined.", "3. For there is one descent into this region, at whose gate we believe\nthere stands an archangel with an host; which gate when those pass", "4. But as to the unjust, they are dragged by force to the left hand by\nthe angels allotted for punishment, no longer going with a good-will,", "not shine, it cannot be but there must be in it perpetual darkness. This\nregion is allotted as a place of custody for souls, ill which angels\nare appointed as guardians to them, who distribute to them temporary", "through that are conducted down by the angels appointed over souls, they\ndo not go the same way; but the just are guided to the right hand, and", "2. In this region there is a certain place set apart, as a lake of\nunquenchable fire, whereinto we suppose no one hath hitherto been cast;", "distempers, nor made glorious, but with the same diseases wherein they\ndied; and such as they were in their unbelief, the same shall they be\nwhen they shall be faithfully judged.", "that are set over these souls drag them into the neighborhood of hell\nitself; who, when they are hard by it, continually hear the noise of\nit, and do not stand clear of the hot vapor itself; but when they have", "5. This is the discourse concerning Hades, wherein the souls of all men\nare confined until a proper season, which God hath determined, when", "1. Now as to Hades, wherein the souls of the good things they\nsee, and rejoice in the righteous and unrighteous are detained, it is", "and so as never to be destroyed any more. And to every body shall its\nown soul be restored. And when it hath clothed itself with that body, it", "necessary to speak of it. Hades is a place in the world not regularly\nfinished; a subterraneous region, wherein the light of this world does\nnot shine; from which circumstance, that in this region the light does", "righteously now in this world, and never having had it as a snare, it\nwill receive it again with great gladness. But as for the unjust,\nthey will receive their bodies not changed, not freed from diseases or", "and that without end, and a certain fiery worm, never dying, and not\ndestroying the body, but continuing its eruption out of the body with", "Heaven will not then be uninhabitable by men, and it will not be\nimpossible to discover the way of ascending thither. The earth will not", "as to God himself, shall be adjudged to this everlasting punishment,\nas having been the causes of defilement; while the just shall obtain an", "hereby are they punished; for a chaos deep and large is fixed between\nthem; insomuch that a just man that hath compassion upon them cannot be", "them; for the just are no longer seen by them, nor are they thought\nworthy of remembrance. But the just shall remember only their righteous\nactions, whereby they have attained the heavenly kingdom, in which", "AN EXTRACT OUT OF JOSEPHUS'S DISCOURSE TO THE GREEKS CONCERNING HADES\n\nBy Flavius Josephus\n\n\nTranslated by William Whiston" ], [ "but it is prepared for a day afore-determined by God, in which one\nrighteous sentence shall deservedly be passed upon all men; when the", "as to God himself, shall be adjudged to this everlasting punishment,\nas having been the causes of defilement; while the just shall obtain an", "6. For all men, the just as well as the unjust, shall be brought before\nGod the word: for to him hath the Father committed all judgment: and he,", "righteously now in this world, and never having had it as a snare, it\nwill receive it again with great gladness. But as for the unjust,\nthey will receive their bodies not changed, not freed from diseases or", "them; for the just are no longer seen by them, nor are they thought\nworthy of remembrance. But the just shall remember only their righteous\nactions, whereby they have attained the heavenly kingdom, in which", "8. In whatsoever ways I shall find you, in them shall I judge you\nentirely: so cries the End of all things. And he who hath at first", "and so as never to be destroyed any more. And to every body shall its\nown soul be restored. And when it hath clothed itself with that body, it", "have done well an everlasting fruition; but allotting to the lovers of\nwicked works eternal punishment. To these belong the unquenchable fire,", "through that are conducted down by the angels appointed over souls, they\ndo not go the same way; but the just are guided to the right hand, and", "The Sake Of Those Who Seek After Truth. This person, exercising the\nrighteous judgment of the Father towards all men, hath prepared a just", "4. But as to the unjust, they are dragged by force to the left hand by\nthe angels allotted for punishment, no longer going with a good-will,", "with righteous angels, and spirits [of God], and with his word, as a\nchoir of righteous men and women that never grow old, and continue in", "5. This is the discourse concerning Hades, wherein the souls of all men\nare confined until a proper season, which God hath determined, when", "1. Now as to Hades, wherein the souls of the good things they\nsee, and rejoice in the righteous and unrighteous are detained, it is", "kingdom which is there. For what God hath now concealed in silence [will\nbe then made manifest,] what neither eye hath seen, nor ear hath heard,", "one voice, and say, Just Is Thy Judgment; the rejoinder to which will\nbring a just sentence upon both parties, by giving justly to those that", "they flourish, and what is sown is indeed sown bare grain, but at the\nmighty sound of God the Creator, it will sprout up, and be raised in a", "sentence for every one, according to his works; at whose judgment-seat\nwhen all men, and angels, and demons shall stand, they will send forth", "incorruptible and never-fading kingdom. These are now indeed confined in\nHades, but not in the same place wherein the unjust are confined.", "distempers, nor made glorious, but with the same diseases wherein they\ndied; and such as they were in their unbelief, the same shall they be\nwhen they shall be faithfully judged." ], [ "righteously now in this world, and never having had it as a snare, it\nwill receive it again with great gladness. But as for the unjust,\nthey will receive their bodies not changed, not freed from diseases or", "and so as never to be destroyed any more. And to every body shall its\nown soul be restored. And when it hath clothed itself with that body, it", "body will be raised again; for although it be dissolved, it is not\nperished; for the earth receives its remains, and preserves them; and\nwhile they are like seed, and are mixed among the more fruitful soil,", "them; for the just are no longer seen by them, nor are they thought\nworthy of remembrance. But the just shall remember only their righteous\nactions, whereby they have attained the heavenly kingdom, in which", "those very bodies, which you Greeks, seeing to be dissolved, do not\nbelieve [their resurrection]. But learn not to disbelieve it; for while", "he will make a resurrection of all men from the dead, not procuring\na transmigration of souls from one body to another, but raising again", "through that are conducted down by the angels appointed over souls, they\ndo not go the same way; but the just are guided to the right hand, and", "incorruptible and never-fading kingdom. These are now indeed confined in\nHades, but not in the same place wherein the unjust are confined.", "the countenance of the and of the just, which they see, always smiles\nthem, while they wait for that rest and eternal new life in heaven,\nwhich is to succeed this region. This place we call The Bosom of", "resurrection of the body; for although it be dissolved for a time on\naccount of the original transgression, it exists still, and is cast into", "will be no more generations of wild beasts, nor will the substance of\nthe rest of the animals shoot out any more; for it will not produce men,\nbut the number of the righteous will continue, and never fail, together", "5. This is the discourse concerning Hades, wherein the souls of all men\nare confined until a proper season, which God hath determined, when", "1. Now as to Hades, wherein the souls of the good things they\nsee, and rejoice in the righteous and unrighteous are detained, it is", "but it is prepared for a day afore-determined by God, in which one\nrighteous sentence shall deservedly be passed upon all men; when the", "as to God himself, shall be adjudged to this everlasting punishment,\nas having been the causes of defilement; while the just shall obtain an", "distempers, nor made glorious, but with the same diseases wherein they\ndied; and such as they were in their unbelief, the same shall they be\nwhen they shall be faithfully judged.", "they flourish, and what is sown is indeed sown bare grain, but at the\nmighty sound of God the Creator, it will sprout up, and be raised in a", "with righteous angels, and spirits [of God], and with his word, as a\nchoir of righteous men and women that never grow old, and continue in", "4. But as to the unjust, they are dragged by force to the left hand by\nthe angels allotted for punishment, no longer going with a good-will,", "clothed and glorious condition, though not before it has been dissolved,\nand mixed [with the earth]. So that we have not rashly believed the" ], [ "righteously now in this world, and never having had it as a snare, it\nwill receive it again with great gladness. But as for the unjust,\nthey will receive their bodies not changed, not freed from diseases or", "and so as never to be destroyed any more. And to every body shall its\nown soul be restored. And when it hath clothed itself with that body, it", "incorruptible and never-fading kingdom. These are now indeed confined in\nHades, but not in the same place wherein the unjust are confined.", "1. Now as to Hades, wherein the souls of the good things they\nsee, and rejoice in the righteous and unrighteous are detained, it is", "through that are conducted down by the angels appointed over souls, they\ndo not go the same way; but the just are guided to the right hand, and", "them; for the just are no longer seen by them, nor are they thought\nworthy of remembrance. But the just shall remember only their righteous\nactions, whereby they have attained the heavenly kingdom, in which", "distempers, nor made glorious, but with the same diseases wherein they\ndied; and such as they were in their unbelief, the same shall they be\nwhen they shall be faithfully judged.", "the countenance of the and of the just, which they see, always smiles\nthem, while they wait for that rest and eternal new life in heaven,\nwhich is to succeed this region. This place we call The Bosom of", "those very bodies, which you Greeks, seeing to be dissolved, do not\nbelieve [their resurrection]. But learn not to disbelieve it; for while", "body will be raised again; for although it be dissolved, it is not\nperished; for the earth receives its remains, and preserves them; and\nwhile they are like seed, and are mixed among the more fruitful soil,", "4. But as to the unjust, they are dragged by force to the left hand by\nthe angels allotted for punishment, no longer going with a good-will,", "as to God himself, shall be adjudged to this everlasting punishment,\nas having been the causes of defilement; while the just shall obtain an", "have done well an everlasting fruition; but allotting to the lovers of\nwicked works eternal punishment. To these belong the unquenchable fire,", "5. This is the discourse concerning Hades, wherein the souls of all men\nare confined until a proper season, which God hath determined, when", "but it is prepared for a day afore-determined by God, in which one\nrighteous sentence shall deservedly be passed upon all men; when the", "2. In this region there is a certain place set apart, as a lake of\nunquenchable fire, whereinto we suppose no one hath hitherto been cast;", "and that without end, and a certain fiery worm, never dying, and not\ndestroying the body, but continuing its eruption out of the body with", "resurrection of the body; for although it be dissolved for a time on\naccount of the original transgression, it exists still, and is cast into", "he will make a resurrection of all men from the dead, not procuring\na transmigration of souls from one body to another, but raising again", "with righteous angels, and spirits [of God], and with his word, as a\nchoir of righteous men and women that never grow old, and continue in" ], [ "6. For all men, the just as well as the unjust, shall be brought before\nGod the word: for to him hath the Father committed all judgment: and he,", "but it is prepared for a day afore-determined by God, in which one\nrighteous sentence shall deservedly be passed upon all men; when the", "them; for the just are no longer seen by them, nor are they thought\nworthy of remembrance. But the just shall remember only their righteous\nactions, whereby they have attained the heavenly kingdom, in which", "through that are conducted down by the angels appointed over souls, they\ndo not go the same way; but the just are guided to the right hand, and", "4. But as to the unjust, they are dragged by force to the left hand by\nthe angels allotted for punishment, no longer going with a good-will,", "1. Now as to Hades, wherein the souls of the good things they\nsee, and rejoice in the righteous and unrighteous are detained, it is", "as to God himself, shall be adjudged to this everlasting punishment,\nas having been the causes of defilement; while the just shall obtain an", "incorruptible and never-fading kingdom. These are now indeed confined in\nHades, but not in the same place wherein the unjust are confined.", "The Sake Of Those Who Seek After Truth. This person, exercising the\nrighteous judgment of the Father towards all men, hath prepared a just", "righteously now in this world, and never having had it as a snare, it\nwill receive it again with great gladness. But as for the unjust,\nthey will receive their bodies not changed, not freed from diseases or", "in order to fulfill the will of his Father, shall come as Judge, whom\nwe call Christ. For Minos and Rhadamanthus are not the judges, as", "with righteous angels, and spirits [of God], and with his word, as a\nchoir of righteous men and women that never grow old, and continue in", "sentence for every one, according to his works; at whose judgment-seat\nwhen all men, and angels, and demons shall stand, they will send forth", "5. This is the discourse concerning Hades, wherein the souls of all men\nare confined until a proper season, which God hath determined, when", "judgment, and in effect punished thereby: and not only so, but where\nthey see the place [or choir] of the fathers and of the just, even", "the countenance of the and of the just, which they see, always smiles\nthem, while they wait for that rest and eternal new life in heaven,\nwhich is to succeed this region. This place we call The Bosom of", "one voice, and say, Just Is Thy Judgment; the rejoinder to which will\nbring a just sentence upon both parties, by giving justly to those that", "have done well an everlasting fruition; but allotting to the lovers of\nwicked works eternal punishment. To these belong the unquenchable fire,", "distempers, nor made glorious, but with the same diseases wherein they\ndied; and such as they were in their unbelief, the same shall they be\nwhen they shall be faithfully judged.", "8. In whatsoever ways I shall find you, in them shall I judge you\nentirely: so cries the End of all things. And he who hath at first" ], [ "but it is prepared for a day afore-determined by God, in which one\nrighteous sentence shall deservedly be passed upon all men; when the", "sentence for every one, according to his works; at whose judgment-seat\nwhen all men, and angels, and demons shall stand, they will send forth", "as to God himself, shall be adjudged to this everlasting punishment,\nas having been the causes of defilement; while the just shall obtain an", "one voice, and say, Just Is Thy Judgment; the rejoinder to which will\nbring a just sentence upon both parties, by giving justly to those that", "righteously now in this world, and never having had it as a snare, it\nwill receive it again with great gladness. But as for the unjust,\nthey will receive their bodies not changed, not freed from diseases or", "6. For all men, the just as well as the unjust, shall be brought before\nGod the word: for to him hath the Father committed all judgment: and he,", "through that are conducted down by the angels appointed over souls, they\ndo not go the same way; but the just are guided to the right hand, and", "them; for the just are no longer seen by them, nor are they thought\nworthy of remembrance. But the just shall remember only their righteous\nactions, whereby they have attained the heavenly kingdom, in which", "The Sake Of Those Who Seek After Truth. This person, exercising the\nrighteous judgment of the Father towards all men, hath prepared a just", "4. But as to the unjust, they are dragged by force to the left hand by\nthe angels allotted for punishment, no longer going with a good-will,", "have done well an everlasting fruition; but allotting to the lovers of\nwicked works eternal punishment. To these belong the unquenchable fire,", "in order to fulfill the will of his Father, shall come as Judge, whom\nwe call Christ. For Minos and Rhadamanthus are not the judges, as", "incorruptible and never-fading kingdom. These are now indeed confined in\nHades, but not in the same place wherein the unjust are confined.", "8. In whatsoever ways I shall find you, in them shall I judge you\nentirely: so cries the End of all things. And he who hath at first", "1. Now as to Hades, wherein the souls of the good things they\nsee, and rejoice in the righteous and unrighteous are detained, it is", "and so as never to be destroyed any more. And to every body shall its\nown soul be restored. And when it hath clothed itself with that body, it", "5. This is the discourse concerning Hades, wherein the souls of all men\nare confined until a proper season, which God hath determined, when", "distempers, nor made glorious, but with the same diseases wherein they\ndied; and such as they were in their unbelief, the same shall they be\nwhen they shall be faithfully judged.", "the countenance of the and of the just, which they see, always smiles\nthem, while they wait for that rest and eternal new life in heaven,\nwhich is to succeed this region. This place we call The Bosom of", "kingdom which is there. For what God hath now concealed in silence [will\nbe then made manifest,] what neither eye hath seen, nor ear hath heard," ], [ "8. In whatsoever ways I shall find you, in them shall I judge you\nentirely: so cries the End of all things. And he who hath at first", "and so as never to be destroyed any more. And to every body shall its\nown soul be restored. And when it hath clothed itself with that body, it", "the countenance of the and of the just, which they see, always smiles\nthem, while they wait for that rest and eternal new life in heaven,\nwhich is to succeed this region. This place we call The Bosom of", "one voice, and say, Just Is Thy Judgment; the rejoinder to which will\nbring a just sentence upon both parties, by giving justly to those that", "6. For all men, the just as well as the unjust, shall be brought before\nGod the word: for to him hath the Father committed all judgment: and he,", "in order to fulfill the will of his Father, shall come as Judge, whom\nwe call Christ. For Minos and Rhadamanthus are not the judges, as", "have done well an everlasting fruition; but allotting to the lovers of\nwicked works eternal punishment. To these belong the unquenchable fire,", "body will be raised again; for although it be dissolved, it is not\nperished; for the earth receives its remains, and preserves them; and\nwhile they are like seed, and are mixed among the more fruitful soil,", "kingdom which is there. For what God hath now concealed in silence [will\nbe then made manifest,] what neither eye hath seen, nor ear hath heard,", "5. This is the discourse concerning Hades, wherein the souls of all men\nare confined until a proper season, which God hath determined, when", "those very bodies, which you Greeks, seeing to be dissolved, do not\nbelieve [their resurrection]. But learn not to disbelieve it; for while", "them; for the just are no longer seen by them, nor are they thought\nworthy of remembrance. But the just shall remember only their righteous\nactions, whereby they have attained the heavenly kingdom, in which", "AN EXTRACT OUT OF JOSEPHUS'S DISCOURSE TO THE GREEKS CONCERNING HADES\n\nBy Flavius Josephus\n\n\nTranslated by William Whiston", "The Sake Of Those Who Seek After Truth. This person, exercising the\nrighteous judgment of the Father towards all men, hath prepared a just", "clothed and glorious condition, though not before it has been dissolved,\nand mixed [with the earth]. So that we have not rashly believed the", "you Greeks do suppose, but he whom God and the Father hath glorified:\nConcerning Whom We Have Elsewhere Given A More Particular Account, For", "necessary to speak of it. Hades is a place in the world not regularly\nfinished; a subterraneous region, wherein the light of this world does\nnot shine; from which circumstance, that in this region the light does", "but it is prepared for a day afore-determined by God, in which one\nrighteous sentence shall deservedly be passed upon all men; when the", "righteously now in this world, and never having had it as a snare, it\nwill receive it again with great gladness. But as for the unjust,\nthey will receive their bodies not changed, not freed from diseases or", "incorruptible and never-fading kingdom. These are now indeed confined in\nHades, but not in the same place wherein the unjust are confined." ] ]

[ "Who are the guardians of the souls in Hades? ", "Who guards the gate of Hades? ", "What charterizes the left hand side of Hades?", "What will happen to the unjust when they are resurrected by God? ", "Who will judge the resurrected? ", "Who did the Greeks believe were the judges of the underworld?", "What judgement does Christ give the wicked? ", "What judgement does Christ give the righteous?", "How will Christ judge the people? ", "Who is in custody in Hades?", "What does it take to get to the Bosom of Abraham?", "Who decides if a soul is punished?", "Who guards the dead?", "Which direction are the unjust sent?", "Who do the Greeks believe decide a soul's fate?", "Why can't the unjust join the just?", "How is it determined whether a soul is just?", "When will the unjust receive their unchanged bodies?", "What is the reward for the just?", "What is Hades described as?", "Who resides in Hades?", "What is the Bosom of Abraham?", "Why can't the unholy enter the Bosom of Abraham?", "What does the narrator say that God is going to do with the righteous and the unholy?", "What happens once the bodies of the righteous are resurrected?", "What does the unholy receive when the righteous are getting new bodies?", "Who are the righteous and the unrighteous brought before?", "What are the sentences Jesus will hand out for the righteous and the unholy?", "What are the last words from Jesus we get?" ]

[ [ "Angels", "Angels" ], [ "An archangel with a host. ", "An archangel with an host." ], [ "Fire which emits hot vapor. ", "A lake of unquenchable fire." ], [ "They will recieve their bodies unchanged with the diseases they had beore. ", "Eternal punishment" ], [ "Jesus", "Jesus" ], [ "Minos and Rhadamanthus", "Minos and Rhadamanthus" ], [ "Everlasting punishment", "Everlasting punishment " ], [ "Eternal bliss", "Eternal bliss." ], [ "In whatever way he finds them. ", "With righteous judgement" ], [ "the souls of all who died", "The souls of the dead" ], [ "belief in God", "The archangel will the just dead people there" ], [ "Jesus Christ", "Angels" ], [ "Angels", "Archangel" ], [ "left", "To the left" ], [ "Minos and Rhadamantus", "Minos and Rhadmanthus" ], [ "they are separated by a deep, wide space", "They receive more severe punishment." ], [ "the way the person is living at the time Christ finds him", "How virtuous someone is when they die." ], [ "After Christ's judgement", "When God resurrects the dead" ], [ "eternal bliss", "Eternal bliss." ], [ "an underground area where the light of the world is unable to touch", "A lake of unquenchable fire." ], [ "the righteous and the unholy", "All the dead and an Archangel " ], [ "the area of light to the right where the righteous are led", "Where the just go " ], [ "a deep hole separates the two areas", "A barrier made do chaos" ], [ "He is going to raise their bodies, not just their souls", "resurrect them" ], [ "They get new bodies with no more sickness", "They will be new." ], [ "they keep their original bodies, sickness, injuries, and diseases same as before", "Their old bodies with the same flaws they had before." ], [ "Jesus Christ to be judged", "Jesus christ" ], [ "The unholy will receive eternal suffering while the righteous will receive everlasting happiness.", "Eternal bliss and infinite punishment" ], [ "The way you stand before me will be the way I judge you. ", "In whatsoever ways I shall find you, in them I shall judge you entirely " ] ]

[ [ "directors, and trust magnates. Second, is the middle class, your class,\ngentlemen, which is composed of farmers, merchants, small manufacturers,\nand professional men. And third and last comes my class, the", "The whole middle class had not yet been exterminated. The sturdy\nskeleton of it remained; but it was without power. The small", "Thus the summer of 1912 witnessed the virtual death-thrust to the middle\nclass. Even Ernest was astounded at the quickness with which it had been", "The captains of industry had turned upon the middle class. The\nemployers' associations, that had helped the captains of industry to", "manufacturers and small business men who still survived were at the\ncomplete mercy of the Plutocracy. They had no economic nor political", "\"There are three big classes in society. First comes the Plutocracy,\nwhich is composed of wealthy bankers, railway magnates, corporation", "to their holdings, even extending their enterprises into many new\nfields--and always at the expense of the middle class.", "\"Day by day the trusts squeeze out the farmers as they squeezed out Mr.\nCalvin and the rest of the dairymen. And day by day are the merchants", "squeezed out in the same way. Do you remember how, in six months, the\nTobacco Trust squeezed out over four hundred cigar stores in New York", "is a pygmy between two giants. Don't you see, you poor perishing middle\nclass, you are caught between the upper and nether millstones, and even\nnow has the grinding begun.", "it all away from you. And then you will cease to be the middle class.\nYou will descend to us. You will become proletarians. And the beauty of", "\"When he says 'free opportunity for all,' he means free opportunity to\nsqueeze profits, which freedom of opportunity is now denied him by the", "Mr. Owen affirmed with a complacent smile. \"They had no chance against\nus.\"\n\n\"Why not?\"\n\n\"We had greater capital. With a large business there is always less\nwaste and greater efficiency.\"", "each of which is more powerful than you of the middle class. The large\ncapitalists, the trusts, in short, will not let you turn back. They", "dollars a year to run his various papers, and this sum, and more, he got\nback from the middle class in payment for advertising. The source of his", "financial strength lay wholly in the middle class. The trusts did not\nadvertise.** To destroy Hearst, all that was necessary was to take away\nfrom him his advertising.", "disagree with you about the doom of the middle class. We shall\n survive, and we shall overthrow the trusts.\"", "middle class, and the laborers. The capitalist system will fall to\npieces. In another month we send fifty men to Congress. Two years\nhence every office will be ours, from the President down to the local", "Everhard has flatly stated it. It is true that we smaller capitalists\nare after profits, and that the trusts are taking our profits away from", "\"Very true,\" Ernest answered. \"And the trusts themselves destroyed\ncompetition. That, by your own word, is why you are no longer in the\ndairy business.\"" ], [ "us. It is true that we want to destroy the trusts in order that our\nprofits may remain to us. And why can we not do it? Why not? I say, why\nnot?\"", "and trusts. Their creed was, \"Bust the Trusts.\" All oppression\noriginated in the trusts, and one and all told the same tale of woe.", "trusts. The chief obstacle to your Grange propaganda is the trusts.\nBehind every obstacle you encounter, every blow that smites you, every", "\"Very true,\" Ernest answered. \"And the trusts themselves destroyed\ncompetition. That, by your own word, is why you are no longer in the\ndairy business.\"", "elevators, and steamship lines. And, furthermore, the trusts control\nthe markets. In all this the farmers are without power. As regards their", "Plutocracy. We both mean the same thing, the large capitalists or the\ntrusts. Let us see where the power lies today. And in order to do so,", "them are thralls by virtue of the fact that the trusts already own or\ncontrol (which is the same thing only better)--own and control all\nthe means of marketing the crops, such as cold storage, railroads,", "defeat that you receive, is the hand of the trusts. Is this not so? Tell\nme.\"", "\"And now, while we are on the trusts,\" Ernest went on, \"let us settle\na few things. I shall make certain statements, and if you disagree", "great trusts. And the absurd thing about it is that you have repeated\nthese phrases so often that you believe them. You want opportunity\nto plunder your fellow-men in your own small way, but you hypnotize", "agreed, are the creatures of the trusts. Besides, it is as I have said,\nthe law. It has been the law for years, for nine years, gentlemen.\"", "Everhard has flatly stated it. It is true that we smaller capitalists\nare after profits, and that the trusts are taking our profits away from", "No one answered for a long time. Then Mr. Kowalt spoke.\n\n\"What are we to do, then?\" he demanded. \"To destroy the trusts is the\nonly way we can see to escape their domination.\"", "Mr. Calvin here launched out into a political speech in exposition of\nhis views. He was warmly followed by a number of the others, and the cry\nof all was to destroy the trusts.", "has a hundred millions in the steel trust, almost as much in\n a single western railway system, half as much in a second,\n and so on and on and on until the mind wearies of the", "\"One and all you tell the same story,--the passing away of competition\nand the coming on of combination. You, Mr. Owen, destroyed competition", "And while you maunder about restoring competition, the trusts go on\ndestroying you.", "manufacturers, the trusts stood firm. Nay, the trusts did more than\nstand firm. They were active. They sowed wind, and wind, and ever more", "socialism, a greater combination than the trusts, a greater economic and\nsocial combination than any that has as yet appeared on the planet. It\nis in line with evolution. We meet combination with greater combination.", "cry out. It is because you are not a trust. If you were a grocery trust\nfor the whole United States, you would be singing another song. And the" ], [ "little more than six hundred years after the death, the\n confession of Pervaise was discovered in the secret archives\n of the Vatican. It is perhaps well to tell a little", "Everhards made their refuge. Since the finding of the\n Manuscript excavations have been made, and the house, the\n two cave rooms, and all the accumulated rubbish of long", "never been discovered by an outsider. And yet it was only a quarter of\na mile from Wickson's hunting-lodge, and a short mile from the village", "Indeed, it was a safe refuge. I have said that it was discovered only\nonce, and this brings me to the clearing up of the mystery of the", "to discover. But the work was going on everywhere; masters in the\nart were developing, and a fund of tricks and expedients was being\naccumulated. This fund became a sort of text-book that was passed on, a", "up. And still later, when we became assured of the perfect security of\nthe place, a small house was erected. This house was completely hidden\nfrom any chance eye that might peer down from the edge of the hole. The", "brought to bear, hence its suppression. For centuries no\n hint of its existence reached the world. It was not until\n in the last century that Lorbia, the brilliant Italian", "quarters. Our comrades sought him everywhere. Through our secret service\nwe ransacked every prison in the land. But he was lost as completely as", "several hours and which was hidden from above. Here we had carried\nmany loads of gravel from the creek-bed, so that it was dry and warm,", "* This book continued to be secretly printed throughout the\n three centuries of the Iron Heel. There are several copies\n of various editions in the National Library of Ardis.", "fled or was captured by the Mercenaries, she hid the Manuscript in the\nhollow oak at Wake Robin Lodge.", "writing and sworn to. What happened after this we can only\n surmise. The document was certainly important enough to\n find its way to Rome. Powerful influences must have been", "It was a perfect hiding-place. No one ever came there, not even the\nvillage boys of Glen Ellen. Had this hole existed in the bed of a canyon", "days he had lived, knew the secret of the hiding-place for which I was\nbound. He had bought the ranch for beauty, and paid a round price for", "\"The history of the eighteenth century is written,\" Ernest prompted. \"If\nthe Church was not dumb, it will be found not dumb in the books.\"\n\n\"I am afraid the Church was dumb,\" the Bishop confessed.", "* Avis Everhard would have had to live for many generations\n ere she could have seen the clearing up of this particular\n mystery. A little less than a hundred years ago, and a", "received warning of the coming of the Mercenaries, for she\n had time safely to hide the Manuscript before she fled or\n was captured. It is to be regretted that she did not live", "oligarchs did not dare permit the telling of the whole truth. In\nreality, the wages had been raised much higher, and the privileges were\ncorrespondingly greater. All this was secret, but secrets will out.", "Half a mile of the mob had swept by when we were discovered. A woman\nin fantastic rags, with cheeks cavernously hollow and with narrow black", "occupancy have been brought to light. Many valuable relics\n have been found, among which, curious to relate, is the\n smoke-consuming device of Biedenbach's mentioned in the" ], [ "martyrdom--all the splendid, stinging things of the spirit. Here life\nwas clean, noble, and alive. I was in touch with great souls who exalted", "husband, so recently dead, should receive full credit for all that he\nhad ventured and accomplished. Then came the frightful crushing of the\nSecond Revolt, and it is probable that in the moment of danger, ere she", "We, who by personal experience know nothing of bloodshed,\n must not judge harshly the heroes of the Fighting Groups.\n They gave up their lives for humanity, no sacrifice was too", "themselves as heroic and sacrificing laborers for the highest good.", "a large number of heroes who, throughout the world, devoted their lives\nto the Revolution; though it must be conceded that he did unusual\nwork, especially in his elaboration and interpretation of working-class", "that their conduct was right. There was no question about it, no\ndiscussion. They were convinced that they were the saviours of society,\nand that it was they who made happiness for the many. And they drew", "of righteousness. In no other way can be explained our sacrifices and\nmartyrdoms. For no other reason did Rudolph Mendenhall flame out his", "vengeance. And as I looked the thought came to me that in that rushing\nstream of human lava were men, comrades and heroes, whose mission had", "Hartman was jubilant. \"Well done! well done!\" he was repeating, over\nand over, in a whisper. \"The proletariat gets its lesson to-day, but it\ngives one, too.\"", "persisted throughout the three centuries of its existence.\n Composed of men and women actuated by lofty purpose and\n unafraid to die, the Fighting Groups exercised tremendous", "opposed to the taking of life. They violated their own natures, yet they\nloved liberty and knew of no sacrifice too great to make for the Cause.*", "the revolutionists. All halting utterance vanished. His voice grew\nstrong and confident, and it glowed as he glowed, and as the thoughts\nglowed that poured out from him. He said:", "said about it were justified, I had drawn closer to him again. He became\nmy oracle. For me he tore the sham from the face of society and gave", "destroyed socialist press was misrepresented and vilified, while\nthe Black Hundreds were represented as true patriots and saviours of\nsociety. So convincing was all this misrepresentation that even sincere", "Pococks defied the executioners of the Fighting Groups, so\n she defied the executioners of the Iron Heel. She bore a", "sickened him; so that he was glad to go back to his revolutionists, who\nwere clean, noble, and alive, and all that the capitalists were not.", "sedition or confined in madhouses. Those who were executed went to their\ndeaths with all the gladness of martyrs. It was a time of madness. The", "\"For this time lost, dear heart,\" he said, \"but not forever. We have\nlearned. To-morrow the Cause will rise again, strong with wisdom and\ndiscipline.\"", "Dr. Hammerfield and Dr. Ballingford achieved quite different fates from\nthat of Jackson. They have been faithful to their salt, and they have", "by the tragedy of a sane, normal, saintly man being crushed by the\nbrutal will of society. For the Bishop was sane, and pure, and noble. As" ], [ "oligarchy, if you will; it is the nearest I dare approximate it. What\nits nature may be I refuse to imagine.* But what I wanted to say was", "Oligarchy. In the main, and ignoring the loss of liberty, they were\nbetter off than they had been. On the other hand, the great helpless", "the Oligarchy.", "* The earliest known use of that name to designate the\n Oligarchy.\n\nThere was a long pause, and every man at the table meditated in ways\nunwonted and profound.", "Oligarchy was there--a fact established in blood, a stupendous and awful\nreality. Nor even then, as the Everhard Manuscript well shows, was any", "the Oligarchy, and a costly one. But the Oligarchy was too confident in\nthose days. It was drunk with success, and little did it dream that", "in the spring of 1912. This is, without discussion, the earliest-known\noccasion on which the Oligarchy was so designated.", "Plutocracy. You talk verbosely in antiquated terminology of your love\nof liberty, and all the while you wear the scarlet livery of the Iron\nHeel.\"", "\"The Oligarchy is about to tread upon our faces--yours and mine. Wickson\nas much as told me so. He was very kind--for an oligarch. He offered to", "Plutocracy.", "the disguise of a member of the Oligarchy. While the arch-oligarchs were\nno more than a handful, there were myriads of lesser ones of the type,", "The rise of the Oligarchy will always remain a cause of secret wonder\nto the historian and the philosopher. Other great historical events\nhave their place in social evolution. They were inevitable. Their coming", "* In addition to the labor castes, there arose another\n caste, the military. A standing army of professional\n soldiers was created, officered by members of the Oligarchy", "regime, to the exclusion of all ideas that were inimical and\n subversive. The book created a furor, and was promptly\n suppressed by the Oligarchy.", "the idea of the Oligarchy into the minds of the great\n capitalists. This belief persists throughout the literature\n of the three centuries of the Iron Heel, and even in the", "Too late did the socialist movement of the early twentieth century\ndivine the coming of the Oligarchy. Even as it was divined, the", "Thus, throughout the organization of the Oligarchy, our own\norganization, weblike and spidery, was insinuating itself. And so I", "oligarchies of the world, their socialist governments being\n replaced by oligarchical governments.", "could not get them seriously to fear the coming of the Oligarchy. They\nwere stirred by him, but they were too sure of their own strength. There\nwas no room in their theoretical social evolution for an oligarchy,", "therefore the Oligarchy could not be." ], [ "It was shortly after this day that Ernest told me, as a good story, the\noffer he had received from the government, namely, an appointment as", "CHAPTER XIV\n\nTHE BEGINNING OF THE END", "It was not until January, 1917, that we left the refuge. All had been\narranged. We took our place at once as agents-provocateurs in the scheme", "But in remembering the old life I have run ahead of my story into the\nnew life. The wholesale jail delivery did not occur until well along", "And so it is, in this anxious time of waiting, that I shall write of\nmy husband. There is much light that I alone of all persons living can", "the new machines. Family life ceased. The conditions were frightful. It\nis a tale of blood.\"", "* This book, \"Economics and Education,\" was published in\n that year. Three copies of it are extant; two at Ardis, and", "In the first place, his clothes did not fit him. He wore a ready-made\nsuit of dark cloth that was ill adjusted to his body. In fact, no", "I shall try to write simply and to tell here how Ernest Everhard entered\nmy life--how I first met him, how he grew until I became a part of him,", "\"Nothing much,\" he began slowly, \"except that the gown you wear is\nstained with blood. The food you eat is a bloody stew. The blood of", "I spread before me a wrinkled letter, written to me by Ernest twenty\nyears ago, and from it I copy the following:", "\"And there, a century and a half ago, originated the modern\nproletariat,\" Ernest continued. \"And the Church ignored it. While a", "\"No story is too long for the scientist,\" Ernest said sweetly. \"That is\nwhy the scientist gets to places. That is why he got to America.\"", "\"Yet you have not learned their lesson. Here are you, a century and a\nhalf later, trying to break machines. By your own confession the trust", "It was in February, 1912, that I first met him, when, as a guest of my\nfather's* at dinner, he came to our house in Berkeley. I cannot say that", "Ernest had largely planned the First Revolt, and the date set had been\nsomewhere early in the spring of 1918. In the fall of 1917 we were not", "in advance of events. I have yet to tell of the stirring times of the\nwinter of 1912.", "And that was the last I saw of Garthwaite for three years. Instead of\ncoming back, he was carried away to a hospital with a bullet through his\nlungs and another through the fleshy part of his neck.", "It was about this time that the warnings of coming events began to fall\nabout us thick and fast. Ernest had already questioned father's policy", "\"They have already walked upon my face,\" father explained. \"There was no\nstock. The box was empty. You and Ernest will have to get married pretty\nquickly.\"" ], [ "CHAPTER XVI\n\nTHE END", "CHAPTER XIV\n\nTHE BEGINNING OF THE END", "in the end. His mind was fresh and plastic, and by nature he was very\nethical. Several months later we rode him, on one of his father's", "And that was the last I saw of Garthwaite for three years. Instead of\ncoming back, he was carried away to a hospital with a bullet through his\nlungs and another through the fleshy part of his neck.", "* This is the end of the Everhard Manuscript. It breaks off\n abruptly in the middle of a sentence. She must have", "Never shall I forget the night when, after a hot discussion with half a\ndozen labor leaders, Ernest turned to me and said quietly: \"That settles\nit. The Iron Heel has won. The end is in sight.\"", "about its total annihilation. This occurred in 2002 A.D.\n The members were executed one at a time, at intervals of", "More I heard of him afterward. In his own way he had told the truth\nwhen he said all were dead. But one lived, Timothy, and him his father", "\"Yet you have not learned their lesson. Here are you, a century and a\nhalf later, trying to break machines. By your own confession the trust", "There he remained eight months, at the end of which time, for two\nreasons, he was loath to leave us. One reason was that he had fallen in", "And so it was that father kept on at our Pell Street quarters, while\nErnest and I went to Washington. Except for the final consummation, the", "It was shortly after this day that Ernest told me, as a good story, the\noffer he had received from the government, namely, an appointment as", "\"No story is too long for the scientist,\" Ernest said sweetly. \"That is\nwhy the scientist gets to places. That is why he got to America.\"", "It is apparent that Avis Everhard completed the Manuscript during the\nlast days of preparation for the Second Revolt; hence the fact that", "* This book, \"Economics and Education,\" was published in\n that year. Three copies of it are extant; two at Ardis, and", "Thus the summer of 1912 witnessed the virtual death-thrust to the middle\nclass. Even Ernest was astounded at the quickness with which it had been", "his armed escort and got away unscathed. In the end she\n died peaceably of old age in a secret refuge of the\n revolutionists in the Ozark mountains.", "worked only thirty years. She began young, it is true; but my man died.\nThe boiler exploded down at the works. And what were we to do? She was", "\"They have already walked upon my face,\" father explained. \"There was no\nstock. The box was empty. You and Ernest will have to get married pretty\nquickly.\"", "accomplish her purpose, served two years in his palace as a\n seamstress to the household. She died in solitary\n confinement after horrible and prolonged torture; but to-day" ], [ "with Japan and the rest of Asia for India was merely delayed. England\nwas destined shortly to lose India, while behind that event loomed the\nstruggle between a united Asia and the world.", "For the first time the German war-lord faced the men of his empire\nwho made his empire go. Without them he could not run his empire. The", "apart. England's hands were full. In India revolt was in full swing. The\ncry in all Asia was, \"Asia for the Asiatics!\" And behind this cry was", "bought out in similar ways in the past. It is cheaper, so much cheaper,\nto buy a general than to fight him and his whole army. There was--but", "novelty of the situation lay in that their revolt was passive. They\ndid not fight. They did nothing. And by doing nothing they tied their\nwar-lord's hands. He would have asked for nothing better than an", "operatives by machine-guns became classic as the most terrific execution\never achieved by modern war machines. Most savage of all was the\nJapanese Oligarchy that arose. Japan dominated the East, and took", "accomplish her purpose, served two years in his palace as a\n seamstress to the household. She died in solitary\n confinement after horrible and prolonged torture; but to-day", "With iron hand and iron heel it mastered the surging millions, out\nof confusion brought order, out of the very chaos wrought its own\nfoundation and structure.", "Japan, ever urging and aiding the yellow and brown races against the\nwhite. And while Japan dreamed of continental empire and strove to\nrealize the dream, she suppressed her own proletarian revolution. It", "commercial expansion and world empire. All about me were nobleness of\npurpose and heroism of effort, and my days and nights were sunshine\nand starshine, all fire and dew, with before my eyes, ever burning", "they began, as children, to receive impressions of the world. The\naristocratic idea was woven into the making of them until it became bone\nof them and flesh of them. They looked upon themselves as wild-animal", "to herself the whole Asiatic portion of the world-market, with the\nexception of India.", "subjugating them went on. Subjugation meant death, for no quarter was\ngiven, and they fought heroically to the last man.*", "ripening fast. Yet he possessed his soul with patience, and during this\ntime of his torment, when Hadly, who had been brought for the purpose\nfrom Illinois, made him over into another man* he revolved great plans", "he mobilize his army to go forth to war, nor could he punish his\nrecalcitrant subjects. Not a wheel moved in his empire. Not a train ran,", "bayoneted the struggling wretches, though one I saw who gained his feet\nand flew at a soldier's throat with his teeth. Together they went down,\nsoldier and slave, into the welter.", "The sound arose from his great lungs and dominated the human tempest. By\nsheer compulsion of personality he commanded silence.", "became an anarchist--not a philosophic anarchist, but a mere animal, mad\nwith hate and lust for revenge. And well he revenged himself. Evading", "They were taught, and later they in turn taught, that what they were\ndoing was right. They assimilated the aristocratic idea from the moment", "husband, so recently dead, should receive full credit for all that he\nhad ventured and accomplished. Then came the frightful crushing of the\nSecond Revolt, and it is probable that in the moment of danger, ere she" ], [ "* In addition to the labor castes, there arose another\n caste, the military. A standing army of professional\n soldiers was created, officered by members of the Oligarchy", "destroy the Iron Heel. The oligarchs have already developed caste among\nthemselves; but wait until the favored unions develop caste. The Iron", "of the Fighting Groups, and outside of them, of the general secret\norganization of the Revolution. And third, the introduction of our own\nsecret agents into every branch of the Oligarchy--into the labor castes", "And they will succeed. Membership in the labor castes will become\nhereditary. Sons will succeed fathers, and there will be no inflow of\nnew strength from that eternal reservoir of strength, the common people.", "the idea of the Oligarchy into the minds of the great\n capitalists. This belief persists throughout the literature\n of the three centuries of the Iron Heel, and even in the", "The rise of the Oligarchy will always remain a cause of secret wonder\nto the historian and the philosopher. Other great historical events\nhave their place in social evolution. They were inevitable. Their coming", "Oligarchy. In the main, and ignoring the loss of liberty, they were\nbetter off than they had been. On the other hand, the great helpless", "\"The Oligarchy is about to tread upon our faces--yours and mine. Wickson\nas much as told me so. He was very kind--for an oligarch. He offered to", "oligarchy, if you will; it is the nearest I dare approximate it. What\nits nature may be I refuse to imagine.* But what I wanted to say was", "the Oligarchy, and a costly one. But the Oligarchy was too confident in\nthose days. It was drunk with success, and little did it dream that", "Oligarchy was there--a fact established in blood, a stupendous and awful\nreality. Nor even then, as the Everhard Manuscript well shows, was any", "the disguise of a member of the Oligarchy. While the arch-oligarchs were\nno more than a handful, there were myriads of lesser ones of the type,", "competition. Thus will the strong men, who might else be revolutionists,\nbe won away and their strength used to bolster the Oligarchy.", "The trouble was precipitated by the Iron Heel. It was cleverly done. The\nwhole population, including the favored labor castes, was given a course", "the struggles between the labor castes and the oligarchs,\n and now to one side and now to the other, threw their\n strength according to the play of intrigue and conspiracy.", "the Oligarchy.", "The great driving force of the oligarchs is the belief that they are\ndoing right. Never mind the exceptions, and never mind the oppression", "through competition for place. Every fit workman in the United States\nwill be possessed by the ambition to become a member of the favored\nunions. The Oligarchy will encourage such ambition and the consequent", "factor of religion. And so with the Oligarchy. Prisons, banishment and\ndegradation, honors and palaces and wonder-cities, are all incidental.", "asserted their strength in the midst of the mass, they were drawn away\nfrom the mass by the oligarchs and given better conditions by being made\nmembers of the labor castes or of the Mercenaries. Thus discontent was" ], [ "Ernest had conjured a vision and made them see it. They were seeing it\nthen, as they sat there, and they were frightened by it.", "I shall try to write simply and to tell here how Ernest Everhard entered\nmy life--how I first met him, how he grew until I became a part of him,", "\"All right,\" Ernest said. \"You are travelling the same path that Bishop\nMorehouse is, and toward a similar smash-up. You'll both be proletarians\nbefore you're done with it.\"", "\"They have already walked upon my face,\" father explained. \"There was no\nstock. The box was empty. You and Ernest will have to get married pretty\nquickly.\"", "He arose and began, in a few well-chosen phrases that carried an\nundertone of faint irony, to introduce Ernest. Colonel Van Gilbert was", "of them made love to me as Ernest did. His arms were around me before I\nknew. His lips were on mine before I could protest or resist. Before his", "\"You are my Avis,\" he said, \"and you are also some one else. You are two\nwomen, and therefore you are my harem. At any rate, we are safe now.", "\"Not in three guesses,\" father laughed.\n\n\"One guess will do,\" Ernest retorted. \"And it won't be a guess. It will\nbe a deduction. You were reprimanded for your private life.\"", "waited upon by maids. This was a serious masquerade on the\n part of Avis Everhard. Life and death and the Cause were in\n the issue; therefore the picture must be accepted as a true", "was unspeakable horror. From the little I learned I knew that Ernest had\nbeen keeping his promise of taking him through hell. But what scenes of", "\"Ernest was right,\" he told me, as soon as he had returned home. \"Ernest\nis a very remarkable young man, and I'd rather see you his wife than the\nwife of Rockefeller himself or the King of England.\"", "Never shall I forget the night when, after a hot discussion with half a\ndozen labor leaders, Ernest turned to me and said quietly: \"That settles\nit. The Iron Heel has won. The end is in sight.\"", "And then, when the labor leaders had left, Ernest, with the calmness of\ndefeat, outlined to me the course of events to come.", "\"My father was a good man,\" Ernest once said to me. \"The soul of him was\ngood, and yet it was twisted, and maimed, and blunted by the savagery", "\"We started with A B C, Mr. Calvin,\" Ernest said slyly. \"I have now\ngiven you the rest of the alphabet. It is very simple. That is the", "betray on seeing for the first time so noted a hero of the Revolution.\nBut Ernest's glance took me in and questioned impatiently past and\naround the room. The next moment I was being introduced to him as Mary", "\"There are other plans afoot,\" was the retort. \"That is why the soldiers\nare present.\"\n\n\"Our plans, I suppose,\" Ernest sneered. \"Assassination or something\nkindred.\"", "And this out of all remains: I made Ernest happy. I came into his stormy\nlife, not as a new perturbing force, but as one that made toward peace", "To complete the deception, an extra plate was laid, and when we sat down\nto table one chair was not occupied. I could have cried with joy as I\nnoted Ernest's increasing uneasiness and impatience. Finally he could\nstand it no longer.", "of my intended marriage with Ernest. It was not till some time afterward\nthat Ernest pointed out to me clearly that this general attitude of\nmy class was something more than spontaneous, that behind it were the" ], [ "And that was the last I saw of Garthwaite for three years. Instead of\ncoming back, he was carried away to a hospital with a bullet through his\nlungs and another through the fleshy part of his neck.", "It was shortly after this day that Ernest told me, as a good story, the\noffer he had received from the government, namely, an appointment as", "But in remembering the old life I have run ahead of my story into the\nnew life. The wholesale jail delivery did not occur until well along", "worked only thirty years. She began young, it is true; but my man died.\nThe boiler exploded down at the works. And what were we to do? She was", "There is a saying that truth will out. I have come to doubt that saying.\nNineteen years have elapsed, and despite our untiring efforts, we have", "\"The very thing,\" Mr. Asmunsen replied. \"Only a short time ago I had my\nbooks gone through for the past ten years. I discovered that for", "I followed the Bishop into a small room, ten by twelve, in a rear\ntenement. And there we found a little old German woman--sixty-four years", "\"No story is too long for the scientist,\" Ernest said sweetly. \"That is\nwhy the scientist gets to places. That is why he got to America.\"", "I spread before me a wrinkled letter, written to me by Ernest twenty\nyears ago, and from it I copy the following:", "The eighteen months that followed was perhaps the happiest of my life\nwith Ernest. During that time we were never apart. Later, when we went", "stretched out his overall-covered legs, and actually sighed a\ncomfortable sigh. We were the first of his old friends he had met since\nhis disappearance, he told us; and during the intervening weeks he must", "\"Yet you have not learned their lesson. Here are you, a century and a\nhalf later, trying to break machines. By your own confession the trust", "I shall try to write simply and to tell here how Ernest Everhard entered\nmy life--how I first met him, how he grew until I became a part of him,", "More I heard of him afterward. In his own way he had told the truth\nwhen he said all were dead. But one lived, Timothy, and him his father", "CHAPTER XIV\n\nTHE BEGINNING OF THE END", "And so it is, in this anxious time of waiting, that I shall write of\nmy husband. There is much light that I alone of all persons living can", "* This book, \"Economics and Education,\" was published in\n that year. Three copies of it are extant; two at Ardis, and", "veiled to her, are clear to us. She lacked perspective. She was too\nclose to the events she writes about. Nay, she was merged in the events\nshe has described.", "eighteen precious months, and we were not lonely, for there was always\na coming and going of leaders and comrades--strange voices from the\nunder-world of intrigue and revolution, bringing stranger tales of", "\"They have already walked upon my face,\" father explained. \"There was no\nstock. The box was empty. You and Ernest will have to get married pretty\nquickly.\"" ], [ "And just now the word has gone forth that new levies are being imposed\nfor the building of Asgard, the projected wonder-city that will far", "* Ardis was completed in 1942 A.D., Asgard was not completed\n until 1984 A.D. It was fifty-two years in the building,", "great museum at Asgard there is a book entitled \"Essays in\n Application,\" written by Henry van Dyke. The book was\n published in 1905 of the Christian Era. From what we can", "one at Asgard. It dealt, in elaborate detail, with one\n factor in the persistence of the established, namely, the\n capitalistic bias of the universities and common schools.", "sprang up in the mountains of the Great West and spread over\n the Pacific Coast from Panama to Alaska. The Valkyries were\n women. They were the most terrible of all. No woman was", "\"I never dreamed of such a thing,\" Mr. Asmunsen said. \"And yet it does\nseem clear as print.\"", "\"So be it, civil war,\" was Mr. Asmunsen's answer, with the cries of all\nthe men at the table behind him. \"We have not forgotten the deeds of our", "\"The very thing,\" Mr. Asmunsen replied. \"Only a short time ago I had my\nbooks gone through for the past ten years. I discovered that for", "heaven. But in the meantime God did not come, and they starved to death\nin great numbers. In their desperation they ravaged the farms for food,\nand the consequent tumult and anarchy in the country districts but", "* We cannot but marvel at Everhard's foresight. Before ever\n the thought of wonder cities like Ardis and Asgard entered", "in all God's world. He was a helot in the great hunt of helots that the\nmasters were making. All he could hope for, all he sought, was some hole", "\"This, then, is our answer. We have no words to waste on you. When you\nreach out your vaunted strong hands for our palaces and purpled ease,", "I held that space was an apparition of God, and that soul was a\nprojection of the character of God; and when he called me his sweet", "As if in answer, a great screaming roar went up, dim with distance,\npunctuated with detonation after detonation.\n\n\"It's the fortresses,\" Hartman said. \"God pity those three regiments!\"", "\"We will rise in our strength!\" Mr. Asmunsen cried, and many voices\nbacked his decision.\n\n\"That will be civil war,\" Ernest warned them.", "\"Not at all. You are an old man. You have done your work in the world,\nand a great work. Leave the present battle to youth and strength. We", "Mr. Asmunsen nodded.\n\n\"What you want is to make profits yourself?\"\n\nAgain Mr. Asmunsen nodded.\n\n\"Out of others?\"", "The difference between you and the Eskimo who makes a fur-clad\nblubber-eating god is merely a difference of several thousand years of\nascertained facts. That is all.\"", "\"Not I,\" he laughed back. \"I may be executed, or assassinated, but I\nshall never be crucified. I am planted too solidly and stolidly upon the\nearth.\"", "women was The Widows of War. A companion organization to\n the Valkyries was the Berserkers. These men placed no value\n whatever upon their own lives, and it was they who totally" ], [ "Mercenaries.", "and known as the Mercenaries. This institution took the\n place of the militia, which had proved impracticable under\n the new regime. Outside the regular secret service of the", "old regular army and was now a million strong, to say nothing of the\ncolonial forces. The Mercenaries constituted a race apart. They dwelt in\ncities of their own which were practically self-governed, and they", "Another great institution that had taken form and was working smoothly\nwas the Mercenaries. This body of soldiers had been evolved out of the", "Then, what he expected, began. The Mercenaries were killing without\nquarter. At first, the surge back upon us was crushing, but as the", "* Originally, they were private detectives; but they quickly\n became hired fighting men of the capitalists, and ultimately\n developed into the Mercenaries of the Oligarchy.", "* The Mercenaries, in the last days of the Iron Heel, played\n an important role. They constituted the balance of power in", "patrols of the Mercenaries slipped swiftly past.", "are as much mercenaries (sincere mercenaries, I grant) as were the men\nof the Swiss Guard.* Be true to your salt and your hire; guard, with", "been broken in the early strikes. Despite their changed and favorable\nconditions, their hatred for the master class had not died. This spirit\nhad infected the Mercenaries, of which three regiments in particular", "a fort, and the Mercenaries fought their way upward floor by\n floor. It was deadly fighting. Quarter was neither given\n nor taken, and in the fighting the revolutionists had the", "developing. The labor castes, the Mercenaries, and the great hordes\nof secret agents and police of various sorts were all pledged to the", "Mercenaries. From without, as through thick walls, came the muffled roar\nof bursting bombs. I was in some building that was locked in combat with\nsome other building.", "But the Mercenaries were not content with what they had done. They\ninvaded the entrance, killing the wounded and searching out the unhurt", "comrades were in one building, that Mercenaries were in the other, and\nthat they were fighting across the street. But we could not tell\nwhich was which--which building contained our comrades and which the", "and Mercenaries would slay anyway. It would merely mean that various\ndangers to us were harmlessly destroying one another. In the meantime we\nwould be doing our own work, largely unhampered, and gaining control of", "by the Mercenaries; but it is definitely settled now that\n the ghetto was fired by the Mercenaries under orders from\n their chiefs.", "Iron Heel, there was further established a secret service of\n the Mercenaries, this latter forming a connecting link\n between the police and the military.", "considered dead because he had taken service with the Iron Heel in the\nMercenaries.* A member of the 'Frisco Reds pledged himself to twelve", "broken, and that their members with their families had been driven\nfrom their own city and on into the labor-ghettos. And the California\nMercenaries were in reality the most faithful of all to their salt!" ], [ "the Oligarchy, and a costly one. But the Oligarchy was too confident in\nthose days. It was drunk with success, and little did it dream that", "Oligarchy was there--a fact established in blood, a stupendous and awful\nreality. Nor even then, as the Everhard Manuscript well shows, was any", "* The earliest known use of that name to designate the\n Oligarchy.\n\nThere was a long pause, and every man at the table meditated in ways\nunwonted and profound.", "Oligarchy. In the main, and ignoring the loss of liberty, they were\nbetter off than they had been. On the other hand, the great helpless", "their decree. Comrade after comrade, men and women, failed\n in their attempts, and were cruelly executed by the\n Oligarchy. It was the case of General Lampton that revived", "of permanence. The oligarchs had succeeded in devising a governmental\nmachine, as intricate as it was vast, that worked--and this despite all\nour efforts to clog and hamper.", "counter-palace revolutions of the oligarchs, and sometimes the one, and\nsometimes the other, will be in power. And through it all the inevitable", "The rise of the Oligarchy will always remain a cause of secret wonder\nto the historian and the philosopher. Other great historical events\nhave their place in social evolution. They were inevitable. Their coming", "the Oligarchy.", "possession of the captured offices. The incumbents refused to retire,\nand the courts were in the hands of the Oligarchy. But this is too far", "regime, to the exclusion of all ideas that were inimical and\n subversive. The book created a furor, and was promptly\n suppressed by the Oligarchy.", "There will be great achievements in science, and especially in art. When\nthe oligarchs have completely mastered the people, they will have time\nto spare for other things. They will become worshippers of beauty.", "the idea of the Oligarchy into the minds of the great\n capitalists. This belief persists throughout the literature\n of the three centuries of the Iron Heel, and even in the", "And during that week of silence the Oligarchy was taught its lesson. And\nwell it learned the lesson. The general strike was a warning. It should\nnever occur again. The Oligarchy would see to that.", "the disguise of a member of the Oligarchy. While the arch-oligarchs were\nno more than a handful, there were myriads of lesser ones of the type,", "in the spring of 1912. This is, without discussion, the earliest-known\noccasion on which the Oligarchy was so designated.", "whole country being hand in hand in revolt, they were all alone, and the\ntotal strength of the Oligarchy could have been directed against them\nif necessary. As it was, hour after hour, day after day, in endless", "oligarchs did not dare permit the telling of the whole truth. In\nreality, the wages had been raised much higher, and the privileges were\ncorrespondingly greater. All this was secret, but secrets will out.", "learning thoroughly the strength of the Oligarchy with which we were\nat war. Out of the flux of transition the new institutions were\nforming more definitely and taking on the appearance and attributes", "* And since that day of prophecy, have passed away the three\n centuries of the Iron Heel and the four centuries of the" ], [ "verge of the revolt that will sweep all oligarchies away. Yet I have\nhere given Ernest's prophecy because it was his prophecy. In spite of", "\"All right,\" Ernest said. \"You are travelling the same path that Bishop\nMorehouse is, and toward a similar smash-up. You'll both be proletarians\nbefore you're done with it.\"", "And then, when the labor leaders had left, Ernest, with the calmness of\ndefeat, outlined to me the course of events to come.", "\"Then,\" Ernest answered, \"you, and labor, and all of us, will be crushed\nunder the iron heel of a despotism as relentless and terrible as any", "\"And when they take me out of Congress,\" Ernest replied coldly, \"and put\nme against a wall, and blow my brains out--what then?\"\n\n\"Then we'll rise in our might,\" a dozen voices answered at once.", "Ernest had conjured a vision and made them see it. They were seeing it\nthen, as they sat there, and they were frightened by it.", "armed soldiers drawn up in lines in the corridors, and by the officers\ngrouped in the entrances to the House itself. The Oligarchy was about\nto strike. Ernest was speaking. He was describing the sufferings of", "Of course Ernest was elected to Congress in the great socialist\nlandslide that took place in the fall of 1912. One great factor that", "It was at the end of the discussion that Mr. Wickson spoke. He was the\nonly one that was cool, and Ernest treated him with a respect he had not\naccorded the others.", "\"But the country did permit it,\" Ernest replied. \"And as for my\ndreaming--\" he put his hand in his pocket and drew out a small\npamphlet--\"tell me if this looks like dream-stuff.\"", "\"I'll wager the Oligarchy finds justification,\" Ernest said, when its\ntreachery to the German Emperor became known. \"As usual, the Oligarchy\nwill believe it has done right.\"", "\"Ghent has taught the oligarchs how to do it,\" Ernest said. \"I'll wager\nthey've made a text-book out of his 'Benevolent Feudalism.'\"*", "\"And there I agree with you,\" was Ernest's rejoinder. \"He ought not to\nbe selfish, but he will continue to be selfish as long as he lives in a\nsocial system that is based on pig-ethics.\"", "Never shall I forget the night when, after a hot discussion with half a\ndozen labor leaders, Ernest turned to me and said quietly: \"That settles\nit. The Iron Heel has won. The end is in sight.\"", "\"The Church does not protest against it,\" Ernest replied. \"And in so far\nas the Church does not protest, it condones, for remember the Church is\nsupported by the capitalist class.\"", "The others betrayed a well-mannered interest, and urged Ernest for\na statement of his views. Their attitude toward him was so broadly", "brave comrades who masqueraded in the livery of the Iron Heel. Though\nErnest lay in prison three thousand miles away, on the Pacific Coast, I", "\"There are other plans afoot,\" was the retort. \"That is why the soldiers\nare present.\"\n\n\"Our plans, I suppose,\" Ernest sneered. \"Assassination or something\nkindred.\"", "laughing at Ernest. And then I discovered that it was not laughter,\nbut hysteria. She was appalled by what she had done in bringing this\nfirebrand before her blessed Philomath Club.", "Ernest had largely planned the First Revolt, and the date set had been\nsomewhere early in the spring of 1918. In the fall of 1917 we were not" ], [ "The reorganization of these countries took the form of revolution.\nIt was a time of confusion and violence. Everywhere institutions and\ngovernments were crashing. Everywhere, with the exception of two or", "The Revolution took on largely the character of religion. We worshipped\nat the shrine of the Revolution, which was the shrine of liberty. It was", "revolution. And we of to-day can but applaud that judgment. Following\nupon Capitalism, it was held, even by such intellectual and antagonistic", "to us, were revolutionists.", "mines, and railroads, and factories, and banks, and stores. That is\nthe revolution. It is truly perilous. There will be more shooting, I am", "\"And now,\" he said, \"let me tell you about that revolution.\"", "It would have meant terrible times and great loss of life, but no\nrevolutionist hesitates at such things. Why, we even depended much, in", "but a revolutionist I became, and I was plunged into a whirl of\nhappenings that would have been inconceivable three short months before.", "This was a surprise to many of the revolutionists. They had not\nconceived it possible. Nevertheless the work of the country went on.", "the revolutionists. All halting utterance vanished. His voice grew\nstrong and confident, and it glowed as he glowed, and as the thoughts\nglowed that poured out from him. He said:", "comrades was that the general Revolt was beginning, albeit with a\nconfusing miscarriage in many details. It was impossible for one\nuninformed to escape the vague yet certain feeling that all the land was", "revolutionists in the United States. That is a fact. He has said that\nit is their intention to take away from us our governments, our palaces,", "As a revolutionist myself, as one on the inside who knew the hopes and\nfears and secret plans of the revolutionists, I am fitted to answer, as", "It did not take long to carry out this programme--only several weeks. We\nof the Revolution caught vague rumors of the state of affairs, but had", "For that matter, the strength of the Revolution, during these\nfrightful twenty years, has resided in nothing else than the sense", "one could not but wonder how the Revolution had any meaning to him at\nall. And yet love of freedom glowed sombrely and steadily in his\ndim soul. In ways it was indeed good that he was not flighty and", "forces of the Revolution. The magnitude of the task may be understood\nwhen it is taken into.*", "as it was in the ranks of the revolutionists. Without\n warning, without trace, men and women, and even children,\n disappeared and were seen no more, their end shrouded in", "In short, a sudden, colossal, stunning blow was to be struck. Before the\nparalyzed Oligarchy could recover itself, its end would have come.", "been the breakdown of the Second Revolt. Little did she realize that\nthe tortuous and distorted evolution of the next three centuries would" ], [ "the Oligarchy, and a costly one. But the Oligarchy was too confident in\nthose days. It was drunk with success, and little did it dream that", "the Oligarchy.", "* The earliest known use of that name to designate the\n Oligarchy.\n\nThere was a long pause, and every man at the table meditated in ways\nunwonted and profound.", "Oligarchy. In the main, and ignoring the loss of liberty, they were\nbetter off than they had been. On the other hand, the great helpless", "\"The Oligarchy is about to tread upon our faces--yours and mine. Wickson\nas much as told me so. He was very kind--for an oligarch. He offered to", "Oligarchy was there--a fact established in blood, a stupendous and awful\nreality. Nor even then, as the Everhard Manuscript well shows, was any", "oligarchy, if you will; it is the nearest I dare approximate it. What\nits nature may be I refuse to imagine.* But what I wanted to say was", "in the spring of 1912. This is, without discussion, the earliest-known\noccasion on which the Oligarchy was so designated.", "The rise of the Oligarchy will always remain a cause of secret wonder\nto the historian and the philosopher. Other great historical events\nhave their place in social evolution. They were inevitable. Their coming", "the disguise of a member of the Oligarchy. While the arch-oligarchs were\nno more than a handful, there were myriads of lesser ones of the type,", "regime, to the exclusion of all ideas that were inimical and\n subversive. The book created a furor, and was promptly\n suppressed by the Oligarchy.", "Too late did the socialist movement of the early twentieth century\ndivine the coming of the Oligarchy. Even as it was divined, the", "the idea of the Oligarchy into the minds of the great\n capitalists. This belief persists throughout the literature\n of the three centuries of the Iron Heel, and even in the", "their decree. Comrade after comrade, men and women, failed\n in their attempts, and were cruelly executed by the\n Oligarchy. It was the case of General Lampton that revived", "Thus, throughout the organization of the Oligarchy, our own\norganization, weblike and spidery, was insinuating itself. And so I", "And during that week of silence the Oligarchy was taught its lesson. And\nwell it learned the lesson. The general strike was a warning. It should\nnever occur again. The Oligarchy would see to that.", "could not get them seriously to fear the coming of the Oligarchy. They\nwere stirred by him, but they were too sure of their own strength. There\nwas no room in their theoretical social evolution for an oligarchy,", "* In addition to the labor castes, there arose another\n caste, the military. A standing army of professional\n soldiers was created, officered by members of the Oligarchy", "armed soldiers drawn up in lines in the corridors, and by the officers\ngrouped in the entrances to the House itself. The Oligarchy was about\nto strike. Ernest was speaking. He was describing the sufferings of", "the creatures of the Oligarchy. Comrade Biedenbach was absent-minded,\nforgetful. He was shot by one of our lookouts at the cave-refuge at" ], [ "Mercenaries.", "and known as the Mercenaries. This institution took the\n place of the militia, which had proved impracticable under\n the new regime. Outside the regular secret service of the", "Another great institution that had taken form and was working smoothly\nwas the Mercenaries. This body of soldiers had been evolved out of the", "* Originally, they were private detectives; but they quickly\n became hired fighting men of the capitalists, and ultimately\n developed into the Mercenaries of the Oligarchy.", "Then, what he expected, began. The Mercenaries were killing without\nquarter. At first, the surge back upon us was crushing, but as the", "are as much mercenaries (sincere mercenaries, I grant) as were the men\nof the Swiss Guard.* Be true to your salt and your hire; guard, with", "Mercenaries. From without, as through thick walls, came the muffled roar\nof bursting bombs. I was in some building that was locked in combat with\nsome other building.", "comrades were in one building, that Mercenaries were in the other, and\nthat they were fighting across the street. But we could not tell\nwhich was which--which building contained our comrades and which the", "and Mercenaries would slay anyway. It would merely mean that various\ndangers to us were harmlessly destroying one another. In the meantime we\nwould be doing our own work, largely unhampered, and gaining control of", "old regular army and was now a million strong, to say nothing of the\ncolonial forces. The Mercenaries constituted a race apart. They dwelt in\ncities of their own which were practically self-governed, and they", "developing. The labor castes, the Mercenaries, and the great hordes\nof secret agents and police of various sorts were all pledged to the", "by the Mercenaries; but it is definitely settled now that\n the ghetto was fired by the Mercenaries under orders from\n their chiefs.", "But the Mercenaries were not content with what they had done. They\ninvaded the entrance, killing the wounded and searching out the unhurt", "a fort, and the Mercenaries fought their way upward floor by\n floor. It was deadly fighting. Quarter was neither given\n nor taken, and in the fighting the revolutionists had the", "* The Mercenaries, in the last days of the Iron Heel, played\n an important role. They constituted the balance of power in", "been broken in the early strikes. Despite their changed and favorable\nconditions, their hatred for the master class had not died. This spirit\nhad infected the Mercenaries, of which three regiments in particular", "patrols of the Mercenaries slipped swiftly past.", "broken, and that their members with their families had been driven\nfrom their own city and on into the labor-ghettos. And the California\nMercenaries were in reality the most faithful of all to their salt!", "But the Mercenaries found it no easy task to cope with the people of the\nabyss and at the same time fight with the comrades. Chicago was true to", "\"There are other plans afoot,\" was the retort. \"That is why the soldiers\nare present.\"\n\n\"Our plans, I suppose,\" Ernest sneered. \"Assassination or something\nkindred.\"" ], [ "waited upon by maids. This was a serious masquerade on the\n part of Avis Everhard. Life and death and the Cause were in\n the issue; therefore the picture must be accepted as a true", "* John Cunningham, Avis Everhard's father, was a professor\n at the State University at Berkeley, California. His chosen", "* Before Avis Everhard was born, John Stuart Mill, in his\n essay, ON LIBERTY, wrote: \"Wherever there is an ascendant", "Wake Robin Lodge that Avis Everhard later lived for short\n periods, when, disguised as an agent-provocateur of the Iron\n Heel, she was enabled to play with impunity her part among", "Everhard and whispered secrets in his ear that none knew but he and Avis\nEverhard, that he accepted me as his really, truly wife.", "It is apparent that Avis Everhard completed the Manuscript during the\nlast days of preparation for the Second Revolt; hence the fact that", "* Avis Everhard would have had to live for many generations\n ere she could have seen the clearing up of this particular\n mystery. A little less than a hundred years ago, and a", "* Avis Everhard took for granted that her narrative would be\n read in her own day, and so omits to mention the outcome of\n the trial for high treason. Many other similar", "his native country in the fabled days of gold. The wooded\n knolls are the same knolls referred to by Avis Everhard.", "Of Avis Everhard there is no further record. Undoubtedly she was\nexecuted by the Mercenaries; and, as is well known, no record of such", "was after the dinner that father told me what little he knew about him.\nHe had been born in the working class, though he was a descendant of\nthe old line of Everhards that for over two hundred years had lived", "* This is not braggadocio on the part of Avis Everhard. The\n flower of the artistic and intellectual world were", "When the time was ripe, the spies were thrown off my track. An hour\nlater Avis Everhard was no more. At that time one Felice Van Verdighan,", "Nevertheless, as a personal document, the Everhard Manuscript is of\ninestimable value. But here again enter error of perspective, and", "* With all respect to Avis Everhard, it must be pointed out\n that Everhard was but one of many able leaders who planned", "vitiation due to the bias of love. Yet we smile, indeed, and forgive\nAvis Everhard for the heroic lines upon which she modelled her husband.", "* This is the end of the Everhard Manuscript. It breaks off\n abruptly in the middle of a sentence. She must have", "world-drama, and for the time being their mental processes are our\nmental processes. Not alone do we understand Avis Everhard's love for", "errors of fact, but errors of interpretation. Looking back across the\nseven centuries that have lapsed since Avis Everhard completed her\nmanuscript, events, and the bearings of events, that were confused and", "Everhards made their refuge. Since the finding of the\n Manuscript excavations have been made, and the house, the\n two cave rooms, and all the accumulated rubbish of long" ], [ "The trouble was precipitated by the Iron Heel. It was cleverly done. The\nwhole population, including the favored labor castes, was given a course", "of the Iron Heel, for the agents-provocateurs had done their work too\nwell. But everything was grist to the Iron Heel. It had prepared for the", "Also, the farms and warehouses were the property of the Iron Heel.\nArmies of troops were put into the field, and the fanatics were herded", "This the Iron Heel foresaw and laid its schemes accordingly.", "distributed among the slum classes further to inflame their minds. And\nthen, when all was ready, appeared upon the scene the soldiers of the\nUnited States, who were, in reality, the soldiers of the Iron Heel.", "And through it all moved the Iron Heel, impassive and deliberate,\nshaking up the whole fabric of the social structure in its search for", "\"It's no use,\" he said. \"We are beaten. The Iron Heel is here. I had\nhoped for a peaceable victory at the ballot-box. I was wrong. Wickson", "held their peace and perfected their secret organization. In vain the\nGrangers pleaded with us. We rightly contended that any revolt on our\npart was virtually suicide for the whole Revolution. The Iron Heel, at", "were taken by the creatures of the Iron Heel. The socialists were in a\npitiful minority, and they knew that their end was near. Congress and\nthe Senate were empty pretences, farces. Public questions were gravely", "Iron Heel helped Mexico and Cuba to put down revolt. The result was that\nthe Iron Heel was firmly established in the New World. It had welded\ninto one compact political mass the whole of North America from the", "emissaries of the Iron Heel disguised themselves as artisans, farmers,\nand farm laborers. In Sacramento, the capital of California, the\nGrangers had succeeded in maintaining order. Thousands of secret agents", "THE IRON HEEL\n\n\n\nCHAPTER I\n\nMY EAGLE", "entire organization of the Iron Heel with our agents, while our own\norganization was permeated with the agents of the Iron Heel. It was\nwarfare dark and devious, replete with intrigue and conspiracy, plot", "a source of grief. The Iron Heel learned its lesson. We showed it our\npower in the general strike. It has taken steps to prevent another\ngeneral strike.\"", "But this was not to the fancy of the Iron Heel. In its own way it was\npreparing to set these millions to work, but the way was not our way,", "THE IRON HEEL\n\n\n\n\nFOREWORD", "over on to the political field. Well, the Iron Heel has defeated\nthe labor unions on the industrial field and driven them over to the\npolitical field; and instead of this being joyful for us, it will be", "On the other hand, there is evidence to show that the Iron Heel was\nresponsible for the act. Of course, we cannot prove this. Our conclusion", "and injustice in which the Iron Heel was conceived. All is granted. The\npoint is that the strength of the Oligarchy today lies in its satisfied\nconception of its own righteousness.*", "executions was kept by the Iron Heel. But little did she realize, even\nthen, as she hid the Manuscript and prepared to flee, how terrible had" ], [ "ANTHONY MEREDITH\n\nArdis,\n\nNovember 27, 419 B.O.M.", "written by George Milford and published in December, 1912. This George\nMilford was an obscure agitator about whom nothing is known, save the\none additional bit of information gained from the Manuscript, which", "It is apparent that Avis Everhard completed the Manuscript during the\nlast days of preparation for the Second Revolt; hence the fact that", "And so it is, in this anxious time of waiting, that I shall write of\nmy husband. There is much light that I alone of all persons living can", "ages, the Brotherhood of Man. Instead of which, appalling alike to\nus who look back and to those that lived at the time, capitalism,", "veiled to her, are clear to us. She lacked perspective. She was too\nclose to the events she writes about. Nay, she was merged in the events\nshe has described.", "And that was the last I saw of Garthwaite for three years. Instead of\ncoming back, he was carried away to a hospital with a bullet through his\nlungs and another through the fleshy part of his neck.", "Mendenhall. By his comrades he was called \"The Flame.\" He\n was undoubtedly a great genius; yet, beyond weird and\n haunting fragments of his verse, quoted in the writings of", "received warning of the coming of the Mercenaries, for she\n had time safely to hide the Manuscript before she fled or\n was captured. It is to be regretted that she did not live", "and stung again. And he was merciless. He took no quarter,* and gave\nnone. I can never forget the flaying he gave them at the end:", "\"The history of the eighteenth century is written,\" Ernest prompted. \"If\nthe Church was not dumb, it will be found not dumb in the books.\"\n\n\"I am afraid the Church was dumb,\" the Bishop confessed.", "love with Anna Roylston, and the other was that he had become one of\nus. It was not until he became convinced of the hopelessness of his", "us, while two of his greatest achievements, \"Anticipations\"\n and \"Mankind in the Making,\" have come down intact. Before\n the oligarchs, and before Everhard, Wells speculated upon", "common act in those times. Pervaise was mastered by the fear\n of death, all of which is recounted at length in his\n confession. To escape death he would have done anything,", "* Avis Everhard would have had to live for many generations\n ere she could have seen the clearing up of this particular\n mystery. A little less than a hundred years ago, and a", "it was night. Garthwaite had not returned. I had lost my watch and had\nno idea of the time. As I lay with my eyes closed, I heard the same", "Then, during this same period, there was the case of Moyer\n and Haywood, two strong, fearless leaders of labor. One was", "\"Your illustration is most unfortunate,\" Ernest replied. \"You refer to a\nvery dark period in human history. In fact, we call that period the Dark", "considered dead because he had taken service with the Iron Heel in the\nMercenaries.* A member of the 'Frisco Reds pledged himself to twelve", "lifetime of serious research and thought. Such a word was\n the adjective UTOPIAN. The mere utterance of it could damn\n any scheme, no matter how sanely conceived, of economic" ], [ "regime, to the exclusion of all ideas that were inimical and\n subversive. The book created a furor, and was promptly\n suppressed by the Oligarchy.", "the Oligarchy, and a costly one. But the Oligarchy was too confident in\nthose days. It was drunk with success, and little did it dream that", "And sure enough. The Oligarchy's public defence for the act was that it\nhad done it for the sake of the American people whose interests it was", "The Oligarchy wanted the war with Germany. And it wanted the war for a\ndozen reasons. In the juggling of events such a war would cause, in the", "The rise of the Oligarchy will always remain a cause of secret wonder\nto the historian and the philosopher. Other great historical events\nhave their place in social evolution. They were inevitable. Their coming", "the idea of the Oligarchy into the minds of the great\n capitalists. This belief persists throughout the literature\n of the three centuries of the Iron Heel, and even in the", "Oligarchy was there--a fact established in blood, a stupendous and awful\nreality. Nor even then, as the Everhard Manuscript well shows, was any", "And during that week of silence the Oligarchy was taught its lesson. And\nwell it learned the lesson. The general strike was a warning. It should\nnever occur again. The Oligarchy would see to that.", "Oligarchy. In the main, and ignoring the loss of liberty, they were\nbetter off than they had been. On the other hand, the great helpless", "oligarchs did not dare permit the telling of the whole truth. In\nreality, the wages had been raised much higher, and the privileges were\ncorrespondingly greater. All this was secret, but secrets will out.", "could not get them seriously to fear the coming of the Oligarchy. They\nwere stirred by him, but they were too sure of their own strength. There\nwas no room in their theoretical social evolution for an oligarchy,", "\"The Oligarchy is about to tread upon our faces--yours and mine. Wickson\nas much as told me so. He was very kind--for an oligarch. He offered to", "virtually put the Oligarchy in possession of the world-market. Also,\nsuch a war would create a large standing army that need never be\ndisbanded, while in the minds of the people would be substituted", "German socialists rose and drove the war-lord from his throne. It was\nthe very thing the Oligarchy had played for--the destruction of its", "one at Asgard. It dealt, in elaborate detail, with one\n factor in the persistence of the established, namely, the\n capitalistic bias of the universities and common schools.", "their decree. Comrade after comrade, men and women, failed\n in their attempts, and were cruelly executed by the\n Oligarchy. It was the case of General Lampton that revived", "In short, a sudden, colossal, stunning blow was to be struck. Before the\nparalyzed Oligarchy could recover itself, its end would have come.", "Too late did the socialist movement of the early twentieth century\ndivine the coming of the Oligarchy. Even as it was divined, the", "* The earliest known use of that name to designate the\n Oligarchy.\n\nThere was a long pause, and every man at the table meditated in ways\nunwonted and profound.", "debated and passed upon according to the old forms, while in reality all\nthat was done was to give the stamp of constitutional procedure to the\nmandates of the Oligarchy." ], [ "Mercenaries.", "* The Mercenaries, in the last days of the Iron Heel, played\n an important role. They constituted the balance of power in", "Another great institution that had taken form and was working smoothly\nwas the Mercenaries. This body of soldiers had been evolved out of the", "Then, what he expected, began. The Mercenaries were killing without\nquarter. At first, the surge back upon us was crushing, but as the", "Mercenaries. From without, as through thick walls, came the muffled roar\nof bursting bombs. I was in some building that was locked in combat with\nsome other building.", "and Mercenaries would slay anyway. It would merely mean that various\ndangers to us were harmlessly destroying one another. In the meantime we\nwould be doing our own work, largely unhampered, and gaining control of", "and known as the Mercenaries. This institution took the\n place of the militia, which had proved impracticable under\n the new regime. Outside the regular secret service of the", "old regular army and was now a million strong, to say nothing of the\ncolonial forces. The Mercenaries constituted a race apart. They dwelt in\ncities of their own which were practically self-governed, and they", "a fort, and the Mercenaries fought their way upward floor by\n floor. It was deadly fighting. Quarter was neither given\n nor taken, and in the fighting the revolutionists had the", "But the Mercenaries were not content with what they had done. They\ninvaded the entrance, killing the wounded and searching out the unhurt", "are as much mercenaries (sincere mercenaries, I grant) as were the men\nof the Swiss Guard.* Be true to your salt and your hire; guard, with", "patrols of the Mercenaries slipped swiftly past.", "been broken in the early strikes. Despite their changed and favorable\nconditions, their hatred for the master class had not died. This spirit\nhad infected the Mercenaries, of which three regiments in particular", "* Originally, they were private detectives; but they quickly\n became hired fighting men of the capitalists, and ultimately\n developed into the Mercenaries of the Oligarchy.", "comrades were in one building, that Mercenaries were in the other, and\nthat they were fighting across the street. But we could not tell\nwhich was which--which building contained our comrades and which the", "developing. The labor castes, the Mercenaries, and the great hordes\nof secret agents and police of various sorts were all pledged to the", "But the Mercenaries found it no easy task to cope with the people of the\nabyss and at the same time fight with the comrades. Chicago was true to", "by the Mercenaries; but it is definitely settled now that\n the ghetto was fired by the Mercenaries under orders from\n their chiefs.", "thousands of our comrades. Their work was to blow up the magazines\nand to destroy the delicate mechanism of all the war machinery. In the\ncities of the Mercenaries and of the labor castes similar programmes of", "a failure, thanks to the splendid work of the comrades. Instead of the\ngreat host the Mercenaries had hoped to gather together, they succeeded" ], [ "The reorganization of these countries took the form of revolution.\nIt was a time of confusion and violence. Everywhere institutions and\ngovernments were crashing. Everywhere, with the exception of two or", "For that matter, the strength of the Revolution, during these\nfrightful twenty years, has resided in nothing else than the sense", "The Revolution took on largely the character of religion. We worshipped\nat the shrine of the Revolution, which was the shrine of liberty. It was", "\"Your illustration is most unfortunate,\" Ernest replied. \"You refer to a\nvery dark period in human history. In fact, we call that period the Dark", "* The annals of this short-lived era of despair make bloody\n reading. Revenge was the ruling motive, and the members of", "revolution. And we of to-day can but applaud that judgment. Following\nupon Capitalism, it was held, even by such intellectual and antagonistic", "\"And now,\" he said, \"let me tell you about that revolution.\"", "Ernest called it the dinner of the Machine Breakers. In point of fact,\nit was merely a dinner for business men--small business men, of\ncourse. I doubt if one of them was interested in any business the total", "betray on seeing for the first time so noted a hero of the Revolution.\nBut Ernest's glance took me in and questioned impatiently past and\naround the room. The next moment I was being introduced to him as Mary", "mines, and railroads, and factories, and banks, and stores. That is\nthe revolution. It is truly perilous. There will be more shooting, I am", "forces of the Revolution. The magnitude of the task may be understood\nwhen it is taken into.*", "one could not but wonder how the Revolution had any meaning to him at\nall. And yet love of freedom glowed sombrely and steadily in his\ndim soul. In ways it was indeed good that he was not flighty and", "figures of the Revolution. When she was an old woman of\n sixty-nine she shot \"Bloody\" Halcliffe down in the midst of", "Never shall I forget the night when, after a hot discussion with half a\ndozen labor leaders, Ernest turned to me and said quietly: \"That settles\nit. The Iron Heel has won. The end is in sight.\"", "Whether it was my love for Ernest, or the clear sight he had given me of\nthe society in which I lived, that made me a revolutionist, I know not;", "been the breakdown of the Second Revolt. Little did she realize that\nthe tortuous and distorted evolution of the next three centuries would", "revolutionists. With the exception of a few of the\n musicians and singers, and of a few of the oligarchs, all\n the great creators of the period whose names have come down", "It would have meant terrible times and great loss of life, but no\nrevolutionist hesitates at such things. Why, we even depended much, in", "Ernest began by describing the army of revolution, and as he gave the\nfigures of its strength (the votes cast in the various countries), the", "\"And there, a century and a half ago, originated the modern\nproletariat,\" Ernest continued. \"And the Church ignored it. While a" ], [ "by the tragedy of a sane, normal, saintly man being crushed by the\nbrutal will of society. For the Bishop was sane, and pure, and noble. As", "\"May I bring you to hear him? Of course, he is foredoomed to futility.\nIt will break your heart--it will break his; but for you it will be an", "of strength. You are beginning to divine your own end. You feel\nyourself and your branch stores a pawn in the game. You see the powerful\ninterests rising and growing more powerful day by day; you feel their", "and the sweat rolled down his nose from his forehead. One hand was\nclutched tightly against his chest by the other hand, and blood\ndripped down upon the floor as he walked. He wore the uniform of the", "\"Something terrible is going to happen in Chicago,\" she said. \"There's\nthat fake* train in front of us. That and the troop-trains have made us\nlate.\"\n\n * False.", "In the first place, his clothes did not fit him. He wore a ready-made\nsuit of dark cloth that was ill adjusted to his body. In fact, no", "And so it is, in this anxious time of waiting, that I shall write of\nmy husband. There is much light that I alone of all persons living can", "\"You cannot escape us. It is true that you have read history aright. It\nis true that labor has from the beginning of history been in the dirt.", "And in that moment I knew that I loved him, and that I was melting\nwith desire to comfort him. I thought of his life. A sordid, harsh, and", "\"Nothing much,\" he began slowly, \"except that the gown you wear is\nstained with blood. The food you eat is a bloody stew. The blood of", "\"Let me prophesy. To-morrow's papers will merely mention that the Bishop\nis in poor health, that he has been working too hard, and that he broke", "setting. It will never rise again. Nor is it in your power even to make\nit stand still. You are perishing, and you are doomed to perish utterly\nfrom the face of society.", "\"They have already walked upon my face,\" father explained. \"There was no\nstock. The box was empty. You and Ernest will have to get married pretty\nquickly.\"", "\"The very thing!\" father cried. \"How did you guess?\"\n\n\"I knew it was coming. I warned you before about it.\"", "He saw clearly the futility of the Bishop's great soul, as coming events\nwere soon to show as clearly to me.", "CHAPTER XIV\n\nTHE BEGINNING OF THE END", "Ernest had conjured a vision and made them see it. They were seeing it\nthen, as they sat there, and they were frightened by it.", "ripening fast. Yet he possessed his soul with patience, and during this\ntime of his torment, when Hadly, who had been brought for the purpose\nfrom Illinois, made him over into another man* he revolved great plans", "\"It's no use,\" he said. \"We are beaten. The Iron Heel is here. I had\nhoped for a peaceable victory at the ballot-box. I was wrong. Wickson", "The trial was prompt and brief. The men were foredoomed. The wonder\nwas that Ernest was not executed. This was a blunder on the part of" ], [ "us. It is true that we want to destroy the trusts in order that our\nprofits may remain to us. And why can we not do it? Why not? I say, why\nnot?\"", "has a hundred millions in the steel trust, almost as much in\n a single western railway system, half as much in a second,\n and so on and on and on until the mind wearies of the", "and trusts. Their creed was, \"Bust the Trusts.\" All oppression\noriginated in the trusts, and one and all told the same tale of woe.", "trusts. The chief obstacle to your Grange propaganda is the trusts.\nBehind every obstacle you encounter, every blow that smites you, every", "Everhard has flatly stated it. It is true that we smaller capitalists\nare after profits, and that the trusts are taking our profits away from", "\"Very true,\" Ernest answered. \"And the trusts themselves destroyed\ncompetition. That, by your own word, is why you are no longer in the\ndairy business.\"", "elevators, and steamship lines. And, furthermore, the trusts control\nthe markets. In all this the farmers are without power. As regards their", "defeat that you receive, is the hand of the trusts. Is this not so? Tell\nme.\"", "the entire anthracite and bituminous coal fields. Doesn't the Standard\nOil Trust* own a score of the ocean lines? And does it not also control", "And that was really the situation. The seven great trusts, working\ntogether, had pooled their enormous surpluses and made a farm trust.", "Mr. Calvin here launched out into a political speech in exposition of\nhis views. He was warmly followed by a number of the others, and the cry\nof all was to destroy the trusts.", "Plutocracy. We both mean the same thing, the large capitalists or the\ntrusts. Let us see where the power lies today. And in order to do so,", "perfect trust, namely that known as Standard Oil. We cannot\n forbear giving the following remarkable page from the\n history of the times, to show how the need for reinvestment", "No one answered for a long time. Then Mr. Kowalt spoke.\n\n\"What are we to do, then?\" he demanded. \"To destroy the trusts is the\nonly way we can see to escape their domination.\"", "manufacturers, the trusts stood firm. Nay, the trusts did more than\nstand firm. They were active. They sowed wind, and wind, and ever more", "them are thralls by virtue of the fact that the trusts already own or\ncontrol (which is the same thing only better)--own and control all\nthe means of marketing the crops, such as cold storage, railroads,", "mailed hands descending upon your profits and taking a pinch here and\na pinch there--the railroad trust, the oil trust, the steel trust, the", "\"And now, while we are on the trusts,\" Ernest went on, \"let us settle\na few things. I shall make certain statements, and if you disagree", "copper, to say nothing of running a smelter trust as a little side\nenterprise? There are ten thousand cities in the United States to-night\nlighted by the companies owned or controlled by Standard Oil, and in", "great trusts. And the absurd thing about it is that you have repeated\nthese phrases so often that you believe them. You want opportunity\nto plunder your fellow-men in your own small way, but you hypnotize" ], [ "And just now the word has gone forth that new levies are being imposed\nfor the building of Asgard, the projected wonder-city that will far", "* Ardis was completed in 1942 A.D., Asgard was not completed\n until 1984 A.D. It was fifty-two years in the building,", "build as the Egyptians and the Babylonians never dreamed of building;\nand when the oligarchs have passed away, their great roads and their\nwonder cities will remain for the brotherhood of labor to tread upon and", "making, though he is not here to see. He devoted all the years of his\nmanhood to it, and for it he gave his life. It is his handiwork. He made\nit.*", "operations. Great armies of them are toiling now at the building of\nArdis, housed in wretched barracks where family life cannot exist, and", "* We cannot but marvel at Everhard's foresight. Before ever\n the thought of wonder cities like Ardis and Asgard entered", "ration to millions of common laborers, for the enormous bulk of the\nsurplus will compel an equally enormous expenditure, and the oligarchs\nwill build for a thousand years--ay, for ten thousand years. They will", "great museum at Asgard there is a book entitled \"Essays in\n Application,\" written by Henry van Dyke. The book was\n published in 1905 of the Christian Era. From what we can", "\"Thus will the surplus be constantly expended while labor does the work.\nThe building of these great works and cities will give a starvation", "Brotherhood of Man, and to-day we tread the roads and dwell\n in the cities that the oligarchs built. It is true, we are\n even now building still more wonderful wonder cities, but", "them by their works. What have they done for mankind beyond the spinning\nof airy fancies and the mistaking of their own shadows for gods? They", "declaimed about famine and pestilence as being scourges of God, while\nthe scientists were building granaries and draining cities. They\nbuilded gods in their own shapes and out of their own desires, while", "The men toiled in the mines and fields--perforce they were no more than\nslaves. As for the vital industries, everything prospered. The members", "The walls and towers and shafts of that fair city will arise to the\nsound of singing, and into its beauty and wonder will be woven, not\nsighs and groans, but music and laughter.", "one at Asgard. It dealt, in elaborate detail, with one\n factor in the persistence of the established, namely, the\n capitalistic bias of the universities and common schools.", "oligarchs. In truth, many of our comrades toiled at making beautiful\nthose same palaces and wonder-cities.*", "books, and works of art cost as much more. The house is a mansion.\nNo, it is a palace, wherein there are many servants. I never knew what", "With iron hand and iron heel it mastered the surging millions, out\nof confusion brought order, out of the very chaos wrought its own\nfoundation and structure.", "at twelve-hour shifts? They never see the blessed sunshine. They die\nlike flies. The dividends are paid out of their blood. And out of the\ndividends magnificent churches are builded in New England, wherein your", "\"The surpluses will have to be expended somehow,\" he answered; \"and\ntrust the oligarchs to find a way. Magnificent roads will be built." ], [ "It is apparent that Avis Everhard completed the Manuscript during the\nlast days of preparation for the Second Revolt; hence the fact that", "But to return to the Manuscript. Especially valuable is it in\ncommunicating to us the FEEL of those terrible times. Nowhere do we find", "Nevertheless, as a personal document, the Everhard Manuscript is of\ninestimable value. But here again enter error of perspective, and", "We know to-day that he was not so colossal, and that he loomed among the\nevents of his times less largely than the Manuscript would lead us to\nbelieve.", "* This is the end of the Everhard Manuscript. It breaks off\n abruptly in the middle of a sentence. She must have", "varying from thirty to forty-five years; while Arthur\n Simpson, referred to in the Manuscript as being ill of\n typhoid fever at the time of the explosion, received only", "received warning of the coming of the Mercenaries, for she\n had time safely to hide the Manuscript before she fled or\n was captured. It is to be regretted that she did not live", "I spread before me a wrinkled letter, written to me by Ernest twenty\nyears ago, and from it I copy the following:", "Everhards made their refuge. Since the finding of the\n Manuscript excavations have been made, and the house, the\n two cave rooms, and all the accumulated rubbish of long", "written by George Milford and published in December, 1912. This George\nMilford was an obscure agitator about whom nothing is known, save the\none additional bit of information gained from the Manuscript, which", "\"The very thing,\" Mr. Asmunsen replied. \"Only a short time ago I had my\nbooks gone through for the past ten years. I discovered that for", "This sympathy comes to us, however, as we peruse the Everhard\nManuscript. We enter into the minds of the actors in that long-ago", "It cannot be said that the Everhard Manuscript is an important\nhistorical document. To the historian it bristles with errors--not", "executions was kept by the Iron Heel. But little did she realize, even\nthen, as she hid the Manuscript and prepared to flee, how terrible had", "ages, the Brotherhood of Man. Instead of which, appalling alike to\nus who look back and to those that lived at the time, capitalism,", "errors of fact, but errors of interpretation. Looking back across the\nseven centuries that have lapsed since Avis Everhard completed her\nmanuscript, events, and the bearings of events, that were confused and", "there is no mention of the disastrous outcome of the Second Revolt.\nIt is quite clear that she intended the Manuscript for immediate\npublication, as soon as the Iron Heel was overthrown, so that her", "fled or was captured by the Mercenaries, she hid the Manuscript in the\nhollow oak at Wake Robin Lodge.", "\"The history of the eighteenth century is written,\" Ernest prompted. \"If\nthe Church was not dumb, it will be found not dumb in the books.\"\n\n\"I am afraid the Church was dumb,\" the Bishop confessed.", "little more than six hundred years after the death, the\n confession of Pervaise was discovered in the secret archives\n of the Vatican. It is perhaps well to tell a little" ] ]

[ "Who squeezed out the middle class by bankrupting small businesses?", "What is another term for monopoly trust?", "What was hidden, then found centuries later?", "Who is vindicated and respected as pioneers and martyrs?", "What is another term for Oligarchy?", "What year does the story begin?", "What year does the story end?", "Who conquered Asian and gained their own empire?", "What kind of \"caste\" does the Oligarchy use to maintain power?", "What did the introduction fortell would happen to Avis and Ernest in the end?", "What years does the story cover?", "What is Asgard?", "What are the mercinarys officially?", "How long does the Olgarchies hold power?", "What would Avis and Ernest be respected as after the fall of the oligarchy?", "What did the revolution usher in?", "What is the Oligarchy?", "Who was the mercenaries really under the employ of?", "Why did Avis Everhard live a priviledged childhood?", "How does the Iron Heel affect the farmers?", "What time period did Anthony Meredith live and write?", "How did the Oligarchy want Asgard to be viewed?", "What is the role of the Mercenaries?", "What is the era called after the Revolution?", "In the beginning of the story, what creates foreordained tragedy?", "Who is the largest monopoly trusts?", "Who builds the public works of Asgard?", "What years are covered in the Manuscript?" ]

[ [ "The Oligarchy", "Oligarchy" ], [ "Robber barrons", "Robber barons" ], [ "Everhard Manuscript", "Everhard manuscript" ], [ "Avis and Earnest", "Avis and Ernest" ], [ "Iron Heel", "\"Iron Heel\"" ], [ "1912", "2600 AD" ], [ "1932", "1932" ], [ "Japan", "Japan" ], [ "Labor", "labor caste" ], [ "They would be executed", "they would fail and die" ], [ "1912-1932", "1912" ], [ "A fictional wonder-city", "fictional wonder-filled city" ], [ "The army of the US", "the army of the US" ], [ "For three centuries", "3 centuries" ], [ "Pioneers and martyrs", "pioneers and martyrs" ], [ "The brotherhood of man", "brotherhood of man " ], [ "The largest monopoly trusts", "large monopoly trusts" ], [ "The oligarchy", "The Oligarchs" ], [ "She was the duaghter of an accomplished scientist.", "she is the daughter of an accomplished scientist" ], [ "Farmers were reduced to serfdom.", "reduces them to serfdom" ], [ "From 2600 A.D. or 419 B.O.M", "around 2600 AD" ], [ "With admiration and appreciation.", "to be admired and appreciated" ], [ "To maintain and enforce power of the Iron Heel.", "They're a military caste" ], [ "The Brotherhood of Man.", "brotherhood of man " ], [ "It is revealed that Ernest and Avis would fail.", "The struggles of Avis & Ernst" ], [ "The Iron Heel.", "Oligarchy" ], [ "The proletarians.", "the oligarchy" ], [ "1912 through 1932", "1912 - 1932" ] ]

[ [ "as much of Dr Primrose's company as possible. The old gentleman, hearing\nmy name mentioned, seemed to look at me with attention, for some time,", "Primrose for their guest.' Upon hearing my name, the old gentleman\nand lady very politely stept up, and welcomed me with most cordial\nhospitality. Nor could they forbear smiling upon being informed of the", "sure you are, adds to that happiness in my breast which your benevolence\nhas already excited. You behold before you, Sir, that Doctor Primrose,", "greater than mine. When our visitors would say, 'Well, upon my word,\nMrs Primrose, you have the finest children in the whole country.'--'Ay,", "I, 'one Doctor Primrose, from whom you bought a horse.'", "and when my friend was gone, most respectfully demanded if I was any way\nrelated to the great Primrose, that courageous monogamist, who had been", "'O goodness,' cried the lovely girl, 'how have I been deceived! Mr\nThornhill informed me for certain that this gentleman's eldest son,\nCaptain Primrose, was gone off to America with his new married lady.'", "the very children in the parish will hoot after us.'--'Indeed,' replied\nmy wife, 'I always imagined that my Charles was fond of seeing his", "'Alas, Doctor,' cried he, 'these children are too handsome and too good\nfor such a place as this!'", "I again, therefore laid me down, and one of my little ones sate by my\nbedside reading, when Mr Jenkinson entering, informed me that there was", "put up at an inn at the other end of the town. It was there from the\nwindow that the young lady happened to observe one of my little boys\nplaying in the street, and instantly sending a footman to bring the", "and active, my daughters beautiful and blooming. When I stood in the\nmidst of the little circle, which promised to be the supports of my\ndeclining age, I could not avoid repeating the famous story of Count", "three pounds five shillings and two-pence.'--'Well done, my good boy,'\nreturned she, 'I knew you would touch them off. Between ourselves, three", "our other little boy came running in to tell us that Mr Burchell was\napproaching at the other end of the field. It is easier to conceive than\ndescribe the complicated sensations which are felt from the pain of", "partners. Chairs and partners were soon provided. The gentlemen returned\nwith my neighbour Flamborough's rosy daughters, flaunting with red", "'A very good boy, Bill, upon my word, and an elegy that may truly be\ncalled tragical. Come, my children, here's Bill's health, and may he one\nday be a bishop.'", "of our family contaminated, and I must look out for happiness in other\nworlds than here. But my child, you saw them go off: perhaps he forced", "daughters, within our own, and the third, with two beds, for the rest of\nthe children.", "Mr Burchell had scarce taken leave, and Sophia consented to dance with\nthe chaplain, when my little ones came running out to tell us that the", "The next time, therefore, that Mr Thornhill came to see us, my girls\ntook care to be out of the way, in order to give their mamma an" ], [ "as much of Dr Primrose's company as possible. The old gentleman, hearing\nmy name mentioned, seemed to look at me with attention, for some time,", "Primrose for their guest.' Upon hearing my name, the old gentleman\nand lady very politely stept up, and welcomed me with most cordial\nhospitality. Nor could they forbear smiling upon being informed of the", "'O goodness,' cried the lovely girl, 'how have I been deceived! Mr\nThornhill informed me for certain that this gentleman's eldest son,\nCaptain Primrose, was gone off to America with his new married lady.'", "sure you are, adds to that happiness in my breast which your benevolence\nhas already excited. You behold before you, Sir, that Doctor Primrose,", "and when my friend was gone, most respectfully demanded if I was any way\nrelated to the great Primrose, that courageous monogamist, who had been", "I, 'one Doctor Primrose, from whom you bought a horse.'", "we will not forget you. Our prisoner, please your honour,' continued\nhe, turning to Sir William, 'has already confessed all. This is the\ngentleman reported to be so dangerously wounded: He declares that it was", "Just as he spoke they came in, and approaching the bed where I lay,\nafter previously informing me of their employment and business, made me\ntheir prisoner, bidding me prepare to go with them to the county gaol,\nwhich was eleven miles off.", "visited prisons upon occasions less interesting. I am now come to see\njustice done a worthy man, for whom I have the most sincere esteem. I", "upon these occasions, and immediately complied with the demand, though\nthe little money I had was very near being all exhausted. This was\nimmediately sent away for liquor, and the whole prison soon was filled", "'Madam,' replied the good man, 'your wishes for his safety are not\ngreater than mine; but I am sorry to find his guilt too plain; and if my", "with some gaol trick to play upon the doctor. Thus, as I was going to\nbegin, one turned my wig awry, as if by accident, and then asked my", "sent to the two ladies at Thornhill-castle.' It instantly occurred that\nhe was the base informer, and we deliberated whether the note should not", "judged proper to leave her behind. My next care was to send my son to\nprocure a room or two to lodge the family in, as near the prison", "innocence of her sister, has thrown the father into prison, and the\neldest son into fetters, because he had courage to face his betrayer.", "described, by this means they avoided the common prison. Jenkinson at\nthe first interview therefore seemed not a little struck with the beauty\nof my youngest daughter, which her pensive air contributed to heighten,", "their minister go to gaol while they had a drop of blood to shed in his\ndefence, were going to use them with great severity. The consequence", "Having thus instructed him, and settled the rest, I walked down to the\ncommon prison, where I could enjoy more air and room. But I was not long", "Thus saying, I left them, and descended to the common prison, where I\nfound the prisoners very merry, expecting my arrival; and each prepared", "prisoners, and Mr Wilmot, induced by his example, gave half that sum. We\nwere received below by the shouts of the villagers, and I saw and shook" ], [ "as much of Dr Primrose's company as possible. The old gentleman, hearing\nmy name mentioned, seemed to look at me with attention, for some time,", "During this interval, my thoughts were employed on some future means of\nsupporting them; and at last a small Cure of fifteen pounds a year was\noffered me in a distant neighbourhood, where I could still enjoy my", "thirty pounds a year is a small stipend for a well-bred girl of\ncharacter, that can read, write, and behave in company; as for the chits", "Primrose for their guest.' Upon hearing my name, the old gentleman\nand lady very politely stept up, and welcomed me with most cordial\nhospitality. Nor could they forbear smiling upon being informed of the", "My wife had been for a long time all attention to this discourse; but\nwas particularly struck with the latter part of it. Thirty pounds and", "'Want money!' replied the host, 'that must be impossible; for it was no\nlater than yesterday he paid three guineas to our beadle to spare an", "three pounds five shillings and two-pence.'--'Well done, my good boy,'\nreturned she, 'I knew you would touch them off. Between ourselves, three", "pounds five shillings and two-pence is no bad day's work. Come, let us\nhave it then.'--'I have brought back no money,' cried Moses again. 'I", "thousand pounds we had but four hundred remaining. My chief attention\ntherefore was now to bring down the pride of my family to their\ncircumstances; for I well knew that aspiring beggary is wretchedness", "sure you are, adds to that happiness in my breast which your benevolence\nhas already excited. You behold before you, Sir, that Doctor Primrose,", "we should both reward him for it. Miss Sophia will, I am sure, make\nhim very happy, and he shall have from me five hundred pounds as\nher fortune, and upon this I am sure they can live very comfortably", "direction. The profits of my living, which amounted to but thirty-five\npounds a year, I made over to the orphans and widows of the clergy of", "twenty-five guineas a year made fifty-six pounds five shillings English\nmoney, all which was in a manner going a-begging, and might easily", "plain-work an hour in the day, another thought twenty-five guineas\na year too small a salary, and I was obliged to send away the third,", "shall have whenever he thinks proper to demand them.) We were no sooner\nreturned to the inn, but numbers of my parishioners, hearing of my\nsuccess, came to congratulate me, but among the rest were those who rose", "'O goodness,' cried the lovely girl, 'how have I been deceived! Mr\nThornhill informed me for certain that this gentleman's eldest son,\nCaptain Primrose, was gone off to America with his new married lady.'", "daughter of a neighbouring clergyman, who was a dignitary in the church,\nand in circumstances to give her a large fortune: but fortune was her\nsmallest accomplishment. Miss Arabella Wilmot was allowed by all,", "pockets for them, a piece of gingerbread, or an halfpenny whistle. He\ngenerally came for a few days into our neighbourhood once a year, and", "struck a bargain. Nothing now remained but to pay me, and he accordingly\npulled out a thirty pound note, and bid me change it. Not being in a", "better than I. He was heir to a fortune of about two hundred thousand\npounds, left him by an uncle in the West Indies; and his guardians, to" ], [ "as much of Dr Primrose's company as possible. The old gentleman, hearing\nmy name mentioned, seemed to look at me with attention, for some time,", "Primrose for their guest.' Upon hearing my name, the old gentleman\nand lady very politely stept up, and welcomed me with most cordial\nhospitality. Nor could they forbear smiling upon being informed of the", "sure you are, adds to that happiness in my breast which your benevolence\nhas already excited. You behold before you, Sir, that Doctor Primrose,", "I, 'one Doctor Primrose, from whom you bought a horse.'", "and when my friend was gone, most respectfully demanded if I was any way\nrelated to the great Primrose, that courageous monogamist, who had been", "better than I. He was heir to a fortune of about two hundred thousand\npounds, left him by an uncle in the West Indies; and his guardians, to", "'O goodness,' cried the lovely girl, 'how have I been deceived! Mr\nThornhill informed me for certain that this gentleman's eldest son,\nCaptain Primrose, was gone off to America with his new married lady.'", "daughter of a neighbouring clergyman, who was a dignitary in the church,\nand in circumstances to give her a large fortune: but fortune was her\nsmallest accomplishment. Miss Arabella Wilmot was allowed by all,", "restoring his falling fortune. For this purpose, in his own whimsical\nmanner he travelled through Europe on foot, and now, though he has\nscarce attained the age of thirty, his circumstances are more affluent", "patron's affections. His mother had been laundress to a man of quality,\nand thus he early acquired a taste for pimping and pedigree. As this", "memory. She thought him therefore a very fine gentleman; and such as\nconsider what powerful ingredients a good figure, fine cloaths, and\nfortune, are in that character, will easily forgive her. Mr Thornhill,", "some distance, 'belongs to Mr Thornhill, a young gentleman who enjoys a\nlarge fortune, though entirely dependent on the will of his uncle,\nSir William Thornhill, a gentleman, who content with a little himself,", "possessed of a very affluent fortune by his marriage, I might accept his\noffer without any hesitation. His business, however, was to inform me", "of that fortune which once was thine, and from her tenderness alone thou\nart to expect any extraordinary supplies for the future.' He was going\nto express his gratitude for such kindness in a set speech; but the", "gentleman in London, who had just stept into taste and a large fortune.\nI was the more surprised at seeing our cousin pitched upon for this\noffice, as he himself had often assured me he knew nothing of the", "their character; so that he began to lose a regard for private interest\nin universal sympathy. He loved all mankind; for fortune prevented him\nfrom knowing that there were rascals. Physicians tell us of a disorder", "who lived within a few miles of the place. This gentleman he described\nas one who desired to know little more of the world than its pleasures,\nbeing particularly remarkable for his attachment to the fair sex. He", "told him was to sell an horse, and very luckily, indeed, his was to buy\none for one of his tenants. My horse was soon produced, and in fine we", "Thornhill, to whose virtues and singularities scarce any were strangers.\nThe poor Mr Burchell was in reality a man of large fortune and great\ninterest, to whom senates listened with applause, and whom party heard", "we should both reward him for it. Miss Sophia will, I am sure, make\nhim very happy, and he shall have from me five hundred pounds as\nher fortune, and upon this I am sure they can live very comfortably" ], [ "natural vivacity. My eldest son George was bred at Oxford, as I intended\nhim for one of the learned professions. My second boy Moses, whom I", "designed for business, received a sort of a miscellaneous education at\nhome. But it is needless to attempt describing the particular characters\nof young people that had seen but very little of the world. In short, a", "George was to depart for town the next day to secure his commission,\nin pursuance of his generous patron's directions, who judged it highly", "if my son's name were George, to which replying in the affirmative,\nhe still continued silent. As soon as my boy entered the room, I\ncould perceive he regarded Mr Burchell with a look of astonishment and", "alone: the morning I designed for my departure, Mr Thornhill came to me\nwith looks of real pleasure to inform me of a piece of service he\nhad done for his friend George. This was nothing less than his having", "her daughters' eyes, that working after dinner would redden their noses,\nand she convinced me that the hands never looked so white as when they\ndid nothing. Instead therefore of finishing George's shirts, we now had", "'My child, you must not die: I am sure no offence of thine can deserve\nso vile a punishment. My George could never be guilty of any crime to\nmake his ancestors ashamed of him.'", "it as my debtor. Our eldest son was named George, after his uncle, who\nleft us ten thousand pounds. Our second child, a girl, I intended to", "who lived within a few miles of the place. This gentleman he described\nas one who desired to know little more of the world than its pleasures,\nbeing particularly remarkable for his attachment to the fair sex. He", "for. To be possessed of all that's good, and after such an interval of\npain! My warmest wishes could never rise so high!'--'Yes, my George,'", "'My sweetest miss,' cried my wife, 'he has told you nothing but\nfalsehoods. My son George never left the kingdom, nor was married. Tho'", "better than I. He was heir to a fortune of about two hundred thousand\npounds, left him by an uncle in the West Indies; and his guardians, to", "'What did you say, George?' interrupted I. 'Thornhill, was not that his\nname? It can certainly be no other than my landlord.'--'Bless me,' cried", "has but that one piece of learning in the world, and he always talks it\naway whenever he finds a scholar in company; but I know the rogue, and\nwill catch him yet.' Though I was already sufficiently mortified, my", "It was thus, perhaps, from hearing marriage so often recommended, that\nmy eldest son, just upon leaving college, fixed his affections upon the", "place, she enquired with seeming unconcern, when last I had heard from\nmy son George. 'Alas! Madam,' cried I, 'he has now been near three years", "qualify him for the management of it, had bound him apprentice to an\nattorney. Thus avarice was his prevailing passion: all his questions on\nthe road were how money might be saved, which was the least expensive", "As Mr Burchell had hinted to us the day before, that he was making some\nproposals of marriage, to Miss Wilmot, my son George's former mistress,", "in a transport. 'After all my misfortunes,' cried my son George, 'to be\nthus rewarded! Sure this is more than I could ever have presumed to hope", "nineteen years old, well grown and well educated, and, in my humble\nopinion, does not want for parts.' 'Madam,' replied he, 'if I were to" ], [ "as much of Dr Primrose's company as possible. The old gentleman, hearing\nmy name mentioned, seemed to look at me with attention, for some time,", "'O goodness,' cried the lovely girl, 'how have I been deceived! Mr\nThornhill informed me for certain that this gentleman's eldest son,\nCaptain Primrose, was gone off to America with his new married lady.'", "and when my friend was gone, most respectfully demanded if I was any way\nrelated to the great Primrose, that courageous monogamist, who had been", "Primrose for their guest.' Upon hearing my name, the old gentleman\nand lady very politely stept up, and welcomed me with most cordial\nhospitality. Nor could they forbear smiling upon being informed of the", "sure you are, adds to that happiness in my breast which your benevolence\nhas already excited. You behold before you, Sir, that Doctor Primrose,", "articles himself. Miss Wilmot therefore perceiving that her fortune was\nirretrievably lost, turning to my son, she asked if the loss of fortune", "match. But finding that her fortune, which was secured to Mr Thornhill\nby bond, would not be given up, nothing could exceed his disappointment.\nHe now saw that his money must all go to enrich one who had no fortune", "immoderate passion for wealth is now justly punished. But tho' the\nyoung lady cannot be rich, she has still a competence sufficient to give", "we shall never more see such pleasing hours as were once spent by our\nfire-side at Wakefield. My little family are now dispersing very\nfast, and poverty has brought not only want, but infamy upon us.' The", "better than I. He was heir to a fortune of about two hundred thousand\npounds, left him by an uncle in the West Indies; and his guardians, to", "lumber room, there to perish in obscurity. I had still, however, half\na guinea left, and of that I thought fortune herself should not deprive", "thousand pounds we had but four hundred remaining. My chief attention\ntherefore was now to bring down the pride of my family to their\ncircumstances; for I well knew that aspiring beggary is wretchedness", "indeed, was seen to encrease as the other seemed to decay: he grew\nimprovident as he grew poor; and though he talked like a man of sense,", "of that fortune which once was thine, and from her tenderness alone thou\nart to expect any extraordinary supplies for the future.' He was going\nto express his gratitude for such kindness in a set speech; but the", "I, 'one Doctor Primrose, from whom you bought a horse.'", "Miss Wrinklers should marry great fortunes, and her children get none.\nAs this last argument was directed to me, I protested I could see no\nreason for it neither, nor why Mr Simpkins got the ten thousand pound", "came with a confirmation of every particular. The loss of fortune to\nmyself alone would have been trifling; the only uneasiness I felt was\nfor my family, who were to be humble without an education to render them", "However, as I weakened, my antagonist gained strength, till at last it\nwas resolved to part with him.", "restoring his falling fortune. For this purpose, in his own whimsical\nmanner he travelled through Europe on foot, and now, though he has\nscarce attained the age of thirty, his circumstances are more affluent", "came to ask a blessing from me. This I gave him from my heart, and\nwhich, added to five guineas, was all the patrimony I had now to bestow." ], [ "as much of Dr Primrose's company as possible. The old gentleman, hearing\nmy name mentioned, seemed to look at me with attention, for some time,", "'O goodness,' cried the lovely girl, 'how have I been deceived! Mr\nThornhill informed me for certain that this gentleman's eldest son,\nCaptain Primrose, was gone off to America with his new married lady.'", "Primrose for their guest.' Upon hearing my name, the old gentleman\nand lady very politely stept up, and welcomed me with most cordial\nhospitality. Nor could they forbear smiling upon being informed of the", "'My child, you must not die: I am sure no offence of thine can deserve\nso vile a punishment. My George could never be guilty of any crime to\nmake his ancestors ashamed of him.'", "Just as he spoke they came in, and approaching the bed where I lay,\nafter previously informing me of their employment and business, made me\ntheir prisoner, bidding me prepare to go with them to the county gaol,\nwhich was eleven miles off.", "and when my friend was gone, most respectfully demanded if I was any way\nrelated to the great Primrose, that courageous monogamist, who had been", "'My sweetest miss,' cried my wife, 'he has told you nothing but\nfalsehoods. My son George never left the kingdom, nor was married. Tho'", "we will not forget you. Our prisoner, please your honour,' continued\nhe, turning to Sir William, 'has already confessed all. This is the\ngentleman reported to be so dangerously wounded: He declares that it was", "alone: the morning I designed for my departure, Mr Thornhill came to me\nwith looks of real pleasure to inform me of a piece of service he\nhad done for his friend George. This was nothing less than his having", "visited prisons upon occasions less interesting. I am now come to see\njustice done a worthy man, for whom I have the most sincere esteem. I", "by imputing it to his desire of detaining my youngest daughter in the\ncountry, to have the more frequent opportunities of an interview. In\nthis manner we all sate ruminating upon schemes of vengeance, when", "Having thus instructed him, and settled the rest, I walked down to the\ncommon prison, where I could enjoy more air and room. But I was not long", "George! My George! and do I find thee thus. Wounded! Fettered! Is this\nthy happiness! Is this the manner you return to me! O that this sight", "described, by this means they avoided the common prison. Jenkinson at\nthe first interview therefore seemed not a little struck with the beauty\nof my youngest daughter, which her pensive air contributed to heighten,", "their minister go to gaol while they had a drop of blood to shed in his\ndefence, were going to use them with great severity. The consequence", "prisoners, and Mr Wilmot, induced by his example, gave half that sum. We\nwere received below by the shouts of the villagers, and I saw and shook", "innocence of her sister, has thrown the father into prison, and the\neldest son into fetters, because he had courage to face his betrayer.", "usual cheerfulness. After seeing them properly accommodated for that\nnight, I next attended the sheriff's officers to the prison, which had\nformerly been built for the purposes of war, and consisted of one large", "'Madam,' replied the good man, 'your wishes for his safety are not\ngreater than mine; but I am sorry to find his guilt too plain; and if my", "Thus saying, I left them, and descended to the common prison, where I\nfound the prisoners very merry, expecting my arrival; and each prepared" ], [ "'Mr Thornhill,' replied I, 'hear me once for all: as to your marriage\nwith any but my daughter, that I never will consent to; and though your", "submitting to the 'Squire, and consenting to his marriage with the other\nyoung lady. But these you had vowed never to grant while your daughter\nwas living, there was therefore no other method to bring things to bear", "match. But finding that her fortune, which was secured to Mr Thornhill\nby bond, would not be given up, nothing could exceed his disappointment.\nHe now saw that his money must all go to enrich one who had no fortune", "that Mr Thornhill was going to be married to Miss Wilmot, for whom I\nalways suspected he had a real passion, tho' he took every opportunity\nbefore me to express his contempt both of her person and fortune. This", "sincere. It required but very little encouragement to revive his former\npassion; so that in an evening or two he and Mr Thornhill met at our", "creature for one night, and death will soon do the rest.' I instantly\nknew the voice of my poor ruined child Olivia. I flew to her rescue,", "but one method alone to prevent his losing you forever.'--This proposal,\nwhich she could not avoid considering as perfectly just, was readily\nagreed to. She again renewed her most positive promise of marrying", "already.'--'You lie, like a rascal,' returned the 'Squire, who\nseemed rouzed by this insult, 'I never was legally married to any", "honourable passion. But whatever uneasiness he seemed to endure, it\ncould easily be perceived that Olivia's anguish was still greater. After\nany of these interviews between her lovers, of which there were several,", "Mr Williams, in case of the other's insensibility; and at the next\nopportunity, in Mr Thornhill's presence, that day month was fixed upon\nfor her nuptials with his rival.", "an husband. But now, that you have put it into my head, seriously Mr\nThornhill, can't you recommend me a proper husband for her? She is now", "Such vigorous proceedings seemed to redouble Mr Thornhill's anxiety:\nbut what Olivia really felt gave me some uneasiness. In this struggle", "together. Come, Miss Sophia, what say you to this match of my making?\nWill you have him?'--My poor girl seemed almost sinking into her", "we should both reward him for it. Miss Sophia will, I am sure, make\nhim very happy, and he shall have from me five hundred pounds as\nher fortune, and upon this I am sure they can live very comfortably", "Upon his departure, we again entered into a debate upon the merits of\nour young landlord. As he directed his looks and conversation to Olivia,", "but curse me if a settlement of half my estate could give my charming\nOlivia pleasure, it should be hers; and the only favour I would ask in\nreturn would be to add myself to the benefit.' I was not such a stranger", "'O goodness,' cried the lovely girl, 'how have I been deceived! Mr\nThornhill informed me for certain that this gentleman's eldest son,\nCaptain Primrose, was gone off to America with his new married lady.'", "see many pleasant days yet, my Olivia!'--'Ah! never, sir, never. The\nrest of my wretched life must be infamy abroad and shame at home. But,", "But though all this gave me no pleasure, it had a very different effect\nupon Olivia, who mistook it for humour, though but a mere act of the", "woman would sometimes tell the 'Squire, that she thought him and Olivia\nextremely of a size, and would bid both stand up to see which was" ], [ "daughter of a neighbouring clergyman, who was a dignitary in the church,\nand in circumstances to give her a large fortune: but fortune was her\nsmallest accomplishment. Miss Arabella Wilmot was allowed by all,", "better than I. He was heir to a fortune of about two hundred thousand\npounds, left him by an uncle in the West Indies; and his guardians, to", "shall have whenever he thinks proper to demand them.) We were no sooner\nreturned to the inn, but numbers of my parishioners, hearing of my\nsuccess, came to congratulate me, but among the rest were those who rose", "'My father liv'd beside the Tyne, A wealthy Lord was he; And all his\nwealth was mark'd as mine, He had but only me.", "Thornhill, to whose virtues and singularities scarce any were strangers.\nThe poor Mr Burchell was in reality a man of large fortune and great\ninterest, to whom senates listened with applause, and whom party heard", "qualify him for the management of it, had bound him apprentice to an\nattorney. Thus avarice was his prevailing passion: all his questions on\nthe road were how money might be saved, which was the least expensive", "'Want money!' replied the host, 'that must be impossible; for it was no\nlater than yesterday he paid three guineas to our beadle to spare an", "observed that no virtue was able to resist his arts and assiduity, and\nthat scarce a farmer's daughter within ten miles round but what had\nfound him successful and faithless. Though this account gave me some", "restoring his falling fortune. For this purpose, in his own whimsical\nmanner he travelled through Europe on foot, and now, though he has\nscarce attained the age of thirty, his circumstances are more affluent", "During this interval, my thoughts were employed on some future means of\nsupporting them; and at last a small Cure of fifteen pounds a year was\noffered me in a distant neighbourhood, where I could still enjoy my", "who lived within a few miles of the place. This gentleman he described\nas one who desired to know little more of the world than its pleasures,\nbeing particularly remarkable for his attachment to the fair sex. He", "some distance, 'belongs to Mr Thornhill, a young gentleman who enjoys a\nlarge fortune, though entirely dependent on the will of his uncle,\nSir William Thornhill, a gentleman, who content with a little himself,", "of his own. He could bear his being a rascal; but to want an equivalent\nto his daughter's fortune was wormwood. He sate therefore for some\nminutes employed in the most mortifying speculations, till Sir William", "THE VICAR OF WAKEFIELD\n\nA TALE\n\nSupposed to be written by Himself\n\nBy Oliver Goldsmith", "There was in fact nothing that could make us angry with the world or\neach other. We had an elegant house, situated in a fine country, and a\ngood neighbourhood. The year was spent in moral or rural amusements; in", "wife and I led the van, and left those gloomy mansions of sorrow.\nThe generous Baronet ordered forty pounds to be distributed among the", "gratitude to Mr Thornhill for his late bounty. I left them in the\nenjoyment of all that happiness which affluence and good breeding", "honest man went forward without suspicion, and grew rich, while I still\ncontinued tricksy and cunning, and was poor, without the consolation of\nbeing honest.", "impossible to repeat the train of agreeable reveries we called up for\nour entertainment. We looked upon our fortunes as once more rising;\nand as the whole parish asserted that the 'Squire was in love with my", "gentleman in London, who had just stept into taste and a large fortune.\nI was the more surprised at seeing our cousin pitched upon for this\noffice, as he himself had often assured me he knew nothing of the" ], [ "'Squire Thornhill, who the host assured me was hated as much as his\nuncle Sir William, who sometimes came down to the country, was loved.", "some distance, 'belongs to Mr Thornhill, a young gentleman who enjoys a\nlarge fortune, though entirely dependent on the will of his uncle,\nSir William Thornhill, a gentleman, who content with a little himself,", "appearing, Sir William demanded if he knew him. 'Yes, please your\nhonour,' reply'd the gaoler, 'I know Sir William Thornhill well, and", "'He find pleasure in doing good!' cried Sir William, interrupting her.\n'No, my dear, his pleasures are as base as he is. You see in him, madam,", "Mr Thornhill made his entrance with a smile, which he seldom wanted, and\nwas going to embrace his uncle, which the other repulsed with an air of", "morning. He knew, however, the whole neighbourhood to which I was\nremoving, particularly 'Squire Thornhill, who was to be my landlord, and", "but as my friend was to leave town in a few days, he knew no other\nmethod of serving me, but by recommending me to his uncle Sir William\nThornhill, and another nobleman of great distinction, who enjoyed a post", "Thornhill, who bore so good a character. He added, that nothing but\nmirth and feasting were going forward; that all the country praised the", "sincere. It required but very little encouragement to revive his former\npassion; so that in an evening or two he and Mr Thornhill met at our", "that none have ever taxed the injustice of Sir William Thornhill.'", "compliments to repeat, and Lady Thornhill underwent the same round of\nceremony that her sister had done before. In the mean time Sir William's", "them.'--'So then,' cried Sir William, 'I find you have brought a\nvery fine witness to prove your innocence: thou stain to humanity! to", "We now found the personage whom we had so long entertained as an\nharmless amusing companion was no other than the celebrated Sir William", "'Sir William,' replied the old gentleman, 'be assured I never yet forced\nher inclinations, nor will I now. If she still continues to love this", "memory. She thought him therefore a very fine gentleman; and such as\nconsider what powerful ingredients a good figure, fine cloaths, and\nfortune, are in that character, will easily forgive her. Mr Thornhill,", "Mr Thornhill who first put him upon this affair, that he gave him the\ncloaths he now wears to appear like a gentleman, and furnished him with", "virtues, generosity, and singularities are so universally known? I have\nheard Sir William Thornhill represented as one of the most generous,\nyet whimsical, men in the kingdom; a man of consumate", "of the village, a post-chaise and pair drove up to them and instantly\nstopt. Upon which, a well drest man, but not Mr Thornhill, stepping", "they usually rode out together in the grandest equipage that had been\nseen in the country for many years. All the friends of both families,\nhe said, were there, particularly the 'Squire's uncle, Sir William", "appear, in order to vindicate his innocence and honour, with which\nrequest the Baronet complied, and desired Mr Thornhill to be introduced." ], [ "'Want money!' replied the host, 'that must be impossible; for it was no\nlater than yesterday he paid three guineas to our beadle to spare an", "articles himself. Miss Wilmot therefore perceiving that her fortune was\nirretrievably lost, turning to my son, she asked if the loss of fortune", "match. But finding that her fortune, which was secured to Mr Thornhill\nby bond, would not be given up, nothing could exceed his disappointment.\nHe now saw that his money must all go to enrich one who had no fortune", "By this time the unfortunate Moses was undeceived. He now saw that he\nhad indeed been imposed upon by a prowling sharper, who, observing", "He went on to observe, that he made it his whole study to betray the\ndaughters of such as received him to their houses, and after a fortnight\nor three weeks possession, turned them out unrewarded and abandoned to", "While our thoughts were thus employed, the hostess entered the room to\ninform her husband, that the strange gentleman, who had been two days in\nthe house, wanted money, and could not satisfy them for his reckoning.", "qualify him for the management of it, had bound him apprentice to an\nattorney. Thus avarice was his prevailing passion: all his questions on\nthe road were how money might be saved, which was the least expensive", "indeed, was seen to encrease as the other seemed to decay: he grew\nimprovident as he grew poor; and though he talked like a man of sense,", "felt was slight to what the lovers appeared to endure. Mr Wilmot, who\nseemed before sufficiently inclined to break off the match, was by\nthis blow soon determined: one virtue he had in perfection, which was", "pounds five shillings and two-pence is no bad day's work. Come, let us\nhave it then.'--'I have brought back no money,' cried Moses again. 'I", "we shall never more see such pleasing hours as were once spent by our\nfire-side at Wakefield. My little family are now dispersing very\nfast, and poverty has brought not only want, but infamy upon us.' The", "Among the rest, he commissioned me to procure him a false licence and\na false priest, in order to deceive this young lady. But as I was very", "daughter of a neighbouring clergyman, who was a dignitary in the church,\nand in circumstances to give her a large fortune: but fortune was her\nsmallest accomplishment. Miss Arabella Wilmot was allowed by all,", "THE VICAR OF WAKEFIELD\n\nA TALE\n\nSupposed to be written by Himself\n\nBy Oliver Goldsmith", "became contemptable to others, he became despicable to himself. His mind\nhad leaned upon their adulation, and that support taken away, he could\nfind no pleasure in the applause of his heart, which he had never", "his figure, had marked him for an easy prey. I therefore asked the\ncircumstances of his deception. He sold the horse, it seems, and walked", "by the chaplain, as he said the church was the only mistress of his\naffections.--'Come tell us honestly, Frank,' said the 'Squire, with his", "of his own. He could bear his being a rascal; but to want an equivalent\nto his daughter's fortune was wormwood. He sate therefore for some\nminutes employed in the most mortifying speculations, till Sir William", "that had happened. But in the mean time the 'Squire perceiving that\nhe was on every side undone, now finding that no hopes were left from", "came with a confirmation of every particular. The loss of fortune to\nmyself alone would have been trifling; the only uneasiness I felt was\nfor my family, who were to be humble without an education to render them" ], [ "but by persuading you that she was dead. I prevailed on your wife to\njoin in the deceit, and we have not had a fit opportunity of undeceiving\nyou till now.'", "'My sweetest miss,' cried my wife, 'he has told you nothing but\nfalsehoods. My son George never left the kingdom, nor was married. Tho'", "The only hope of our family now was, that the report of our misfortunes\nmight be malicious or premature: but a letter from my agent in town soon", "Among the rest, he commissioned me to procure him a false licence and\na false priest, in order to deceive this young lady. But as I was very", "while all our bright prospects only lie beyond the grave!'--'My dear\nfather,' returned he, 'I hope there is still something that will give\nyou an interval of satisfaction; for I have a letter from my brother", "day to inform them, that their journey to town was entirely over. The\ntwo ladies having heard reports of us from some malicious person about\nus, were that day set out for London. He could neither discover the", "I again, therefore laid me down, and one of my little ones sate by my\nbedside reading, when Mr Jenkinson entering, informed me that there was", "comfort of weeping by her. My fellow prisoner, some time after, came\nwith the last account. He bade me be patient. She was dead!--The next", "the very children in the parish will hoot after us.'--'Indeed,' replied\nmy wife, 'I always imagined that my Charles was fond of seeing his", "to him has miscarried.' 'Yes, my dear,' continued she, turning to me, 'I\nwill now confess that though the hand of heaven is sore upon us in other", "when I shall be no more.' 'We have indeed lost,' returned she, 'a\ndarling child. My Sophia, my dearest, is gone, snatched from us, carried\noff by ruffians!'", "by the chaplain, as he said the church was the only mistress of his\naffections.--'Come tell us honestly, Frank,' said the 'Squire, with his", "our other little boy came running in to tell us that Mr Burchell was\napproaching at the other end of the field. It is easier to conceive than\ndescribe the complicated sensations which are felt from the pain of", "deliver Miss Wilmot a letter, intimating Mr Thornhill's conduct in my\nfamily. My son went, in pursuance of my directions, and in three days", "daughter of a neighbouring clergyman, who was a dignitary in the church,\nand in circumstances to give her a large fortune: but fortune was her\nsmallest accomplishment. Miss Arabella Wilmot was allowed by all,", "expected, I was obliged to begin, and went through the service, not\nwithout some uneasiness at finding them absent. This was encreased when\nall was finished, and no appearance of the family. I therefore walked", "in the world, which she took care to tell us every morning, with great\nsolemnity and exactness. It was one night a coffin and cross bones,\nthe sign of an approaching wedding: at another time she imagined her", "'O goodness,' cried the lovely girl, 'how have I been deceived! Mr\nThornhill informed me for certain that this gentleman's eldest son,\nCaptain Primrose, was gone off to America with his new married lady.'", "But by this time my son was freed from the encumbrances of justice as\nthe person supposed to be wounded was detected to be an impostor. Mr", "surprised; adding, that he had been since frequently at my house, in\norder to comfort the rest of my family, whom he left perfectly well. He" ], [ "sake.' She then proceeded to expatiate upon the sincerity of her son's\npassion, she set his duel with Mr Thornhill in a proper light, from", "'What did you say, George?' interrupted I. 'Thornhill, was not that his\nname? It can certainly be no other than my landlord.'--'Bless me,' cried", "alone: the morning I designed for my departure, Mr Thornhill came to me\nwith looks of real pleasure to inform me of a piece of service he\nhad done for his friend George. This was nothing less than his having", "was once more fairly going to give up the field to the captain, when my\nfriend found occasion for my assistance. This was nothing less than to\nfight a duel for him, with a gentleman whose sister it was pretended he", "then he was to run off, by which Mr Thornhill would have the better\nopportunity of gaining her affections himself under the character of her\ndefender.'", "Mr Thornhill who first put him upon this affair, that he gave him the\ncloaths he now wears to appear like a gentleman, and furnished him with", "and terrify her; but Mr Thornhill was to come in in the mean time, as if\nby accident, to her rescue, and that they should fight awhile and", "presumption out of countenance. Upon which he let us know that his name\nwas Thornhill, and that he was owner of the estate that lay for some", "match. But finding that her fortune, which was secured to Mr Thornhill\nby bond, would not be given up, nothing could exceed his disappointment.\nHe now saw that his money must all go to enrich one who had no fortune", "sincere. It required but very little encouragement to revive his former\npassion; so that in an evening or two he and Mr Thornhill met at our", "'Mr Thornhill,' replied I, 'hear me once for all: as to your marriage\nwith any but my daughter, that I never will consent to; and though your", "appear, in order to vindicate his innocence and honour, with which\nrequest the Baronet complied, and desired Mr Thornhill to be introduced.", "that Mr Thornhill was going to be married to Miss Wilmot, for whom I\nalways suspected he had a real passion, tho' he took every opportunity\nbefore me to express his contempt both of her person and fortune. This", "face!'--'Yes,' replied the butler, 'or to any man's face. To tell you\na truth, Master Thornhill, I never either loved you or liked you, and", "Mr Thornhill made his entrance with a smile, which he seldom wanted, and\nwas going to embrace his uncle, which the other repulsed with an air of", "that I am determined to let the law take its course. I have here the\nchallenge that was sent me and two witnesses to prove it; one of my\nservants has been wounded dangerously, and even though my uncle himself", "sent to the two ladies at Thornhill-castle.' It instantly occurred that\nhe was the base informer, and we deliberated whether the note should not", "too much cunning to give me entire satisfaction. It was this: as our\nprincipal object was to discover the honour of Mr Thornhill's addresses,", "memory. She thought him therefore a very fine gentleman; and such as\nconsider what powerful ingredients a good figure, fine cloaths, and\nfortune, are in that character, will easily forgive her. Mr Thornhill,", "Mr Williams, in case of the other's insensibility; and at the next\nopportunity, in Mr Thornhill's presence, that day month was fixed upon\nfor her nuptials with his rival." ], [ "Just as he spoke they came in, and approaching the bed where I lay,\nafter previously informing me of their employment and business, made me\ntheir prisoner, bidding me prepare to go with them to the county gaol,\nwhich was eleven miles off.", "Among the rest, he commissioned me to procure him a false licence and\na false priest, in order to deceive this young lady. But as I was very", "visited prisons upon occasions less interesting. I am now come to see\njustice done a worthy man, for whom I have the most sincere esteem. I", "upon these occasions, and immediately complied with the demand, though\nthe little money I had was very near being all exhausted. This was\nimmediately sent away for liquor, and the whole prison soon was filled", "'Has he so?' cried I, 'then we must hang the priest, and you shall\ninform against him to-morrow.'--'But Sir,' returned she, 'will that be", "prisoners, and Mr Wilmot, induced by his example, gave half that sum. We\nwere received below by the shouts of the villagers, and I saw and shook", "but he brought the priest that pretended to marry them.'--'It is but\ntoo true,' cried Jenkinson, 'I cannot deny it, that was the employment\nassigned me, and I confess it to my confusion.'", "we will not forget you. Our prisoner, please your honour,' continued\nhe, turning to Sir William, 'has already confessed all. This is the\ngentleman reported to be so dangerously wounded: He declares that it was", "Having thus instructed him, and settled the rest, I walked down to the\ncommon prison, where I could enjoy more air and room. But I was not long", "innocence of her sister, has thrown the father into prison, and the\neldest son into fetters, because he had courage to face his betrayer.", "'Want money!' replied the host, 'that must be impossible; for it was no\nlater than yesterday he paid three guineas to our beadle to spare an", "poorest parishioners. These, with dreadful imprecations, soon seized\nupon the two officers of justice, and swearing they would never see", "their minister go to gaol while they had a drop of blood to shed in his\ndefence, were going to use them with great severity. The consequence", "'Madam,' replied the good man, 'your wishes for his safety are not\ngreater than mine; but I am sorry to find his guilt too plain; and if my", "judged proper to leave her behind. My next care was to send my son to\nprocure a room or two to lodge the family in, as near the prison", "usual cheerfulness. After seeing them properly accommodated for that\nnight, I next attended the sheriff's officers to the prison, which had\nformerly been built for the purposes of war, and consisted of one large", "Thus saying, I left them, and descended to the common prison, where I\nfound the prisoners very merry, expecting my arrival; and each prepared", "described, by this means they avoided the common prison. Jenkinson at\nthe first interview therefore seemed not a little struck with the beauty\nof my youngest daughter, which her pensive air contributed to heighten,", "by the chaplain, as he said the church was the only mistress of his\naffections.--'Come tell us honestly, Frank,' said the 'Squire, with his", "punishment for our vice, or contempt for our folly.' My wife now kept\nup the conversation, though not the argument: she observed, that several" ], [ "Happiness was expanded upon every face, and even Olivia's cheek seemed\nflushed with pleasure. To be thus restored to reputation, to friends and", "creature for one night, and death will soon do the rest.' I instantly\nknew the voice of my poor ruined child Olivia. I flew to her rescue,", "Upon his departure, we again entered into a debate upon the merits of\nour young landlord. As he directed his looks and conversation to Olivia,", "and loved her daughter as before. 'Do, my pretty Olivia,' cried she,\n'let us have that little melancholy air your pappa was so fond of, your", "honourable passion. But whatever uneasiness he seemed to endure, it\ncould easily be perceived that Olivia's anguish was still greater. After\nany of these interviews between her lovers, of which there were several,", "at the writer with unrestrained resentment. Olivia was equally severe,\nand Sophia seemed perfectly amazed at his baseness. As for my part, it", "After he was gone, upon general consultation, we could not tell what to\nmake of these fine sentiments. Olivia considered them as instances of", "shunning her betrayer, returned to the house with her sister. In a few\nminutes he was alighted from his chariot, and making up to the place", "to your mother and the rest of the family, from whom you will receive\na kind reception. Poor woman, this has gone to her heart: but she loves\nyou still, Olivia, and will forget it.", "her back to her uncle's. When got home, Mr Arnold, who was as yet a\nstranger to our extraordinary behaviour, being informed that the new", "But though all this gave me no pleasure, it had a very different effect\nupon Olivia, who mistook it for humour, though but a mere act of the", "a circumstance with me, that I should scarce have remembered to mention\nit, had it not been a general topic of conversation in the country.\nOlivia, now about eighteen, had that luxuriancy of beauty with which", "I had now been confined more than a fortnight, but had not since my\narrival been visited by my dear Olivia, and I greatly longed to see her.", "I thought thee lost, my Olivia, yet still I hold thee--and still thou\nshalt live to bless me.'--The warmest transports of the fondest lover", "clearing it away, and opening a passage before the door. He had not been\nthus engaged long, when he came running in, with looks all pale, to", "see many pleasant days yet, my Olivia!'--'Ah! never, sir, never. The\nrest of my wretched life must be infamy abroad and shame at home. But,", "The two ladies had been at our house to see us, and finding us from\nhome, came after us hither, as they were uneasy to know what accident", "honour untainted to posterity. Come, my son, we wait for a song: let\nus have a chorus. But where is my darling Olivia? That little cherub's", "call after her aunt Grissel; but my wife, who during her pregnancy had\nbeen reading romances, insisted upon her being called Olivia. In less\nthan another year we had another daughter, and now I was determined that", "procure, and returned towards home, despairing of ever finding my\ndaughter more, but sending a sigh to heaven to spare and to forgive her.\nI was now come within about twenty miles of home, having hired an horse" ], [ "'My child, you must not die: I am sure no offence of thine can deserve\nso vile a punishment. My George could never be guilty of any crime to\nmake his ancestors ashamed of him.'", "their minister go to gaol while they had a drop of blood to shed in his\ndefence, were going to use them with great severity. The consequence", "Just as he spoke they came in, and approaching the bed where I lay,\nafter previously informing me of their employment and business, made me\ntheir prisoner, bidding me prepare to go with them to the county gaol,\nwhich was eleven miles off.", "George! My George! and do I find thee thus. Wounded! Fettered! Is this\nthy happiness! Is this the manner you return to me! O that this sight", "we will not forget you. Our prisoner, please your honour,' continued\nhe, turning to Sir William, 'has already confessed all. This is the\ngentleman reported to be so dangerously wounded: He declares that it was", "her daughters' eyes, that working after dinner would redden their noses,\nand she convinced me that the hands never looked so white as when they\ndid nothing. Instead therefore of finishing George's shirts, we now had", "upon these occasions, and immediately complied with the demand, though\nthe little money I had was very near being all exhausted. This was\nimmediately sent away for liquor, and the whole prison soon was filled", "fetters was heard along the passage that led to my apartment. The keeper\nof the prison entered, holding a man all bloody, wounded and fettered", "alone: the morning I designed for my departure, Mr Thornhill came to me\nwith looks of real pleasure to inform me of a piece of service he\nhad done for his friend George. This was nothing less than his having", "'My sweetest miss,' cried my wife, 'he has told you nothing but\nfalsehoods. My son George never left the kingdom, nor was married. Tho'", "'What did you say, George?' interrupted I. 'Thornhill, was not that his\nname? It can certainly be no other than my landlord.'--'Bless me,' cried", "said these words, when a noise, like that of a tumult, seemed to proceed\nfrom the prison below; it died away soon after, and a clanking of", "if my son's name were George, to which replying in the affirmative,\nhe still continued silent. As soon as my boy entered the room, I\ncould perceive he regarded Mr Burchell with a look of astonishment and", "Thus saying, I left them, and descended to the common prison, where I\nfound the prisoners very merry, expecting my arrival; and each prepared", "'Madam,' replied the good man, 'your wishes for his safety are not\ngreater than mine; but I am sorry to find his guilt too plain; and if my", "Having thus instructed him, and settled the rest, I walked down to the\ncommon prison, where I could enjoy more air and room. But I was not long", "visited prisons upon occasions less interesting. I am now come to see\njustice done a worthy man, for whom I have the most sincere esteem. I", "judged proper to leave her behind. My next care was to send my son to\nprocure a room or two to lodge the family in, as near the prison", "innocence of her sister, has thrown the father into prison, and the\neldest son into fetters, because he had courage to face his betrayer.", "The moment Mr Thornhill perceived the prisoner, and Jenkinson, who had\nhim in custody, he seemed to shrink back with terror. His face became" ], [ "together at church the Sunday before he was there, in great splendour,\nthe bride attended by six young ladies, and he by as many gentlemen.\nTheir approaching nuptials filled the whole country with rejoicing, and", "at last it was thought convenient to fix a day for the nuptials of the\nyoung couple, who seemed earnestly to desire it. During the preparations\nfor the wedding, I need not describe the busy importance of my wife,", "It was within about four days of her intended nuptials, that my little\nfamily at night were gathered round a charming fire, telling stories", "in the world, which she took care to tell us every morning, with great\nsolemnity and exactness. It was one night a coffin and cross bones,\nthe sign of an approaching wedding: at another time she imagined her", "CHAPTER 32.\n\n The Conclusion", "one. They were all very joyful for this victory, and the damsel who\nwas relieved fell in love with the Giant, and married him. They now", "Miss Wilmot and her father; my wife too kissed her daughter with much\naffection, as, to use her own expression, she was now made an honest\nwoman of. Sophia and Moses followed in turn, and even our benefactor", "'Alas, Papa,' replied she, 'you are but little acquainted with his\nvillainies: he has been married already, by the same priest, to six or\neight wives more, whom, like me, he has deceived and abandoned.'", "As she was concluding the last stanza, to which an interruption in\nher voice from sorrow gave peculiar softness, the appearance of Mr", "to be married, and I think we had as good go back again; for I suppose\nthere will be no business done here to-day.'--This at once reduced them", "but one method alone to prevent his losing you forever.'--This proposal,\nwhich she could not avoid considering as perfectly just, was readily\nagreed to. She again renewed her most positive promise of marrying", "of receiving his approbation; but not till too late I discovered that\nhe was most violently attached to the contrary opinion, and with good\nreason; for he was at that time actually courting a fourth wife. This,", "difficulty, he said, to get a sight of his landlord, as the servants\nwere insolent and suspicious; but he accidentally saw him as he was\ngoing out upon business, preparing for his marriage, which was to be in", "'You are right, my boy,' cried his mother, 'Old England is the only\nplace in the world for husbands to get wives.'--'And for wives to manage", "Moses,' cried I, 'we shall soon, my boy, have a wedding in the family,\nwhat is your opinion of matters and things in general?'--'My opinion,", "a parson wanting pride, young men wanting wives, and ale-houses wanting\ncustomers. Matrimony was always one of my favourite topics, and I wrote", "Her two little ones were to be as Cupids by her side, while I, in\nmy gown and band, was to present her with my books on the Whistonian", "several matches that had been made her since our leaving her part of the\ncountry. She led me round all the extensive improvements of the place,\npointing to the several walks and arbours, and at the same time catching", "leave, as Mr Thornhill and Miss Wilmot were visiting round the country.\nThey were to be married, he said, in a few days, having appeared", "did her wedding gown, not for a fine glossy surfaces but such qualities\nas would wear well. To do her justice, she was a good-natured notable" ], [ "immoderate passion for wealth is now justly punished. But tho' the\nyoung lady cannot be rich, she has still a competence sufficient to give", "shall have whenever he thinks proper to demand them.) We were no sooner\nreturned to the inn, but numbers of my parishioners, hearing of my\nsuccess, came to congratulate me, but among the rest were those who rose", "match. But finding that her fortune, which was secured to Mr Thornhill\nby bond, would not be given up, nothing could exceed his disappointment.\nHe now saw that his money must all go to enrich one who had no fortune", "daughter of a neighbouring clergyman, who was a dignitary in the church,\nand in circumstances to give her a large fortune: but fortune was her\nsmallest accomplishment. Miss Arabella Wilmot was allowed by all,", "'Want money!' replied the host, 'that must be impossible; for it was no\nlater than yesterday he paid three guineas to our beadle to spare an", "wife and I led the van, and left those gloomy mansions of sorrow.\nThe generous Baronet ordered forty pounds to be distributed among the", "poorest parishioners. These, with dreadful imprecations, soon seized\nupon the two officers of justice, and swearing they would never see", "articles himself. Miss Wilmot therefore perceiving that her fortune was\nirretrievably lost, turning to my son, she asked if the loss of fortune", "we shall never more see such pleasing hours as were once spent by our\nfire-side at Wakefield. My little family are now dispersing very\nfast, and poverty has brought not only want, but infamy upon us.' The", "better than I. He was heir to a fortune of about two hundred thousand\npounds, left him by an uncle in the West Indies; and his guardians, to", "of his own. He could bear his being a rascal; but to want an equivalent\nto his daughter's fortune was wormwood. He sate therefore for some\nminutes employed in the most mortifying speculations, till Sir William", "lumber room, there to perish in obscurity. I had still, however, half\na guinea left, and of that I thought fortune herself should not deprive", "we should both reward him for it. Miss Sophia will, I am sure, make\nhim very happy, and he shall have from me five hundred pounds as\nher fortune, and upon this I am sure they can live very comfortably", "honest man went forward without suspicion, and grew rich, while I still\ncontinued tricksy and cunning, and was poor, without the consolation of\nbeing honest.", "thousand pounds we had but four hundred remaining. My chief attention\ntherefore was now to bring down the pride of my family to their\ncircumstances; for I well knew that aspiring beggary is wretchedness", "However, as I weakened, my antagonist gained strength, till at last it\nwas resolved to part with him.", "THE VICAR OF WAKEFIELD\n\nA TALE\n\nSupposed to be written by Himself\n\nBy Oliver Goldsmith", "leaving them my blessing, proceeded forward without meeting any farther\ninterruption. Some hours before night we reached the town, or rather\nvillage; for it consisted but of a few mean houses, having lost all its", "Miss Wrinklers should marry great fortunes, and her children get none.\nAs this last argument was directed to me, I protested I could see no\nreason for it neither, nor why Mr Simpkins got the ten thousand pound", "pounds five shillings and two-pence is no bad day's work. Come, let us\nhave it then.'--'I have brought back no money,' cried Moses again. 'I" ], [ "as much of Dr Primrose's company as possible. The old gentleman, hearing\nmy name mentioned, seemed to look at me with attention, for some time,", "Primrose for their guest.' Upon hearing my name, the old gentleman\nand lady very politely stept up, and welcomed me with most cordial\nhospitality. Nor could they forbear smiling upon being informed of the", "the very children in the parish will hoot after us.'--'Indeed,' replied\nmy wife, 'I always imagined that my Charles was fond of seeing his", "'Want money!' replied the host, 'that must be impossible; for it was no\nlater than yesterday he paid three guineas to our beadle to spare an", "During this interval, my thoughts were employed on some future means of\nsupporting them; and at last a small Cure of fifteen pounds a year was\noffered me in a distant neighbourhood, where I could still enjoy my", "we should both reward him for it. Miss Sophia will, I am sure, make\nhim very happy, and he shall have from me five hundred pounds as\nher fortune, and upon this I am sure they can live very comfortably", "'O goodness,' cried the lovely girl, 'how have I been deceived! Mr\nThornhill informed me for certain that this gentleman's eldest son,\nCaptain Primrose, was gone off to America with his new married lady.'", "thirty pounds a year is a small stipend for a well-bred girl of\ncharacter, that can read, write, and behave in company; as for the chits", "daughter of a neighbouring clergyman, who was a dignitary in the church,\nand in circumstances to give her a large fortune: but fortune was her\nsmallest accomplishment. Miss Arabella Wilmot was allowed by all,", "better than I. He was heir to a fortune of about two hundred thousand\npounds, left him by an uncle in the West Indies; and his guardians, to", "pounds five shillings and two-pence is no bad day's work. Come, let us\nhave it then.'--'I have brought back no money,' cried Moses again. 'I", "direction. The profits of my living, which amounted to but thirty-five\npounds a year, I made over to the orphans and widows of the clergy of", "sure you are, adds to that happiness in my breast which your benevolence\nhas already excited. You behold before you, Sir, that Doctor Primrose,", "many instances of his friendship to doubt of it now. Even in bed my\nwife kept up the usual theme: 'Well, faith, my dear Charles, between", "GUTENBERG EBOOK THE VICAR OF WAKEFIELD ***\n\n\n\n\nProduced by Charles J. Griep", "prisoners, and Mr Wilmot, induced by his example, gave half that sum. We\nwere received below by the shouts of the villagers, and I saw and shook", "by the chaplain, as he said the church was the only mistress of his\naffections.--'Come tell us honestly, Frank,' said the 'Squire, with his", "two shillings! You fools, I could have promised you a Prince and a Nabob\nfor half the money.' This curiosity of theirs, however, was attended\nwith very serious effects: we now began to think ourselves designed", "made secretary. I knew in my own heart that the fellow lied, and yet\nhis promise gave me pleasure, there was something so magnificent in the\nsound. I fairly, therefore, divided my half guinea, one half of which", "shall have whenever he thinks proper to demand them.) We were no sooner\nreturned to the inn, but numbers of my parishioners, hearing of my\nsuccess, came to congratulate me, but among the rest were those who rose" ], [ "'Want money!' replied the host, 'that must be impossible; for it was no\nlater than yesterday he paid three guineas to our beadle to spare an", "During this interval, my thoughts were employed on some future means of\nsupporting them; and at last a small Cure of fifteen pounds a year was\noffered me in a distant neighbourhood, where I could still enjoy my", "qualify him for the management of it, had bound him apprentice to an\nattorney. Thus avarice was his prevailing passion: all his questions on\nthe road were how money might be saved, which was the least expensive", "shall have whenever he thinks proper to demand them.) We were no sooner\nreturned to the inn, but numbers of my parishioners, hearing of my\nsuccess, came to congratulate me, but among the rest were those who rose", "fee. If they let me have that, I smite them once more for engraving\ntheir coat of arms at the top. Thus, continued he, I live by vanity, and", "Among the rest, he commissioned me to procure him a false licence and\na false priest, in order to deceive this young lady. But as I was very", "made secretary. I knew in my own heart that the fellow lied, and yet\nhis promise gave me pleasure, there was something so magnificent in the\nsound. I fairly, therefore, divided my half guinea, one half of which", "pounds five shillings and two-pence is no bad day's work. Come, let us\nhave it then.'--'I have brought back no money,' cried Moses again. 'I", "direction. The profits of my living, which amounted to but thirty-five\npounds a year, I made over to the orphans and widows of the clergy of", "THE VICAR OF WAKEFIELD\n\nA TALE\n\nSupposed to be written by Himself\n\nBy Oliver Goldsmith", "'I used often to laugh at your honest simple neighbour Flamborough,\nand one way or another generally cheated him once a year. Yet still the", "He went on to observe, that he made it his whole study to betray the\ndaughters of such as received him to their houses, and after a fortnight\nor three weeks possession, turned them out unrewarded and abandoned to", "by the chaplain, as he said the church was the only mistress of his\naffections.--'Come tell us honestly, Frank,' said the 'Squire, with his", "permits his nephew to enjoy the rest, and chiefly resides in town.'\n'What!' cried I, 'is my young landlord then the nephew of a man whose", "observed that no virtue was able to resist his arts and assiduity, and\nthat scarce a farmer's daughter within ten miles round but what had\nfound him successful and faithless. Though this account gave me some", "to his returning by land, he was therefore unable to withstand the\ntemptation; so paying me the small part of my salary that was due, he\ntook leave, and embarked with only one attendant for London.", "reward. I also set a resolution of keeping no curate, and of being\nacquainted with every man in the parish, exhorting the married men to", "While our thoughts were thus employed, the hostess entered the room to\ninform her husband, that the strange gentleman, who had been two days in\nthe house, wanted money, and could not satisfy them for his reckoning.", "poorest parishioners. These, with dreadful imprecations, soon seized\nupon the two officers of justice, and swearing they would never see", "with his usual importance.--'Very well,' cried the 'Squire, speaking\nvery quick, 'the premises being thus settled, I proceed to observe," ], [ "here prevented me; for who should make her appearance but Miss Arabella\nWilmot, who was next day to have been married to Mr Thornhill. Nothing", "whom should I next see enter the room but my dear miss Arabella Wilmot,\nwho was formerly designed to be married to my son George; but whose", "felt was slight to what the lovers appeared to endure. Mr Wilmot, who\nseemed before sufficiently inclined to break off the match, was by\nthis blow soon determined: one virtue he had in perfection, which was", "daughter of a neighbouring clergyman, who was a dignitary in the church,\nand in circumstances to give her a large fortune: but fortune was her\nsmallest accomplishment. Miss Arabella Wilmot was allowed by all,", "that Mr Thornhill was going to be married to Miss Wilmot, for whom I\nalways suspected he had a real passion, tho' he took every opportunity\nbefore me to express his contempt both of her person and fortune. This", "As Mr Burchell had hinted to us the day before, that he was making some\nproposals of marriage, to Miss Wilmot, my son George's former mistress,", "'My sweetest miss,' cried my wife, 'he has told you nothing but\nfalsehoods. My son George never left the kingdom, nor was married. Tho'", "'My child, you must not die: I am sure no offence of thine can deserve\nso vile a punishment. My George could never be guilty of any crime to\nmake his ancestors ashamed of him.'", "match. But finding that her fortune, which was secured to Mr Thornhill\nby bond, would not be given up, nothing could exceed his disappointment.\nHe now saw that his money must all go to enrich one who had no fortune", "'Mr Thornhill,' replied I, 'hear me once for all: as to your marriage\nwith any but my daughter, that I never will consent to; and though your", "but one method alone to prevent his losing you forever.'--This proposal,\nwhich she could not avoid considering as perfectly just, was readily\nagreed to. She again renewed her most positive promise of marrying", "difficulty, he said, to get a sight of his landlord, as the servants\nwere insolent and suspicious; but he accidentally saw him as he was\ngoing out upon business, preparing for his marriage, which was to be in", "her daughters' eyes, that working after dinner would redden their noses,\nand she convinced me that the hands never looked so white as when they\ndid nothing. Instead therefore of finishing George's shirts, we now had", "already.'--'You lie, like a rascal,' returned the 'Squire, who\nseemed rouzed by this insult, 'I never was legally married to any", "match was broken off, as already related. As soon as she saw me, she\nflew to my arms with the utmost joy. 'My dear sir,' cried she, 'to what", "'What did you say, George?' interrupted I. 'Thornhill, was not that his\nname? It can certainly be no other than my landlord.'--'Bless me,' cried", "to be married, and I think we had as good go back again; for I suppose\nthere will be no business done here to-day.'--This at once reduced them", "'O goodness,' cried the lovely girl, 'how have I been deceived! Mr\nThornhill informed me for certain that this gentleman's eldest son,\nCaptain Primrose, was gone off to America with his new married lady.'", "submitting to the 'Squire, and consenting to his marriage with the other\nyoung lady. But these you had vowed never to grant while your daughter\nwas living, there was therefore no other method to bring things to bear", "marriage, which was privately performed by a popish priest, was no way\nbinding, and that I had nothing to trust to but his honour.' 'What,'" ], [ "morning. He knew, however, the whole neighbourhood to which I was\nremoving, particularly 'Squire Thornhill, who was to be my landlord, and", "the very children in the parish will hoot after us.'--'Indeed,' replied\nmy wife, 'I always imagined that my Charles was fond of seeing his", "poorest parishioners. These, with dreadful imprecations, soon seized\nupon the two officers of justice, and swearing they would never see", "before; on one side a meadow, on the other a green. My farm consisted of\nabout twenty acres of excellent land, having given an hundred pound", "know the church is two miles off, and I protest I don't like to see my\ndaughters trudging up to their pew all blowzed and red with walking,", "The place of our retreat was in a little neighbourhood, consisting\nof farmers, who tilled their own grounds, and were equal strangers to", "During this interval, my thoughts were employed on some future means of\nsupporting them; and at last a small Cure of fifteen pounds a year was\noffered me in a distant neighbourhood, where I could still enjoy my", "shall have whenever he thinks proper to demand them.) We were no sooner\nreturned to the inn, but numbers of my parishioners, hearing of my\nsuccess, came to congratulate me, but among the rest were those who rose", "permits his nephew to enjoy the rest, and chiefly resides in town.'\n'What!' cried I, 'is my young landlord then the nephew of a man whose", "leaving them my blessing, proceeded forward without meeting any farther\ninterruption. Some hours before night we reached the town, or rather\nvillage; for it consisted but of a few mean houses, having lost all its", "of our family contaminated, and I must look out for happiness in other\nworlds than here. But my child, you saw them go off: perhaps he forced", "we shall never more see such pleasing hours as were once spent by our\nfire-side at Wakefield. My little family are now dispersing very\nfast, and poverty has brought not only want, but infamy upon us.' The", "difficulty, he said, to get a sight of his landlord, as the servants\nwere insolent and suspicious; but he accidentally saw him as he was\ngoing out upon business, preparing for his marriage, which was to be in", "as conveniently could be found. He obeyed; but could only find one\napartment, which was hired at a small expence, for his mother and", "hours of tranquility, was not without a tear, which scarce fortitude\nitself could suppress. Besides, a journey of seventy miles to a family\nthat had hitherto never been above ten from home, filled us with", "young landlord, whose character for such intrigues was but too well\nknown. I therefore directed my steps towards Thornhill-castle, resolving", "landlord, whose visits now became more frequent and longer. Though he\nhad been disappointed in procuring my daughters the amusements of the\ntown, as he designed, he took every opportunity of supplying them with", "over-wrought resentment. A supply of provisions, charitably sent us by\nmy kind parishioners, seemed to diffuse new cheerfulness amongst the\nrest of the family, nor was I displeased at seeing them once more", "Mr Burchell had scarce taken leave, and Sophia consented to dance with\nthe chaplain, when my little ones came running out to tell us that the", "We were now got from my late dwelling about two miles, when we saw a\ncrowd running and shouting behind us, consisting of about fifty of my" ], [ "permit my attempting her rescue: she must have certainly perished had\nnot my companion, perceiving her danger, instantly plunged in to her\nrelief, and with some difficulty, brought her in safety to the opposite", "with apprehension; but Sophia, who a few moments before thought him\nher own, now perceiving the immense distance to which he was removed by\nfortune, was unable to conceal her tears.", "startled my daughters; and I could perceive that Sophia in the fright\nhad thrown herself into Mr Burchell's arms for protection. The gentleman", "together. Come, Miss Sophia, what say you to this match of my making?\nWill you have him?'--My poor girl seemed almost sinking into her", "sister Sophy has already obliged us. Do child, it will please your old\nfather.' She complied in a manner so exquisitely pathetic as moved me.", "in her hand. Sophia was to be a shepherdess, with as many sheep as the\npainter could put in for nothing; and Moses was to be drest out with an", "Grissel should be her name; but a rich relation taking a fancy to stand\ngodmother, the girl was, by her directions, called Sophia; so that we", "creature for one night, and death will soon do the rest.' I instantly\nknew the voice of my poor ruined child Olivia. I flew to her rescue,", "to save him, plunged in after; but, far from being able to assist the\ninfant, she herself with great difficulty escaped to the opposite shore,\njust when some French soldiers were plundering the country on that side,", "whom she had encounter'd so much danger. He acknowledged her at once as\nhis mother, and fell at her feet. The rest may be easily supposed: the", "'How madam,' cried my fellow prisoner, 'Miss Sophia carried off by\nvillains, sure it cannot be?'", "her, and after a short time she recovered. She appeared from that time\nmore calm, and I imagined had gained a new degree of resolution;\nbut appearances deceived me; for her tranquility was the langour of", "Sophia to secure one. Olivia was often affected from too great a desire\nto please. Sophia even represt excellence from her fears to offend. The", "of her husband and deliverer, deploring her wretched situation, and the\ncruelty of fate, that had saved her from perishing by a premature death", "While this ballad was reading, Sophia seemed to mix an air of tenderness\nwith her approbation. But our tranquillity was soon disturbed by", "beauty, and pity at her distress; but with still stronger emotions when\nhe heard her mention her former dangers. He was her son, the infant for", "when I shall be no more.' 'We have indeed lost,' returned she, 'a\ndarling child. My Sophia, my dearest, is gone, snatched from us, carried\noff by ruffians!'", "Mr Burchell had scarce taken leave, and Sophia consented to dance with\nthe chaplain, when my little ones came running out to tell us that the", "be broke open. I was against it; but Sophia, who said she was sure\nthat of all men he would be the last to be guilty of so much baseness,", "we should both reward him for it. Miss Sophia will, I am sure, make\nhim very happy, and he shall have from me five hundred pounds as\nher fortune, and upon this I am sure they can live very comfortably" ], [ "that Mr Thornhill was going to be married to Miss Wilmot, for whom I\nalways suspected he had a real passion, tho' he took every opportunity\nbefore me to express his contempt both of her person and fortune. This", "then he was to run off, by which Mr Thornhill would have the better\nopportunity of gaining her affections himself under the character of her\ndefender.'", "'O goodness,' cried the lovely girl, 'how have I been deceived! Mr\nThornhill informed me for certain that this gentleman's eldest son,\nCaptain Primrose, was gone off to America with his new married lady.'", "'Mr Thornhill,' replied I, 'hear me once for all: as to your marriage\nwith any but my daughter, that I never will consent to; and though your", "Among the rest, he commissioned me to procure him a false licence and\na false priest, in order to deceive this young lady. But as I was very", "sincere. It required but very little encouragement to revive his former\npassion; so that in an evening or two he and Mr Thornhill met at our", "sake.' She then proceeded to expatiate upon the sincerity of her son's\npassion, she set his duel with Mr Thornhill in a proper light, from", "submitting to the 'Squire, and consenting to his marriage with the other\nyoung lady. But these you had vowed never to grant while your daughter\nwas living, there was therefore no other method to bring things to bear", "and terrify her; but Mr Thornhill was to come in in the mean time, as if\nby accident, to her rescue, and that they should fight awhile and", "match. But finding that her fortune, which was secured to Mr Thornhill\nby bond, would not be given up, nothing could exceed his disappointment.\nHe now saw that his money must all go to enrich one who had no fortune", "but by persuading you that she was dead. I prevailed on your wife to\njoin in the deceit, and we have not had a fit opportunity of undeceiving\nyou till now.'", "Mr Williams, in case of the other's insensibility; and at the next\nopportunity, in Mr Thornhill's presence, that day month was fixed upon\nfor her nuptials with his rival.", "too much cunning to give me entire satisfaction. It was this: as our\nprincipal object was to discover the honour of Mr Thornhill's addresses,", "already.'--'You lie, like a rascal,' returned the 'Squire, who\nseemed rouzed by this insult, 'I never was legally married to any", "Mr Thornhill who first put him upon this affair, that he gave him the\ncloaths he now wears to appear like a gentleman, and furnished him with", "Mr Thornhill, able to give her good bread; and who has several times\nmade her proposals: (which was actually the case) but, Sir,' concluded", "morning. He knew, however, the whole neighbourhood to which I was\nremoving, particularly 'Squire Thornhill, who was to be my landlord, and", "leave, as Mr Thornhill and Miss Wilmot were visiting round the country.\nThey were to be married, he said, in a few days, having appeared", "presumption out of countenance. Upon which he let us know that his name\nwas Thornhill, and that he was owner of the estate that lay for some", "sent to the two ladies at Thornhill-castle.' It instantly occurred that\nhe was the base informer, and we deliberated whether the note should not" ], [ "Just as he spoke they came in, and approaching the bed where I lay,\nafter previously informing me of their employment and business, made me\ntheir prisoner, bidding me prepare to go with them to the county gaol,\nwhich was eleven miles off.", "poorest parishioners. These, with dreadful imprecations, soon seized\nupon the two officers of justice, and swearing they would never see", "usual cheerfulness. After seeing them properly accommodated for that\nnight, I next attended the sheriff's officers to the prison, which had\nformerly been built for the purposes of war, and consisted of one large", "'Has he so?' cried I, 'then we must hang the priest, and you shall\ninform against him to-morrow.'--'But Sir,' returned she, 'will that be", "Thus saying, I left them, and descended to the common prison, where I\nfound the prisoners very merry, expecting my arrival; and each prepared", "Having thus instructed him, and settled the rest, I walked down to the\ncommon prison, where I could enjoy more air and room. But I was not long", "visited prisons upon occasions less interesting. I am now come to see\njustice done a worthy man, for whom I have the most sincere esteem. I", "prisoners, and Mr Wilmot, induced by his example, gave half that sum. We\nwere received below by the shouts of the villagers, and I saw and shook", "but he brought the priest that pretended to marry them.'--'It is but\ntoo true,' cried Jenkinson, 'I cannot deny it, that was the employment\nassigned me, and I confess it to my confusion.'", "we will not forget you. Our prisoner, please your honour,' continued\nhe, turning to Sir William, 'has already confessed all. This is the\ngentleman reported to be so dangerously wounded: He declares that it was", "Among the rest, he commissioned me to procure him a false licence and\na false priest, in order to deceive this young lady. But as I was very", "upon these occasions, and immediately complied with the demand, though\nthe little money I had was very near being all exhausted. This was\nimmediately sent away for liquor, and the whole prison soon was filled", "The moment Mr Thornhill perceived the prisoner, and Jenkinson, who had\nhim in custody, he seemed to shrink back with terror. His face became", "'Madam,' replied the good man, 'your wishes for his safety are not\ngreater than mine; but I am sorry to find his guilt too plain; and if my", "innocence of her sister, has thrown the father into prison, and the\neldest son into fetters, because he had courage to face his betrayer.", "described, by this means they avoided the common prison. Jenkinson at\nthe first interview therefore seemed not a little struck with the beauty\nof my youngest daughter, which her pensive air contributed to heighten,", "'Want money!' replied the host, 'that must be impossible; for it was no\nlater than yesterday he paid three guineas to our beadle to spare an", "'My friends,' said I, 'this is severe weather on which you have come to\ntake me to a prison; and it is particularly unfortunate at this time,", "When I had thus finished and my audience was retired, the gaoler, who\nwas one of the most humane of his profession, hoped I would not be", "their minister go to gaol while they had a drop of blood to shed in his\ndefence, were going to use them with great severity. The consequence" ], [ "CHAPTER 13\n\n Mr Burchell is found to be an enemy; for he has the\n confidence to give disagreeable advice", "'My dear papa,' returned my daughter, 'you labour under a strange\nmistake, Mr Burchell never attempted to deceive me. Instead of that he", "who had their own secret reasons for what they advised; but, for\nher part, she wished such to stay away from her house for the\nfuture.--'Madam,' cried Burchell, with looks of great composure, which", "'Ah, Mr Burchell,' cried I, 'this is but a wretched habitation you now\nfind us in; and we are now very different from what you last saw us. You", "13. Mr Burchell is found to be an enemy; for he has the\n confidence to give disagreeable advice\n\n 14. Fresh mortifications, or a demonstration that seeming\n calamities may be real blessings", "Mr Burchell, who was of the party, was always fond of seeing some\ninnocent amusement going forward, and set the boys and girls to blind", "a stranger to it. I now therefore condemned my former suspicions, and\ncould turn them only on Mr Burchell, who I recollected had of late\nseveral private conferences with her: but the appearance of another", "'Villain indeed,' cried I; 'and yet it in some measure surprizes me, how\na person of Mr Burchell's good sense and seeming honour could be guilty", "Thornhill, to whose virtues and singularities scarce any were strangers.\nThe poor Mr Burchell was in reality a man of large fortune and great\ninterest, to whom senates listened with applause, and whom party heard", "his kindness at her own house. Thus, after we were refreshed at the next\ninn, and had dined together, as Mr Burchell was going to a different", "dangerous. He continued to complain of the pain as we drove along, so\nthat he at last excited Mr Burchell's compassion, who, at my request,", "our other little boy came running in to tell us that Mr Burchell was\napproaching at the other end of the field. It is easier to conceive than\ndescribe the complicated sensations which are felt from the pain of", "you may remember would have certainly succeeded, but for Mr Burchell's\nletter, who directed those reproaches at them, which we all applied\nto ourselves. How he came to have so much influence as to defeat their", "lost child to virtue! I thought I perceived Mr Burchell at some distance\nfrom me; but, as if he dreaded an interview, upon my approaching him,", "'But I suppose, Sir,' cried Mr Burchell, 'that you are apprized of my\ncircumstances, and of my incapacity to support her as she deserves?'", "Burchell, and that they drove very fast. This information, however, did\nby no means satisfy me. I therefore went to the young 'Squire's, and", "his sword, and ordered him at his peril to retire; but Mr Burchell\nrunning up, shivered his sword to pieces, and then pursued him for near", "could never overtake us, when in less than a minute I saw Mr Burchell\ncome running up by the side of the horses, and with one blow knock the", "the task for the day, and it is fit he should share in its amusements.'\nMr Burchell returned her a compliment for her intentions; but resigned", "if my son's name were George, to which replying in the affirmative,\nhe still continued silent. As soon as my boy entered the room, I\ncould perceive he regarded Mr Burchell with a look of astonishment and" ], [ "daughter of a neighbouring clergyman, who was a dignitary in the church,\nand in circumstances to give her a large fortune: but fortune was her\nsmallest accomplishment. Miss Arabella Wilmot was allowed by all,", "Arabella herself, whom I hope you will not refuse.'", "here prevented me; for who should make her appearance but Miss Arabella\nWilmot, who was next day to have been married to Mr Thornhill. Nothing", "now I protest, my Arabella, by all that's happy, your want of fortune\nthis moment encreases my pleasure, as it serves to convince my sweet\ngirl of my sincerity.'", "whom should I next see enter the room but my dear miss Arabella Wilmot,\nwho was formerly designed to be married to my son George; but whose", "vows of constancy, you shall now have them repeated; and be assured that\nif your Arabella cannot be yours, she shall never be another's.'--'And", "but one method alone to prevent his losing you forever.'--This proposal,\nwhich she could not avoid considering as perfectly just, was readily\nagreed to. She again renewed her most positive promise of marrying", "we should both reward him for it. Miss Sophia will, I am sure, make\nhim very happy, and he shall have from me five hundred pounds as\nher fortune, and upon this I am sure they can live very comfortably", "'Mr Thornhill,' replied I, 'hear me once for all: as to your marriage\nwith any but my daughter, that I never will consent to; and though your", "together. Come, Miss Sophia, what say you to this match of my making?\nWill you have him?'--My poor girl seemed almost sinking into her", "an husband. But now, that you have put it into my head, seriously Mr\nThornhill, can't you recommend me a proper husband for her? She is now", "match. But finding that her fortune, which was secured to Mr Thornhill\nby bond, would not be given up, nothing could exceed his disappointment.\nHe now saw that his money must all go to enrich one who had no fortune", "'Why, my dear,' says the Lady, 'you know my reader and companion has\nleft me, to be married to Captain Roach, and as my poor eyes won't", "one. They were all very joyful for this victory, and the damsel who\nwas relieved fell in love with the Giant, and married him. They now", "that Mr Thornhill was going to be married to Miss Wilmot, for whom I\nalways suspected he had a real passion, tho' he took every opportunity\nbefore me to express his contempt both of her person and fortune. This", "that she would marry the person provided to rival him upon this\noccasion, if he did not prevent it, by taking her himself. Such was\nthe scheme laid, which though I did not strenuously oppose, I did not", "'Sir William,' replied the old gentleman, 'be assured I never yet forced\nher inclinations, nor will I now. If she still continues to love this", "Miss Wilmot and her father; my wife too kissed her daughter with much\naffection, as, to use her own expression, she was now made an honest\nwoman of. Sophia and Moses followed in turn, and even our benefactor", "myself.' And so saying, he caught her to his breast with ardour. 'My\nloveliest, my most sensible of girls,' cried he, 'how could you ever", "which you were married together.'--So saying, he put the licence into\nthe Baronet's hands, who read it, and found it perfect in every respect." ], [ "the roof sunk in. 'Now,' cried I, holding up my children, 'now let the\nflames burn on, and all my possessions perish. Here they are, I have", "who had their own secret reasons for what they advised; but, for\nher part, she wished such to stay away from her house for the\nfuture.--'Madam,' cried Burchell, with looks of great composure, which", "new terror; for the flames had, by this time, caught the roof of our\ndwelling, part after part continuing to fall in, while the family stood,", "we shall never more see such pleasing hours as were once spent by our\nfire-side at Wakefield. My little family are now dispersing very\nfast, and poverty has brought not only want, but infamy upon us.' The", "us, spectators of the calamity. My goods, among which were the notes I\nhad reserved for my daughters' fortunes, were entirely consumed, except", "I now stood a calm spectator of the flames, and after some time, began\nto perceive that my arm to the shoulder was scorched in a terrible", "little ones; but they were not to be seen. O misery! 'Where,' cried I,\n'where are my little ones?'--'They are burnt to death in the flames,'", "We were now got from my late dwelling about two miles, when we saw a\ncrowd running and shouting behind us, consisting of about fifty of my", "of our family contaminated, and I must look out for happiness in other\nworlds than here. But my child, you saw them go off: perhaps he forced", "Far in a wilderness obscure The lonely mansion lay; A refuge to the\nneighbouring poor, And strangers led astray.", "amazement, I saw the house bursting out in a blaze of fire, and every\napperture red with conflagration! I gave a loud convulsive outcry, and", "my wretched body thus disabled by fire, and my children weeping round\nme for bread; you have come home, my child, to all this, yet here,", "'Ah, Mr Burchell,' cried I, 'this is but a wretched habitation you now\nfind us in; and we are now very different from what you last saw us. You", "his kindness at her own house. Thus, after we were refreshed at the next\ninn, and had dined together, as Mr Burchell was going to a different", "fell upon the pavement insensible. This alarmed my son, who had till\nthis been asleep, and he perceiving the flames, instantly waked my wife", "clearing it away, and opening a passage before the door. He had not been\nthus engaged long, when he came running in, with looks all pale, to", "And now when busy crowds retire To take their evening rest, The hermit\ntrimm'd his little fire, And cheer'd his pensive guest:", "There was in fact nothing that could make us angry with the world or\neach other. We had an elegant house, situated in a fine country, and a\ngood neighbourhood. The year was spent in moral or rural amusements; in", "our other little boy came running in to tell us that Mr Burchell was\napproaching at the other end of the field. It is easier to conceive than\ndescribe the complicated sensations which are felt from the pain of", "While our thoughts were thus employed, the hostess entered the room to\ninform her husband, that the strange gentleman, who had been two days in\nthe house, wanted money, and could not satisfy them for his reckoning." ] ]

[ "How many children does Dr. Primrose have?", "Why is Dr. Primrose sent to prison?", "What comes of Dr. Primrose 34 pound yearly salary as a vicar?", "How did Dr. Primrose acquire his wealth from the beginning of the story?", "Where was George educated?", "What happens to Dr. Primrose's wealth?", "Why was George Primrose imprisoned?", "How does Olivia end up married to Squire Thornbill?", "How did the vicar become wealthy?", "How is Sir William Thornhill different from his evil nephew, Squire Thornhill?", "Why did the vicar lose all of his money?", "Which one of the vicar's family member's was falsely reported dead?", "Why did George challenge Thornhill to a duel?", "Why is the vicar sent to prison?", "How did Olivia and her father find their home when they returned?", "Why was George sent to prison and covered in blood?", "How many weddings are there in the end of the story?", "What happens with the wealth of the vicar in the end?", "How much does the Charles Primrose make as a Vicar?", "What does the Vicar do with his salary?", "Why is George's wedding to Arabella called off?", "On whose land is the new Parish the family move to?", "Who rescues Sophia from drowning?", "Who did Squire Thornhill plan to deceive with a fake marriage?", "Why is the Vicar taken to prison?", "What is Mr. Burchell's real identity?", "Who does Arabella marry?", "Whose house burns down?" ]

[ [ "Six", "Six" ], [ "Because of debts owed to Squire Thornbill after everything is lost in a fire.", "he cannot pay rent" ], [ "It is donated to orphans and war veterans.", "He gives it away to orphans and war veterans." ], [ "It was inherited and invested", "Investing an inheritance" ], [ "Oxford", "Oxford" ], [ "The merchant he invests with declares Bankruptcy and flees town", "He loses it through his merchant investor's bankruptcy and skipping town" ], [ "For dueling with Squire Thornbill", "He challenged Squire Thornhill to a duel" ], [ "His intended sham marriage turns out to be real due to being tricked by a servant. ", "they marry in a mock ceremony which turns out to be real." ], [ "He inherited money from a deceased family member.", "investing an inheritance" ], [ "Sir William Thornhill is generous.", "known for his worthiness and generosity" ], [ "His bankrupt merchant investor left town.", "His merchant investor went bankrupt and left town" ], [ "His daughter Olivia.", "Olivia" ], [ "He found out that Thornhill was evil.", "He'd heard about all the evil Thornhill had inflicted on his family." ], [ "He could not pay rent.", "he cannot pay rent" ], [ "They found it in flames.", "in flames" ], [ "He challenged Thornhill to a duel.", "He dueled with Thornhill" ], [ "There were two weddings.", "two" ], [ "It is restored.", "It is restored" ], [ "34 pounds a year.", "34 pounds annually" ], [ "He donates it to orphans and war veterans.", "donates it to local orphans and war veterans" ], [ "The Vicar looses all his money.", "The Vicar's bankruptcy" ], [ "Squire Thornhill.", "Squire Thornhill" ], [ "Mr. Burchell.", "Mr. Burchell" ], [ "Olivia.", "Olivia" ], [ "He can't pay his rent.", "He couldn't pay the rent." ], [ "Sir William Thornhill.", "Sir William Thornhill" ], [ "George.", "George" ], [ "The Vicar's.", "the Primrose family's home" ] ]

[ [ "KIM\n But, Mr. Weller, tonight's the\n prom...\n\n WELLER\n\n (DISDAINFULLY)\n Tell that to your...", "Jude's prom date. Kim holds up the note, raising her\n eyebrows as she gestures toward Slick. Jude nods. Kim\n and Vicki can barely contain their laughter. They do", "Hammond moves through the empty hallway, stopping at\n a door which reads: PRINCIPAL: RAYMOND HAMMOND. He", "(CONTINUING)\n The Queen of the Prom is determined\n not to let it get to her... She\n must maintain her... whatever, at all", "WENDY\n You wish! Nick is King of the\n Prom, you happen to be Queen of\n the Prom... that's all there is to\n it, Hammond... As far as anything\n else... Nick is mine...", "(DRYLY)\n That's much better.\n The car pulls into the Winston High School parking lot.\n They pile out.", "Several students are putting last-minute touches on the\n decor as Kim comes in. Huge speakers are being hoisted\n on pulleys to hang from the ceiling. A vast, raised", "A hand is flipping through the pages of the Winston\n High yearbook, the back pages where the individual\n photographs of graduating students are placed. The", "HA,E,10ND\n\n (CONTINUING; MUSING)\n This would have been her first prom.\n\n FAIRCHILD\n Pardon?", "SLICK\n You going to the prom tonight?\n Jude looks away, embarrassed.\n\n JUDE\n Sure, of course.\n\n SLICK", "(CONTINUING)\n I just hope there's no trouble\n at the prom tonight...\n Kim bursts into the kitchen, interrupting her father\n with a kiss on the head.\n\n KIM", "and moves to the closet. She carefully pulls out her\n prom dress, a mid-length, off-the-shoulder gown in a\n white, clinging material. Holding it up against her", "(EXPLODES)\n I'm going to the prom!\n Kim. and Vicki excitedly hug Jude. A big, bushy-haired", "(SMILING)\n And how is the next queen of the\n Winston High Junior-Senior Prom?", "MCBRIDE\n Aren't you going with the Hammond\n girl? The principal's daughter?\n\n NICK\n\n (SMILES)\n Kim.", "23 CONTINUED: 23\n They climb the broad front steps of the high school.\n Hammond glances at his watch.\n\n HAMNIOND", "prom... I guess that's'why it seems\n so much worse this year...\n She stops, turns and faces Nick. It's hard for him to\n meet her gaze.", "HAKMOND\n Tonight's the Junior-Senior Prom\n at our high school. Robin would\n have been sixteen, She and Alex.", "(LAUGHS)\n Pin this on me, you creep,\n late.\n Alex takes the corsage. As he attaches the bright red", "the Winston High Yearbook. She looks at it, reaches up\n and pulls it off the door. She winces, looks at her\n finger. It's bleeding. She looks at the picture." ], [ "CONTINUED: (3)\n With a final glance down at Robin's mutiliated body,\n Wendy quickly ushers her shocked friends out of the", "(SOBBING WILDLY)\n Where is she? Where is Robin?\n Seeing the covered figure lying on a stretcher, Vivian", "sheet covering Robin's remains. Hammond steps up\n and gazes at his daughter's decapitated body. A\n look of absolute horror and revulsion freezes", "But as Wendy and her fellow \"killers\" close in on her,\n Robin continues down the ladder. Wendy rushes up and\n grabs the ladder.", "Terrified, Robin turns and rushes out of the room,\n bowling over Nick in the doorway. Delighted that the\n game is continuing with a new victim, he follows Wendy", "NICK\n I'm... I want you to know that...\n Robin's death... I remember it and\n I've always been... so sorry\n about it...\n Kim looks puzzled.", "This one shows her sister, Robin, taken a few days be-\n fore the accident. Her sadness passes as quickly as it\n came. Gathering her textbooks, she switches OFF the", "CONTINUED:\n Nick, Jude and Kelly appear in the doorway, chanting\n \"Kill, kill.\" Moving quickly, Robin grabs the ladder", "ALEX\n Why?\n Robin is staring at Nick. Alex looks, understands.\n He's angry.\n\n ALEX", "VIVIAN HANMOND, Robin's mother, appears pale and\n haggard as she steps out of the car. Kim and Alex\n slowly climb out of the back, With the Police Officer", "CONTINUED :\n He strides away. Robin's eyes remain on Nick and Kim.\n Nick says something to Kurt. She shakes her head and", "WENDY\n Killers, here!\n Wendy advances. Terrified, Robin begins to back away.\n\n ROBIN\n N-n-n-no!", "(CALLING OUT)\n Here, killers, here!\n Nick's head disappears from the opening and Robin hears\n the POUNDING of RUNNING FEET.\n\n WENDY", "VIVIA N\n Robin!\n She rushes forward, lunging for the body. Hammond\n grabs her, restraining her.", "(CONTINUING)\n Oh, damn!\n Robin looks up in surprise.\n\n KIM", "pains toward Robin. Robin quickly turns away as they\n look at her.. When she glances back, Ki_m is walking\n towards her and Nick is bicycling away.", "CONTINUED! (2)\n Robin watches her go, then moves off alone, breaking\n into a skip and playing imaginary hopscotch.", "As Nick turns his back, hiding his eyes against an ex-\n posed beam, the children scatter through the structure.\n Robin watches with mounting excitement as Nick finishes", "it so much... It's hard to get\n over something like that. Robin\n would have been a junior, like\n Alex. This would've been her first", "deafening. Robin hugs the wooden slats. Wendy shakes\n even harder. Robin screams. Nick moves around Wendy\n to get a better look. He accidentally bumps the glass" ], [ "KELLY\n I swear.\n Wendy turns to Nick. At first he appears defiant, ready\n to object, but he wilts under her withering gaze.\n\n NICK", "WENDY\n\n (CONTINUING)\n Everybody swear never to tell!\n Wendy glares at Jude.\n\n WENDY", "Horrified, Wendy watches the glass and the body crash\n to the concrete basement floor. Kelly screams. Jude\n sobs loudly. Nick can only stare in shock. Finally,", "WENDY\n I want to play 'Murder.' Who's\n the killer?\n\n NICK\n You, Wendy!\n\n JUDE", "CONTINUED:\n Nick, Jude and Kelly appear in the doorway, chanting\n \"Kill, kill.\" Moving quickly, Robin grabs the ladder", "NICK\n Wendy, for Christ sake, I never...\n\n (SEES KIM)\n Kim!\n\n KIM", "WENDY\n Are you crazy? They'll put us in\n jail!\n Confused, Nick cannot reply. The other girls grow\n silent.\n\n WENDY", "KELLY\n What about you and Nick?\n\n KIM\n What about us?\n Wendy finishes brushing her hair, shoots Kim.a dark\n look, exits.", "NICK\n\n (WHISPERING HOARSELY)\n We gotta get somebody quick!\n Nick starts to go. Wendy instantly whirls, grabs his\n arm.", "WENDY\n Thinking about Nick, maybe?\n\n KIM\n That's my business.", "WENDY\n You wish! Nick is King of the\n Prom, you happen to be Queen of\n the Prom... that's all there is to\n it, Hammond... As far as anything\n else... Nick is mine...", "Jude frantically tries to motion him away. Their backs\n to the door, Kim and Vicki watch with curiosity as Jude\n gestures in their direction. Seeing her friends", "out of Slick's van. Jude looks about as stoned as she\n can get. She spots Nick, waves.", "(CALLING OUT)\n Here, killers, here!\n Nick's head disappears from the opening and Robin hears\n the POUNDING of RUNNING FEET.\n\n WENDY", "KIM\n You really ought to tell him that.\n\n WENDY\n I'm telling you, okay? Stay away\n from Nick!", "shrugs, follows Wendy. A DOOR SLAMS in the locker\n room.\n Kim and Kelly look at each other, laugh, turn their", "(IGNORING WENDY)\n Hello, Nick.\n Seeing Kim, Wendy quickly reaches up and kisses Nick on\n the mouth.", "and moons him. There's a squeal of laughter from Jude\n and from Kelly. Vicki whips her shorts back up and\n runs to the gym door, the other girls in pursuit.", "her. Immediately Jude's VOICE TAKES UP the \"kill\"\n chant in unison with Nick.", "(CONTINUING)\n If we tell anyone, they'll say\n it's our fault. Who'd believe it\n was an accident?\n Nick starts to protest.\n\n WENDY" ], [ "HAIM BOND\n Seven years ago today Robin was\n killed.\n Fairchild looks up from filling his container with\n water.\n\n (CONTINUED)", "This one shows her sister, Robin, taken a few days be-\n fore the accident. Her sadness passes as quickly as it\n came. Gathering her textbooks, she switches OFF the", "it so much... It's hard to get\n over something like that. Robin\n would have been a junior, like\n Alex. This would've been her first", "looks much the same way as we remember him. Vivian,\n however, wears the strain of the past seven years\n in her gaunt, drawn features and high-strung manner.", "CONTINUED: (3)\n With a final glance down at Robin's mutiliated body,\n Wendy quickly ushers her shocked friends out of the", "(SOBBING WILDLY)\n Where is she? Where is Robin?\n Seeing the covered figure lying on a stretcher, Vivian", "There's a small marble headstone inset with the carved\n face of an angel and the inscription \"Robin Anne Hammond", "CONTINUED! (2)\n Robin watches her go, then moves off alone, breaking\n into a skip and playing imaginary hopscotch.", "Alex's dark eyes stare back unseeing at his family.\n His resemblance to his dead twin sister is uncanny.\n His hair falls onto his forehead in bangs, as Robin's", "NICK\n I'm... I want you to know that...\n Robin's death... I remember it and\n I've always been... so sorry\n about it...\n Kim looks puzzled.", "VIVIA N\n Robin!\n She rushes forward, lunging for the body. Hammond\n grabs her, restraining her.", "CHANTING quickly RESUMES and she breathes a long sigh\n of relief.\n Robin moves through a dark corridor, hugging the walls.", "out of the room. As they pass through the doorway into\n the corridor, a corner of the sheet slips off Robin's\n corpse. Before a Paramedic can replace it, the de-", "Terrified, Robin turns and rushes out of the room,\n bowling over Nick in the doorway. Delighted that the\n game is continuing with a new victim, he follows Wendy", "sheet covering Robin's remains. Hammond steps up\n and gazes at his daughter's decapitated body. A\n look of absolute horror and revulsion freezes", "HAMMOND, also eleven, Robin's older sister.", "As Nick turns his back, hiding his eyes against an ex-\n posed beam, the children scatter through the structure.\n Robin watches with mounting excitement as Nick finishes", "pains toward Robin. Robin quickly turns away as they\n look at her.. When she glances back, Ki_m is walking\n towards her and Nick is bicycling away.", "VIVIAN HANMOND, Robin's mother, appears pale and\n haggard as she steps out of the car. Kim and Alex\n slowly climb out of the back, With the Police Officer", "We SLOWLY DISSOLVE FROM Alex's face TO a photograph of\n the Hammond family taken seven years earlier. We MOVE\n IN CLOSE ON the twins. Alex and Robin are smiling." ], [ "Hammond leans against the wall outside Fairchild's of-\n fice. He glances at his watch. The door opens and\n Fairchild steps out, holding a container. Hammond", "Hammond crosses to a rear door, tries it. It's locked.\n He turns back. As he does so there's a sudden WHIRRING", "(CALLING OUT)\n Here, killers, here!\n Nick's head disappears from the opening and Robin hears\n the POUNDING of RUNNING FEET.\n\n WENDY", "not notice Mr. Weller eyeing them suspiciously as he\n rattles on about frog intestines. Slick mouths the", "The figure in the parked car watches as Hammond starts\n up the car, waits for Vivian to get in, backs out of\n the driveway, and moves off down the street.", "CONTINUED: (3)\n Hammond exits. Alex, now sixteen, a tall, slender", "Hammond is talking on the telephone. He appears agi-\n tated, running his fingers through his hair and tugging\n at the knot in his loosened tie.\n\n HAMMOND", "(CONTINUING)\n Ah... Mr. Sykes...\n Sykes waits as Hammond hurries across to him. The two\n men go out together.\n Alex walks out onto the stage, watches them go.", "But as Wendy and her fellow \"killers\" close in on her,\n Robin continues down the ladder. Wendy rushes up and\n grabs the ladder.", "The door opens and Adele Cooper's head peers around the\n corner. Seeing Hammond talking on the phone, she nods\n toward the outer office. Hammond gestures for her to", "As Nick turns his back, hiding his eyes against an ex-\n posed beam, the children scatter through the structure.\n Robin watches with mounting excitement as Nick finishes", "As the door slowly swings open, Hammond sees the outer\n office covered with pieces of paper; sheets are\n scattered across desks and chairs and over most of", "The figure climbs out of his car, gazes at the fading\n taillights of the Hammond car. The figure is Nick\n McBride.", "(CONTINUING)\n all right...\n He turns, climbs down the stage steps and starts back\n across the gym. At the other end of the floor a door\n opens, Sykes looks in. Hammond sees him.", "(SNEERS)\n Wonder who'll get off with just\n a warning?\n Several students laugh. The two Teachers march Lou and", "Hammond and Vivian cross the room. Though she offers\n no resistance, it appears he is pulling her along.\n They hurry into an elevator after an elderly CLEANING\n WOMAN carrying a mop and a bucket.", "Jude frantically tries to motion him away. Their backs\n to the door, Kim and Vicki watch with curiosity as Jude\n gestures in their direction. Seeing her friends", "TO VIVIAN)\n Why did you bring them here?\n Vivian collapses, burying her head in his shoulder\n and sobbing furiously, but Hammond pushes her out of\n the room.", "(glares at Sykes)\n Isn't that so, Mr. Sykes?\n Embarrassed, the custodian scuttles away to the girls'\n Laughter.", "Vivian suddenly breaks. away from the Police Officer and\n runs inside the building." ], [ "PROM NIGHT\n\n\n\n Written by\n\n William Gray", "Jude's prom date. Kim holds up the note, raising her\n eyebrows as she gestures toward Slick. Jude nods. Kim\n and Vicki can barely contain their laughter. They do", "KIM\n But, Mr. Weller, tonight's the\n prom...\n\n WELLER\n\n (DISDAINFULLY)\n Tell that to your...", "and moves to the closet. She carefully pulls out her\n prom dress, a mid-length, off-the-shoulder gown in a\n white, clinging material. Holding it up against her", "WENDY\n You wish! Nick is King of the\n Prom, you happen to be Queen of\n the Prom... that's all there is to\n it, Hammond... As far as anything\n else... Nick is mine...", "HA,E,10ND\n\n (CONTINUING; MUSING)\n This would have been her first prom.\n\n FAIRCHILD\n Pardon?", "prom... I guess that's'why it seems\n so much worse this year...\n She stops, turns and faces Nick. It's hard for him to\n meet her gaze.", "(EXPLODES)\n I'm going to the prom!\n Kim. and Vicki excitedly hug Jude. A big, bushy-haired", "(CONTINUING)\n The Queen of the Prom is determined\n not to let it get to her... She\n must maintain her... whatever, at all", "(LAUGHS)\n Pin this on me, you creep,\n late.\n Alex takes the corsage. As he attaches the bright red", "SLICK\n You going to the prom tonight?\n Jude looks away, embarrassed.\n\n JUDE\n Sure, of course.\n\n SLICK", "(CONTINUING)\n I just hope there's no trouble\n at the prom tonight...\n Kim bursts into the kitchen, interrupting her father\n with a kiss on the head.\n\n KIM", "HAKMOND\n Tonight's the Junior-Senior Prom\n at our high school. Robin would\n have been sixteen, She and Alex.", "Terrified, Robin turns and rushes out of the room,\n bowling over Nick in the doorway. Delighted that the\n game is continuing with a new victim, he follows Wendy", "Prom for 1980 -- Nick McBride and\n Kim Hammond!\n They meet backstage center and turn towards the parting", "Horrified, Wendy watches the glass and the body crash\n to the concrete basement floor. Kelly screams. Jude\n sobs loudly. Nick can only stare in shock. Finally,", "The girl's last scream catches in her throat as the\n glass slices through her neck. She is instantly\n decapitated.", "(CALLING OUT)\n Here, killers, here!\n Nick's head disappears from the opening and Robin hears\n the POUNDING of RUNNING FEET.\n\n WENDY", "Several students are putting last-minute touches on the\n decor as Kim comes in. Huge speakers are being hoisted\n on pulleys to hang from the ceiling. A vast, raised", "KIM\n\n (NODS)\n Worked real well.\n The BELL RINGS signalling first period class. Kim\n turns to Vicki and Jude." ], [ "Jude's prom date. Kim holds up the note, raising her\n eyebrows as she gestures toward Slick. Jude nods. Kim\n and Vicki can barely contain their laughter. They do", "(CALLING OUT)\n Here, killers, here!\n Nick's head disappears from the opening and Robin hears\n the POUNDING of RUNNING FEET.\n\n WENDY", "CONTINUED:\n Nick, Jude and Kelly appear in the doorway, chanting\n \"Kill, kill.\" Moving quickly, Robin grabs the ladder", "NICK\n The killer is coming for you!\n He moves into the building, chanting \"Kill, kill.,\" in a", "(CONTINUING; SLOWLY)\n Kill, kill, kill...\n Picking up the chant, Wendy begins to advance on Robin.", "Terrified, Robin turns and rushes out of the room,\n bowling over Nick in the doorway. Delighted that the\n game is continuing with a new victim, he follows Wendy", "(CONTINUING)\n The Queen of the Prom is determined\n not to let it get to her... She\n must maintain her... whatever, at all", "PROM NIGHT\n\n\n\n Written by\n\n William Gray", "WENDY\n You wish! Nick is King of the\n Prom, you happen to be Queen of\n the Prom... that's all there is to\n it, Hammond... As far as anything\n else... Nick is mine...", "and moves to the closet. She carefully pulls out her\n prom dress, a mid-length, off-the-shoulder gown in a\n white, clinging material. Holding it up against her", "HA,E,10ND\n\n (CONTINUING; MUSING)\n This would have been her first prom.\n\n FAIRCHILD\n Pardon?", "chant. As the three \"killers\" move through the vast\n structure searching for Wendy, \"KILL, KILT\" ECHOES off\n the walls and hardwood floors.", "prom... I guess that's'why it seems\n so much worse this year...\n She stops, turns and faces Nick. It's hard for him to\n meet her gaze.", "NICK (O.S.\n The killer strikes!\n\n (CONTINUED)", "(EXPLODES)\n I'm going to the prom!\n Kim. and Vicki excitedly hug Jude. A big, bushy-haired", "KIM\n But, Mr. Weller, tonight's the\n prom...\n\n WELLER\n\n (DISDAINFULLY)\n Tell that to your...", "(CONTINUING)\n I just hope there's no trouble\n at the prom tonight...\n Kim bursts into the kitchen, interrupting her father\n with a kiss on the head.\n\n KIM", "SLICK\n You going to the prom tonight?\n Jude looks away, embarrassed.\n\n JUDE\n Sure, of course.\n\n SLICK", "But as Wendy and her fellow \"killers\" close in on her,\n Robin continues down the ladder. Wendy rushes up and\n grabs the ladder.", "WENDY\n I want to play 'Murder.' Who's\n the killer?\n\n NICK\n You, Wendy!\n\n JUDE" ], [ "blood from his mouth, Lou grins maliciously and slugs\n Alex in the stomach. The boy groans and doubles over.\n Lou grabs Alex's hair and slams his head back against", "ALE \n er's face is revealed. It is the nine-year-old Alex.\n Kim cradles the killer on the ground. She turns his\n head toward the light. We SEE his face full-on.", "Alex's dark eyes stare back unseeing at his family.\n His resemblance to his dead twin sister is uncanny.\n His hair falls onto his forehead in bangs, as Robin's", "(CALLING OUT)\n Here, killers, here!\n Nick's head disappears from the opening and Robin hears\n the POUNDING of RUNNING FEET.\n\n WENDY", "CONTINUED: (3)\n Hammond exits. Alex, now sixteen, a tall, slender", "ALEX\n Why?\n Robin is staring at Nick. Alex looks, understands.\n He's angry.\n\n ALEX", "Terrified, Robin turns and rushes out of the room,\n bowling over Nick in the doorway. Delighted that the\n game is continuing with a new victim, he follows Wendy", "CONTINUED:\n Nick, Jude and Kelly appear in the doorway, chanting\n \"Kill, kill.\" Moving quickly, Robin grabs the ladder", "KIM\n That's not true! Alex was trying\n to help me.\n The teacher looks from Kim to Lou to Alex.", "(REPROVINGLY)\n Alex!\n\n (CONTINUED)", "KIM\n\n (SCREAMS)\n Daddy!\n Hammond slams on the brakes, throwing Alex against\n the dashboard.", "WENDY\n I want to play 'Murder.' Who's\n the killer?\n\n NICK\n You, Wendy!\n\n JUDE", "ALEX\n Hello... what?...\n He listens, expressionless, then hangs up. He flips", "NICK\n The killer is coming for you!\n He moves into the building, chanting \"Kill, kill.,\" in a", "(CONTINUING; SLOWLY)\n Kill, kill, kill...\n Picking up the chant, Wendy begins to advance on Robin.", "chant. As the three \"killers\" move through the vast\n structure searching for Wendy, \"KILL, KILT\" ECHOES off\n the walls and hardwood floors.", "(CONTINUING)\n Explanations?\n He looks at Alex. The boy stares at the floor and says\n nothing. Hammond holds the mask up to Lou.\n\n HAIIOND", "CONTINUED: (3)\n With a final glance down at Robin's mutiliated body,\n Wendy quickly ushers her shocked friends out of the", "We SLOWLY DISSOLVE FROM Alex's face TO a photograph of\n the Hammond family taken seven years earlier. We MOVE\n IN CLOSE ON the twins. Alex and Robin are smiling.", "onto the floor, Alex gets in several furious punches\n before Lou's gang can pry him loose.\n Two of the gang pin Alex against the counter. Wiping" ], [ "Kim has a flower of her own, a white rose, which she\n drops on her sister's grave. She turns, meets Alex's\n stare, moves off after her parents. Alex remains a mo-", "Kim strokes her brother's hair. Hammond presses his\n hysterical wife to him. The onlookers slowly close in.", "KIM\n Well?\n Alex gapes, stunned by his sister's appearance.\n\n ALEX\n\n (FINALLY)\n Amazing!", "KIM\n Nick? Oh, he's all right, I guess.\n They walk on in silence with Robin stealing glances at\n her big sister.\n\n ROBIN", "Kim rushes into the room, Kelly right behind her.\n There's no one. Kelly is quivering. She clutches at\n Kim's arm. Kim looks at her.", "Kim and she huddles against her father.\n A seedy little middle-aged man with a stubble of gray\n beard appears from behind a row of bushes, brandishing", "KIM\n\n (CONTINUING)\n We'd better go.\n Kim brushes past Nick without a word. The two girls ex-\n change puzzled glances and follow her.", "AT KIM)\n No, dear. Fix yourself a good\n meal. You're getting awfully\n thin.\n Kim and her father exchange glances. He shrugs", "Kim and Vicki are sprawled on the grass eating lunch.\n Lou storms down the front steps. Pausing at the bottom,\n he turns, strolls over to Kim.", "KIM\n My mother's all upset, as usual.\n My father too... he doesn't show", "KIM\n Hi.\n Oblivious, Hammond buries the axe in the stump. Kim\n moves around to face him. When he sees her, Hammond\n jumps, startled.", "KIM\n Watch it...\n Kelly covers her breasts with her arms, presses against\n the wall, terrified.", "KIM\n Oh... There was... Somebody broke\n a mirror in the shower room...\n There was somebody in there...", "Kim comes down the hallway and stops at the door.\n There's a piece of paper with a hastily scrawled mes-", "KIM\n What did you see?\n Kelly just shakes her head.", "KIM\n See you later,'Mom.\n Vivian gives her a thin smile. Hammond takes her arm\n and leads her into the imposing building.", "KIM\n\n (CONTINUING)\n Kinda the Latin lover type.\n\n (MORE)\n\n (CONTINUED)", "KIM\n\n (CHIDING)\n Vicki...\n\n JUDE", "HENRI --ANNE\n (staring at Kim)\n He has what?\n Kim, wide-eyed, can only look at Vicki.", "Kim turns back.to Kelly who's started to cry." ], [ "CONTINUED: (3)\n With a final glance down at Robin's mutiliated body,\n Wendy quickly ushers her shocked friends out of the", "But as Wendy and her fellow \"killers\" close in on her,\n Robin continues down the ladder. Wendy rushes up and\n grabs the ladder.", "(SOBBING WILDLY)\n Where is she? Where is Robin?\n Seeing the covered figure lying on a stretcher, Vivian", "Terrified, Robin turns and rushes out of the room,\n bowling over Nick in the doorway. Delighted that the\n game is continuing with a new victim, he follows Wendy", "sheet covering Robin's remains. Hammond steps up\n and gazes at his daughter's decapitated body. A\n look of absolute horror and revulsion freezes", "VIVIA N\n Robin!\n She rushes forward, lunging for the body. Hammond\n grabs her, restraining her.", "WENDY\n Killers, here!\n Wendy advances. Terrified, Robin begins to back away.\n\n ROBIN\n N-n-n-no!", "CONTINUED:\n Nick, Jude and Kelly appear in the doorway, chanting\n \"Kill, kill.\" Moving quickly, Robin grabs the ladder", "CONTINUED! (2)\n Robin watches her go, then moves off alone, breaking\n into a skip and playing imaginary hopscotch.", "(CONTINUING)\n Oh, damn!\n Robin looks up in surprise.\n\n KIM", "(CALLING OUT)\n Here, killers, here!\n Nick's head disappears from the opening and Robin hears\n the POUNDING of RUNNING FEET.\n\n WENDY", "pains toward Robin. Robin quickly turns away as they\n look at her.. When she glances back, Ki_m is walking\n towards her and Nick is bicycling away.", "As Nick turns his back, hiding his eyes against an ex-\n posed beam, the children scatter through the structure.\n Robin watches with mounting excitement as Nick finishes", "This one shows her sister, Robin, taken a few days be-\n fore the accident. Her sadness passes as quickly as it\n came. Gathering her textbooks, she switches OFF the", "CONTINUED :\n He strides away. Robin's eyes remain on Nick and Kim.\n Nick says something to Kurt. She shakes her head and", "stacked next to the opening. The sudden movement is\n just enough to dislodge a razor-sharp pane of glass and\n send it hurtling down directly at Robin.", "VIVIAN HANMOND, Robin's mother, appears pale and\n haggard as she steps out of the car. Kim and Alex\n slowly climb out of the back, With the Police Officer", "(HISSING)\n You better not tell!\n Before Robin can react, she hears a THUD from above.", "deafening. Robin hugs the wooden slats. Wendy shakes\n even harder. Robin screams. Nick moves around Wendy\n to get a better look. He accidentally bumps the glass", "in pursuit of Robin.\n Robin flees down the long, dark corridor, \"KILL, KILL\n ECHOING in her wake. As she rounds a corner, Jude ap-" ], [ "Hammond leans against the wall outside Fairchild's of-\n fice. He glances at his watch. The door opens and\n Fairchild steps out, holding a container. Hammond", "(NUDGING JUDE)\n Here comes the incredible hunk\n himself.\n Jude looks up to see Slick slowly making his way down", "shudders.\n Wendy's white Mustang slides up to the curb. The pass-\n enger window rolls down and Lou leans over to look in-", "Hammond is talking on the telephone. He appears agi-\n tated, running his fingers through his hair and tugging\n at the knot in his loosened tie.\n\n HAMMOND", "A very stoned, giggling Jude runs Vicki ragged, hitting\n balls over the fence, straight up in the air and occa-\n sionally even back over her head. Each time a ball", "(CALLING OUT)\n Here, killers, here!\n Nick's head disappears from the opening and Robin hears\n the POUNDING of RUNNING FEET.\n\n WENDY", "not notice Mr. Weller eyeing them suspiciously as he\n rattles on about frog intestines. Slick mouths the", "and goes. Nick looks shaken up. He stares after her\n as she hurries away.\n Behind Nick, in the other corner of the parking lot, a", "LOU\n Watch for me, little girl. You\n know I'm just a kiss away.\n Lou laughs and walks off toward the parking lot. Kim", "looks much the same way as we remember him. Vivian,\n however, wears the strain of the past seven years\n in her gaunt, drawn features and high-strung manner.", "(glares at Sykes)\n Isn't that so, Mr. Sykes?\n Embarrassed, the custodian scuttles away to the girls'\n Laughter.", "LOU\n (turning back to Wendy)\n I got this appointment.\n\n (CONTINUED)", "Kim and Vicki are sprawled on the grass eating lunch.\n Lou storms down the front steps. Pausing at the bottom,\n he turns, strolls over to Kim.", "JUDE\n So who are you?\n TheGuy leans further out the window.", "(CONTINUING)\n all right...\n He turns, climbs down the stage steps and starts back\n across the gym. At the other end of the floor a door\n opens, Sykes looks in. Hammond sees him.", "SLICK\n\n (ANGRILY)\n Hey, clown, what the...\n Three of Lou's gang quickly step up behind the masked\n figure.", "The van weaves through the parked cars, passing up\n several vacant spots. It finally SCREECHES to a halt\n at the far end of the lot near some high bluffs over-\n looking a lake.", "(SOFTLY)\n Asshole!\n Lou and his friends shove ahead in the line until he is\n standing behind Kim. Lou nuzzles Kim's neck.", "The figure climbs out of his car, gazes at the fading\n taillights of the Hammond car. The figure is Nick\n McBride.", "Hammond stands in front of a hall mirror, straightening\n his bow tie. He seems agitated, nervous. He turns as\n Vivian starts down the stairs. He looks surprised at" ], [ "Hammond moves through the empty hallway, stopping at\n a door which reads: PRINCIPAL: RAYMOND HAMMOND. He", "FADE IN:\n\n EXT. ELEMENTARY SCHOOL - DAY", "(glares at Sykes)\n Isn't that so, Mr. Sykes?\n Embarrassed, the custodian scuttles away to the girls'\n Laughter.", "(SNEERS)\n Wonder who'll get off with just\n a warning?\n Several students laugh. The two Teachers march Lou and", "(NODS)\n Brawling in the cafeteria... both\n of them.\n He places Lou's ski mask on Hammond's desk. The prin-\n cipal glances at it.", "55 INT. HALLWAY - DAY 55\n\n Lou and Alex accompany the teachers down the corridor\n toward the principal's office. Nick and Wendy approach\n from the opposite direction, talking heatedly.", "(DRYLY)\n That's much better.\n The car pulls into the Winston High School parking lot.\n They pile out.", "Kim walks quickly down a long school corridor and turns\n into her father's office.", "in his late thirties, he teaches history at George\n Winston High School.\n Wracked with grief, he stands near the opening in the", "The lull is shattered by the CLANGING of the final BELL.\n A swarm of children pours out the door and down the\n broad front steps, scattering across the lawn toward\n the cars and the buses.", "KIM\n\n (NODS)\n Worked real well.\n The BELL RINGS signalling first period class. Kim\n turns to Vicki and Jude.", "During the afternoon phys. ed. class, the girls play\n tennis: Kim with Kelly and Vicki with Jude. Sykes\n lingers nearby, watching the girls. Their instructor", "(CONTINUING)\n All right, send them in.\n The two Male Teachers enter first, followed by Lou and\n finally Alex. Hammond gives his son a sharp look, then\n turns to glare at Lou.", "(INTERRUPTING)\n It worked, didn't it?\n\n 67 EXT. SCHOOL GROUNDS - DAY 67", "Alex through the silent cafeteria. Lou swaggers bask-\n ing in the attention. Alex walks with his head bowed.\n They exit.", "Several students are putting last-minute touches on the\n decor as Kim comes in. Huge speakers are being hoisted\n on pulleys to hang from the ceiling. A vast, raised", "(STERNLY)\n Now, Miss Hammond!\n Kim swallows and steals a quick glance at her friends.\n Vicki winces. Jude tries to disappear beneath her, seat.", "23 CONTINUED: 23\n They climb the broad front steps of the high school.\n Hammond glances at his watch.\n\n HAMNIOND", "MCBRIDE\n Aren't you going with the Hammond\n girl? The principal's daughter?\n\n NICK\n\n (SMILES)\n Kim.", "Kim turns a corner, heading for class, and almost runs\n into Sykes, cleaning the floor. Sykes turns. For a\n moment their eyes lock. Then Kim hurries away, almost\n running. Sykes stares after her." ], [ "KELLY\n\n (CONTINUING)\n What? What!s wrong?\n Kelly's on the edge of hysteria. She runs over to Kim.\n They both look.", "WENDY\n Kelly?\n Kelly looks from Wendy to the mangled body and begins\n to whimper.\n\n WENDY", "KIM\n Watch it...\n Kelly covers her breasts with her arms, presses against\n the wall, terrified.", "KELLY\n Someone was there! Someone was...\n in there...\n Kim is taking charge. She moves cautiously back to the\n shower room door, opens it, looks in. She gasps.", "Horrified, Wendy watches the glass and the body crash\n to the concrete basement floor. Kelly screams. Jude\n sobs loudly. Nick can only stare in shock. Finally,", "(SHRUGS)\n Let him.\n\n KELLY\n I'd die if he did...\n The girls wrap towels around themselves and walk to-\n wards the showers.", "Drew is driving, his-arm around Kelly. She still\n appears shaken by the telephone call. The RADIO is ON.\n His right hand slowly descends towards her breast.", "KELLY\n\n (CONTINUING)\n Why?\n\n 86 INT. SHOWER ROOM - DAY 86", "KELLY\n Oh, Drew, thank God!\n She throws herself into the arms of the pleasantly sur-\n prised DREW SHINNICK, a muscular blond athlete.", "CONTINUED:\n Nick, Jude and Kelly appear in the doorway, chanting\n \"Kill, kill.\" Moving quickly, Robin grabs the ladder", "Kim rushes into the room, Kelly right behind her.\n There's no one. Kelly is quivering. She clutches at\n Kim's arm. Kim looks at her.", "There's a tiny sliver of glass embedded in it.\n Jude hears SOMEONE COMING. She turns to see Kelly com-\n ing toward her.", "76 BACK TO SCENE 76\n Kim shuts the door, presses against it, stares at\n Kelly.\n\n 77 INT. HALLWAY - DAY 77", "KELLY\n Just... just... a shadow or.,.\n Kim heads for the exit door across the room. Kelly\n stays with her.\n\n 73 EXT. SCHOOL 73", "KELLY\n 'm serious!\n Drew makes a grab for her but she avoids him, hurries\n inside. He sighs and leans against the doorjamb to\n wait.", "KELLY\n I think I'll let Drew do it.\n The door to the locker roor slowly opens behind them.", "KELLY\n Jude... look...\n She has something in her hand. It's a photo of her, a,\n Yearbook photo with the same torn edges. Jude holds up\n her version.", "Kim turns back.to Kelly who's started to cry.", "KELLY\n I swear.\n Wendy turns to Nick. At first he appears defiant, ready\n to object, but he wilts under her withering gaze.\n\n NICK", "rified, she backs against a wall. LAUGHTER FOLLOWS im-\n mediately and Robin hears Kelly's VOICE TAKING UP the" ], [ "The girl's last scream catches in her throat as the\n glass slices through her neck. She is instantly\n decapitated.", "There's a tiny sliver of glass embedded in it.\n Jude hears SOMEONE COMING. She turns to see Kelly com-\n ing toward her.", "CONTINUED:\n Nick, Jude and Kelly appear in the doorway, chanting\n \"Kill, kill.\" Moving quickly, Robin grabs the ladder", "KELLY\n\n (CONTINUING)\n What? What!s wrong?\n Kelly's on the edge of hysteria. She runs over to Kim.\n They both look.", "Drew is driving, his-arm around Kelly. She still\n appears shaken by the telephone call. The RADIO is ON.\n His right hand slowly descends towards her breast.", "KIM\n Watch it...\n Kelly covers her breasts with her arms, presses against\n the wall, terrified.", "KELLY\n Someone was there! Someone was...\n in there...\n Kim is taking charge. She moves cautiously back to the\n shower room door, opens it, looks in. She gasps.", "WENDY\n Kelly?\n Kelly looks from Wendy to the mangled body and begins\n to whimper.\n\n WENDY", "Horrified, Wendy watches the glass and the body crash\n to the concrete basement floor. Kelly screams. Jude\n sobs loudly. Nick can only stare in shock. Finally,", "KELLY\n\n (CONTINUING)\n Why?\n\n 86 INT. SHOWER ROOM - DAY 86", "Kim rushes into the room, Kelly right behind her.\n There's no one. Kelly is quivering. She clutches at\n Kim's arm. Kim looks at her.", "KELLY\n\n (MUMBLING )\n Hullo?\n A pause, then HEAVY BREATHING. Kelly's eyes grow wide\n as the dreadful voice speaks.", "KELLY\n I think I'll let Drew do it.\n The door to the locker roor slowly opens behind them.", "KELLY\n Jude... look...\n She has something in her hand. It's a photo of her, a,\n Yearbook photo with the same torn edges. Jude holds up\n her version.", "76 BACK TO SCENE 76\n Kim shuts the door, presses against it, stares at\n Kelly.\n\n 77 INT. HALLWAY - DAY 77", "NICK)\n Nick?\n Nick silently creeps from behind a partition and moves\n up directly behind Henri-Anne. He mimes choking her, a", "The car stops at a light and Drew is instantly on Kelly,\n biting her neck and kissing her hard on the mouth. She\n pushes him back.", "KELLY\n Oh, Drew, thank God!\n She throws herself into the arms of the pleasantly sur-\n prised DREW SHINNICK, a muscular blond athlete.", "blood from his mouth, Lou grins maliciously and slugs\n Alex in the stomach. The boy groans and doubles over.\n Lou grabs Alex's hair and slams his head back against", "rified, she backs against a wall. LAUGHTER FOLLOWS im-\n mediately and Robin hears Kelly's VOICE TAKING UP the" ], [ "out of Slick's van. Jude looks about as stoned as she\n can get. She spots Nick, waves.", "watching her, Jude smiles and tries to ignore Slick.\n Not to be denied, he exaggeratedly mimes Weller, nose\n to his textbook, lecturing on, oblivious to his class.", "JUDE\n\n (SMILING)\n Can you stop that thing?\n Slick jams on the brakes. The van jerks to a halt.\n He opens the passenger door.", "(NUDGING JUDE)\n Here comes the incredible hunk\n himself.\n Jude looks up to see Slick slowly making his way down", "JUDE\n So I guess we're both maybe not\n going...\n\n SLICK\n Yeah... too bad...\n He looks at her.\n\n SLICK", "JUDE\n I can see why... How old are you,\n Slick?\n\n GUY (SLICK)\n Old enough...", "JUDE\n I've heard about guys like you...\n running over girls on the sidewalk...\n\n SLICK\n Just some girls... If they're good\n lookin' I give 'em a ride.", "SLICK\n You going to the prom tonight?\n Jude looks away, embarrassed.\n\n JUDE\n Sure, of course.\n\n SLICK", "word \"Wow\" to Jude who blushes happily.\n Glancing out into the hallway, Jude notices Slick walk-\n ing past. Seeing her in class, he stops and waves.", "Jude's prom date. Kim holds up the note, raising her\n eyebrows as she gestures toward Slick. Jude nods. Kim\n and Vicki can barely contain their laughter. They do", "JUDE\n Looks like a cheap motel.\n\n SLICK\n Cheap?... that's a two hundred\n dollar waterbed there...\n Jude turns around for a look.", "GUY\n Hey, beautiful, need a lift?\n Jude continues walking, the van moving slowly alongside\n her.\n\n JUDE\n No thanks.", "(CONTINUING)\n but they call me Slick!\n Jude laughs, almost choking on her apple.", "not notice Mr. Weller eyeing them suspiciously as he\n rattles on about frog intestines. Slick mouths the", "words, \"See you at lunch.., in the van.\" Jude nods and\n smiles.\n With a final bow and a wave, he exits.", "(NODDING SOLEMNLY)\n Yeah, right...\n Jude watches him. He's slow picking up her hint.", "Jude frantically tries to motion him away. Their backs\n to the door, Kim and Vicki watch with curiosity as Jude\n gestures in their direction. Seeing her friends", "JUDE\n\n (CONTINUING)\n I'm going straight to Winston High,\n understand?\n\n SLICK", "JUDE\n You think this is the time to study?\n She grabs the book, gives it to him. He places it on", "1 CONTINUED; (3) I\n Robin hears Jude's SQUEAL of LAUGHTER. Nick has caught" ], [ "(CONTINUING; SLOWLY)\n Kill, kill, kill...\n Picking up the chant, Wendy begins to advance on Robin.", "(CALLING OUT)\n Here, killers, here!\n Nick's head disappears from the opening and Robin hears\n the POUNDING of RUNNING FEET.\n\n WENDY", "WENDY\n Killers, here!\n Wendy advances. Terrified, Robin begins to back away.\n\n ROBIN\n N-n-n-no!", "chant. As the three \"killers\" move through the vast\n structure searching for Wendy, \"KILL, KILT\" ECHOES off\n the walls and hardwood floors.", "But as Wendy and her fellow \"killers\" close in on her,\n Robin continues down the ladder. Wendy rushes up and\n grabs the ladder.", "Terrified, Robin turns and rushes out of the room,\n bowling over Nick in the doorway. Delighted that the\n game is continuing with a new victim, he follows Wendy", "Flushed with excitement, she imagines herself a \"killer\"\n searching for Wendy. As she moves past an empty room,\n she hears a SOFT GIGGLE. Robin stops and listens care-", "WENDY\n Wait and see, bitch... Just wait\n and see...\n\n 43 INT. HALLWAY - DAY 43", "NICK\n The killer is coming for you!\n He moves into the building, chanting \"Kill, kill.,\" in a", "the room. Trapped, Wendy looks frantically for an es-\n cape but finds nothing. Turning around suddenly, she\n grins at Robin, a cruel, hard expression on her face.", "WENDY\n Kelly?\n Kelly looks from Wendy to the mangled body and begins\n to whimper.\n\n WENDY", "WENDY\n I want to play 'Murder.' Who's\n the killer?\n\n NICK\n You, Wendy!\n\n JUDE", "CONTINUED: (3)\n With a final glance down at Robin's mutiliated body,\n Wendy quickly ushers her shocked friends out of the", "WENDY\n I'll be right there, Melanie.\n No answer. Curious, Wendy moves around the lockers,", "CONTINUED:\n Nick, Jude and Kelly appear in the doorway, chanting\n \"Kill, kill.\" Moving quickly, Robin grabs the ladder", "Looking up, she sees Nick's head appear through an\n opening in the ceiling. Seeing Robin, then Wendy\n standing in the corner, he howls in triumph.", "NICK\n\n (WHISPERING HOARSELY)\n We gotta get somebody quick!\n Nick starts to go. Wendy instantly whirls, grabs his\n arm.", "Horrified, Wendy watches the glass and the body crash\n to the concrete basement floor. Kelly screams. Jude\n sobs loudly. Nick can only stare in shock. Finally,", "Wendy hurries do-in the ornate staircase.\n Waiting at the bottom holding the girl's sweater is\n MAUDE, the Richards' elderly housekeeper.", "shudders.\n Wendy's white Mustang slides up to the curb. The pass-\n enger window rolls down and Lou leans over to look in-" ], [ "blood from his mouth, Lou grins maliciously and slugs\n Alex in the stomach. The boy groans and doubles over.\n Lou grabs Alex's hair and slams his head back against", "LOU\n\n (CONTINUING)\n Jesus Christ!", "Lou sits pinned to the passenger seat, eyes wide,\n staring straight ahead as if he can't quite believe\n this trip. His bravado seems to have left him. He", "chest. Slowly she works her way down. Lou begins to\n writhe. Wendy's head disappears from VIEW. Lou's eyes\n snap open in surprise.", "breaks away. Laughing, Lou grabs her wrists and rough-\n ly pulls her to him. Alex instantly jumps to his feet.", "Lou's still pinned to his seat. Wendy shuts off the\n engine, looks at him. He looks at her, lets out a\n long deep breath.", "LOU\n Watch for me, little girl. You\n know I'm just a kiss away.\n Lou laughs and walks off toward the parking lot. Kim", "onto the floor, Alex gets in several furious punches\n before Lou's gang can pry him loose.\n Two of the gang pin Alex against the counter. Wiping", "Alex through the silent cafeteria. Lou swaggers bask-\n ing in the attention. Alex walks with his head bowed.\n They exit.", "(SOFTLY)\n Asshole!\n Lou and his friends shove ahead in the line until he is\n standing behind Kim. Lou nuzzles Kim's neck.", "crumples to the floor. Lou turns around to see two\n MALE TEACHERS rapidly approaching. The larger teacher\n grabs Lou.", "the glass shield of the counter.\n As Lou rears back to throw another punch, his two\n friends suddenly release Alex and scatter. The boy", "blown Lou is hurriedly doing up his belt, tucking in\n his shirt. He glances at the Car-hop then turns away\n to finish the job.", "from the tables. Crashing into Lou, he drives the\n larger boy back into the salad counter, sending food\n and utensils flying. As they tumble off the counter", "WENDY\n That ' sit.\n The Car-hop shrugs, wheels away. Wendy turns to Lou.", "LOU\n (muffled by the mask)\n Like me better now?\n\n (CONTINUED)", "AT ALEX)\n Have the nurse take a look at you,\n then get back here.\n Alex exits. Hammond angrily grabs Lou's ski mask and\n hurls it at the trash can_", "(CONTINUING)\n Explanations?\n He looks at Alex. The boy stares at the floor and says\n nothing. Hammond holds the mask up to Lou.\n\n HAIIOND", "SLICK\n\n (ANGRILY)\n Hey, clown, what the...\n Three of Lou's gang quickly step up behind the masked\n figure.", "shudders.\n Wendy's white Mustang slides up to the curb. The pass-\n enger window rolls down and Lou leans over to look in-" ], [ "ALE \n er's face is revealed. It is the nine-year-old Alex.\n Kim cradles the killer on the ground. She turns his\n head toward the light. We SEE his face full-on.", "NICK (O.S.\n The killer strikes!\n\n (CONTINUED)", "(CALLING OUT)\n Here, killers, here!\n Nick's head disappears from the opening and Robin hears\n the POUNDING of RUNNING FEET.\n\n WENDY", "NICK\n The killer is coming for you!\n He moves into the building, chanting \"Kill, kill.,\" in a", "CONTINUED:\n Nick, Jude and Kelly appear in the doorway, chanting\n \"Kill, kill.\" Moving quickly, Robin grabs the ladder", "WENDY\n I want to play 'Murder.' Who's\n the killer?\n\n NICK\n You, Wendy!\n\n JUDE", "Terrified, Robin turns and rushes out of the room,\n bowling over Nick in the doorway. Delighted that the\n game is continuing with a new victim, he follows Wendy", "KELLY\n Someone was there! Someone was...\n in there...\n Kim is taking charge. She moves cautiously back to the\n shower room door, opens it, looks in. She gasps.", "Flushed with excitement, she imagines herself a \"killer\"\n searching for Wendy. As she moves past an empty room,\n she hears a SOFT GIGGLE. Robin stops and listens care-", "sheet covering Robin's remains. Hammond steps up\n and gazes at his daughter's decapitated body. A\n look of absolute horror and revulsion freezes", "chant. As the three \"killers\" move through the vast\n structure searching for Wendy, \"KILL, KILT\" ECHOES off\n the walls and hardwood floors.", "(CONTINUING; SLOWLY)\n Kill, kill, kill...\n Picking up the chant, Wendy begins to advance on Robin.", "But as Wendy and her fellow \"killers\" close in on her,\n Robin continues down the ladder. Wendy rushes up and\n grabs the ladder.", "KIM\n Oh... There was... Somebody broke\n a mirror in the shower room...\n There was somebody in there...", "VICKI (O.S.)\n Did it work?\n Kim is startled, turns. Vicki and Jude and approach-\n ing. Vicki hurries to the door, reads the note.", "her. Immediately Jude's VOICE TAKES UP the \"kill\"\n chant in unison with Nick.", "NICK)\n Nick?\n Nick silently creeps from behind a partition and moves\n up directly behind Henri-Anne. He mimes choking her, a", "The FOOTSTEPS return, louder. Kim begins to hurry.\n She rounds a corner and slips against the wall, waiting.\n Silence. With a deep breath, she moves on to her", "Horrified, Wendy watches the glass and the body crash\n to the concrete basement floor. Kelly screams. Jude\n sobs loudly. Nick can only stare in shock. Finally,", "The girl's last scream catches in her throat as the\n glass slices through her neck. She is instantly\n decapitated." ], [ "Kim has a flower of her own, a white rose, which she\n drops on her sister's grave. She turns, meets Alex's\n stare, moves off after her parents. Alex remains a mo-", "in tears, shaking with grief, when Kim and Alex step\n into the doorway.", "Kim turns back.to Kelly who's started to cry.", "KIM\n\n (SCREAMS)\n Daddy!\n Hammond slams on the brakes, throwing Alex against\n the dashboard.", "KIM\n Well?\n Alex gapes, stunned by his sister's appearance.\n\n ALEX\n\n (FINALLY)\n Amazing!", "KIM\n That's not true! Alex was trying\n to help me.\n The teacher looks from Kim to Lou to Alex.", "Alex groans. Kim smiles as Nick joins her. She takes\n his hand, clutches it. They start to walk away, talk-\n ing quietly. Nick puts his arm around her.", "(CONTINUING)\n Kim! Alex! Stay out in the\n hallway!\n Kim stumbles out into the corridor and begins to", "boy, casts a knowing look at Kim. Kim nods. Alex.\n shakes his head, then begins to rummage through the", "ALE \n er's face is revealed. It is the nine-year-old Alex.\n Kim cradles the killer on the ground. She turns his\n head toward the light. We SEE his face full-on.", "ALEX\n My sister?\n\n HENRI-ANNE\n Alex!\n Alex awkwardly kisses Kim on the cheek.\n\n HENRI-ANNE", "(CONTINUING;\n holding Kim close)\n Be nice...\n Alex leaps over the metal railing separating the line", "KIM\n\n (SMILES)\n You like?\n\n ALEX\n You look almost like a woman!\n\n KIM", "Alex's dark eyes stare back unseeing at his family.\n His resemblance to his dead twin sister is uncanny.\n His hair falls onto his forehead in bangs, as Robin's", "capitated torso is briefly glimpsed by the family.\n Alex is shocked. Kim doesn't appear to realize what\n she sees. But Vivian's horror wells up in her", "KIM\n Hey, keep that!\n Alex groans but does as she asks.\n\n ALEX\n Disco sucks!\n\n HAMZMOND", "CONTINUED: (3)\n Hammond exits. Alex, now sixteen, a tall, slender", "KIM\n Hi.\n Oblivious, Hammond buries the axe in the stump. Kim\n moves around to face him. When he sees her, Hammond\n jumps, startled.", "Alex jumps out of the car and opens the door for his\n mother. Taking her arm, he helps her out. Kim leans\n over in the back seat.", "KIM\n I liked her.\n Hammond angrily jerks the axe from the stump.\n\n (CONTINUED)" ], [ "Jude Cunningham is leaving her house when the TELE-\n PHONE RINGS. The chubby, brown-haired girl rushes\n back into the hallway.", "A pink TELEPHONE RINGS. The plush bedroom is empty;\n suddenly Wendy Richards rushes in. Now eighteen, Wendy", "A plump, middle-aged woman hurries out of the kitchen,\n wiping her hands on an apron. MRS. CUNNINGHAM\n eagerly watches her daughter snap up the receiver.", "Horrified, Kelly drops the phone. The DOORBELL RINGS.\n Frightened, she gasps, hugging the wall. The DOORBELL", "CALLS)\n Yes.\n Kim leans against a wall, gazing around at her gloomy", "Wearing only a bra and panties, Wendy is sprawled\n across her bed, talking on the telephone. A black silk\n gown is draped across her legs.", "Kelly Lynch is just finishing breakfast when the\n TELEPHONE RINGS. The petite blonde eighteen-year-old\n stuffs a last bite of toast into her mouth and picks\n up the receiver.", "books and follows. The TELEPHONE RINGS. Nick hesi-\n tates. Shaking his head he exits, shutting the door.", "DREW\n\n (LAUGHING)\n What'd you get, a heavy breather?\n\n KELLY\n Worse than that...", "MCBRIDE\n I thought you two broke up.\n The TELEPHONE continues to RING.", "sits behind a console, flipping switches and turning\n dials, electronically distorting the music.\n A wall TELEPHONE RINGS.. Caught up in his own manufac-", "(SMILES)\n An obscene call... and not very\n obscene at that!\n Mrs. Cunningham starts to say something.\n\n JUDE", "tured sounds, Alex ignores it. After several more\n RINGS, he reluctantly leaves the console and answers\n the phone.", "MCBRIDE\n God, I wish I had your women\n problems.\n They walk down the corridor as the TELEPHONE continues\n to RING.", "Hammond tosses his briefcase onto the desk and drops\n into his chair. He stares at the telephone for a long\n moment, drumming his finger on the desk.\n\n CUT TO:", "and moons him. There's a squeal of laughter from Jude\n and from Kelly. Vicki whips her shorts back up and\n runs to the gym door, the other girls in pursuit.", "The corridor is packed with students -- flirting,\n gossiping, fighting, a few even studying. We PICK UP\n Kim and VICKI CANTRELL, eighteen, moving down the crowd-\n ed hallway through the various conversations.", "Hammond is talking on the telephone. He appears agi-\n tated, running his fingers through his hair and tugging\n at the knot in his loosened tie.\n\n HAMMOND", "KELLY\n\n (MUMBLING )\n Hullo?\n A pause, then HEAVY BREATHING. Kelly's eyes grow wide\n as the dreadful voice speaks.", "Drew is driving, his-arm around Kelly. She still\n appears shaken by the telephone call. The RADIO is ON.\n His right hand slowly descends towards her breast." ], [ "CONTINUED: (3)\n With a final glance down at Robin's mutiliated body,\n Wendy quickly ushers her shocked friends out of the", "(SOBBING WILDLY)\n Where is she? Where is Robin?\n Seeing the covered figure lying on a stretcher, Vivian", "But as Wendy and her fellow \"killers\" close in on her,\n Robin continues down the ladder. Wendy rushes up and\n grabs the ladder.", "Terrified, Robin turns and rushes out of the room,\n bowling over Nick in the doorway. Delighted that the\n game is continuing with a new victim, he follows Wendy", "CONTINUED! (2)\n Robin watches her go, then moves off alone, breaking\n into a skip and playing imaginary hopscotch.", "sheet covering Robin's remains. Hammond steps up\n and gazes at his daughter's decapitated body. A\n look of absolute horror and revulsion freezes", "This one shows her sister, Robin, taken a few days be-\n fore the accident. Her sadness passes as quickly as it\n came. Gathering her textbooks, she switches OFF the", "CONTINUED:\n Nick, Jude and Kelly appear in the doorway, chanting\n \"Kill, kill.\" Moving quickly, Robin grabs the ladder", "CONTINUED :\n He strides away. Robin's eyes remain on Nick and Kim.\n Nick says something to Kurt. She shakes her head and", "VIVIA N\n Robin!\n She rushes forward, lunging for the body. Hammond\n grabs her, restraining her.", "As Nick turns his back, hiding his eyes against an ex-\n posed beam, the children scatter through the structure.\n Robin watches with mounting excitement as Nick finishes", "pains toward Robin. Robin quickly turns away as they\n look at her.. When she glances back, Ki_m is walking\n towards her and Nick is bicycling away.", "(CALLING OUT)\n Here, killers, here!\n Nick's head disappears from the opening and Robin hears\n the POUNDING of RUNNING FEET.\n\n WENDY", "NICK\n I'm... I want you to know that...\n Robin's death... I remember it and\n I've always been... so sorry\n about it...\n Kim looks puzzled.", "VIVIAN HANMOND, Robin's mother, appears pale and\n haggard as she steps out of the car. Kim and Alex\n slowly climb out of the back, With the Police Officer", "WENDY\n Killers, here!\n Wendy advances. Terrified, Robin begins to back away.\n\n ROBIN\n N-n-n-no!", "(CONTINUING)\n Oh, damn!\n Robin looks up in surprise.\n\n KIM", "CHANTING quickly RESUMES and she breathes a long sigh\n of relief.\n Robin moves through a dark corridor, hugging the walls.", "HAIM BOND\n Seven years ago today Robin was\n killed.\n Fairchild looks up from filling his container with\n water.\n\n (CONTINUED)", "out of the room. As they pass through the doorway into\n the corridor, a corner of the sheet slips off Robin's\n corpse. Before a Paramedic can replace it, the de-" ], [ "NICK\n The killer is coming for you!\n He moves into the building, chanting \"Kill, kill.,\" in a", "ALE \n er's face is revealed. It is the nine-year-old Alex.\n Kim cradles the killer on the ground. She turns his\n head toward the light. We SEE his face full-on.", "(CALLING OUT)\n Here, killers, here!\n Nick's head disappears from the opening and Robin hears\n the POUNDING of RUNNING FEET.\n\n WENDY", "NICK (O.S.\n The killer strikes!\n\n (CONTINUED)", "WENDY\n I want to play 'Murder.' Who's\n the killer?\n\n NICK\n You, Wendy!\n\n JUDE", "CONTINUED:\n Nick, Jude and Kelly appear in the doorway, chanting\n \"Kill, kill.\" Moving quickly, Robin grabs the ladder", "chant. As the three \"killers\" move through the vast\n structure searching for Wendy, \"KILL, KILT\" ECHOES off\n the walls and hardwood floors.", "Flushed with excitement, she imagines herself a \"killer\"\n searching for Wendy. As she moves past an empty room,\n she hears a SOFT GIGGLE. Robin stops and listens care-", "her. Immediately Jude's VOICE TAKES UP the \"kill\"\n chant in unison with Nick.", "KIM\n Oh... There was... Somebody broke\n a mirror in the shower room...\n There was somebody in there...", "KELLY\n Someone was there! Someone was...\n in there...\n Kim is taking charge. She moves cautiously back to the\n shower room door, opens it, looks in. She gasps.", "Terrified, Robin turns and rushes out of the room,\n bowling over Nick in the doorway. Delighted that the\n game is continuing with a new victim, he follows Wendy", "But as Wendy and her fellow \"killers\" close in on her,\n Robin continues down the ladder. Wendy rushes up and\n grabs the ladder.", "(CONTINUING; SLOWLY)\n Kill, kill, kill...\n Picking up the chant, Wendy begins to advance on Robin.", "The girl's last scream catches in her throat as the\n glass slices through her neck. She is instantly\n decapitated.", "sheet covering Robin's remains. Hammond steps up\n and gazes at his daughter's decapitated body. A\n look of absolute horror and revulsion freezes", "NICK)\n Nick?\n Nick silently creeps from behind a partition and moves\n up directly behind Henri-Anne. He mimes choking her, a", "WENDY\n Killers, here!\n Wendy advances. Terrified, Robin begins to back away.\n\n ROBIN\n N-n-n-no!", "Horrified, Wendy watches the glass and the body crash\n to the concrete basement floor. Kelly screams. Jude\n sobs loudly. Nick can only stare in shock. Finally,", "KIM\n Hi.\n Oblivious, Hammond buries the axe in the stump. Kim\n moves around to face him. When he sees her, Hammond\n jumps, startled." ], [ "ALE \n er's face is revealed. It is the nine-year-old Alex.\n Kim cradles the killer on the ground. She turns his\n head toward the light. We SEE his face full-on.", "CONTINUED: (3)\n Hammond exits. Alex, now sixteen, a tall, slender", "blood from his mouth, Lou grins maliciously and slugs\n Alex in the stomach. The boy groans and doubles over.\n Lou grabs Alex's hair and slams his head back against", "KIM\n\n (SCREAMS)\n Daddy!\n Hammond slams on the brakes, throwing Alex against\n the dashboard.", "(CALLING OUT)\n Here, killers, here!\n Nick's head disappears from the opening and Robin hears\n the POUNDING of RUNNING FEET.\n\n WENDY", "Kim has a flower of her own, a white rose, which she\n drops on her sister's grave. She turns, meets Alex's\n stare, moves off after her parents. Alex remains a mo-", "onto the floor, Alex gets in several furious punches\n before Lou's gang can pry him loose.\n Two of the gang pin Alex against the counter. Wiping", "ALEX\n Hello... what?...\n He listens, expressionless, then hangs up. He flips", "Alex's dark eyes stare back unseeing at his family.\n His resemblance to his dead twin sister is uncanny.\n His hair falls onto his forehead in bangs, as Robin's", "Alex groans. Kim smiles as Nick joins her. She takes\n his hand, clutches it. They start to walk away, talk-\n ing quietly. Nick puts his arm around her.", "We SLOWLY DISSOLVE FROM Alex's face TO a photograph of\n the Hammond family taken seven years earlier. We MOVE\n IN CLOSE ON the twins. Alex and Robin are smiling.", "CONTINUED:\n Nick, Jude and Kelly appear in the doorway, chanting\n \"Kill, kill.\" Moving quickly, Robin grabs the ladder", "(CONTINUING)\n Ah... Mr. Sykes...\n Sykes waits as Hammond hurries across to him. The two\n men go out together.\n Alex walks out onto the stage, watches them go.", "ALEX (O.S.)\n Who's there?\n Hammond, shaken, looks across to the far wing. There's\n an elevated platform where the electronic control panel\n is located. Alex peers down.", "the glass shield of the counter.\n As Lou rears back to throw another punch, his two\n friends suddenly release Alex and scatter. The boy", "(CONTINUING)\n Kim! Alex! Stay out in the\n hallway!\n Kim stumbles out into the corridor and begins to", "KIM\n That's not true! Alex was trying\n to help me.\n The teacher looks from Kim to Lou to Alex.", "boy, casts a knowing look at Kim. Kim nods. Alex.\n shakes his head, then begins to rummage through the", "ALEX\n Why?\n Robin is staring at Nick. Alex looks, understands.\n He's angry.\n\n ALEX", "Alex through the silent cafeteria. Lou swaggers bask-\n ing in the attention. Alex walks with his head bowed.\n They exit." ], [ "Alex's dark eyes stare back unseeing at his family.\n His resemblance to his dead twin sister is uncanny.\n His hair falls onto his forehead in bangs, as Robin's", "We SLOWLY DISSOLVE FROM Alex's face TO a photograph of\n the Hammond family taken seven years earlier. We MOVE\n IN CLOSE ON the twins. Alex and Robin are smiling.", "FAIRCHILD\n The twins... How is Alex?\n\n HAIIOND\n Fine. I just thank God he was too\n young to really understand what\n happened to his sister.", "CONTINUED: (3)\n Hammond exits. Alex, now sixteen, a tall, slender", "Moving slowly through the crowd, ROBIN and ALEX HAMMOND,\n nine-year-old identical twins, appear at the doorway..", "Whirling around, she sees Alex. Standing up, she pir-\n ouettes and curtsies before her brother.", "KIM\n Well?\n Alex gapes, stunned by his sister's appearance.\n\n ALEX\n\n (FINALLY)\n Amazing!", "Kim has a flower of her own, a white rose, which she\n drops on her sister's grave. She turns, meets Alex's\n stare, moves off after her parents. Alex remains a mo-", "ALE \n er's face is revealed. It is the nine-year-old Alex.\n Kim cradles the killer on the ground. She turns his\n head toward the light. We SEE his face full-on.", "blood from his mouth, Lou grins maliciously and slugs\n Alex in the stomach. The boy groans and doubles over.\n Lou grabs Alex's hair and slams his head back against", "ALEX\n My sister?\n\n HENRI-ANNE\n Alex!\n Alex awkwardly kisses Kim on the cheek.\n\n HENRI-ANNE", "ALEX (O.S.)\n Who's there?\n Hammond, shaken, looks across to the far wing. There's\n an elevated platform where the electronic control panel\n is located. Alex peers down.", "Alex groans. Kim smiles as Nick joins her. She takes\n his hand, clutches it. They start to walk away, talk-\n ing quietly. Nick puts his arm around her.", "(CONTINUING)\n You want to help or just leer?\n\n ALEX\n You're my sister... I'll leer!\n\n KIM", "(CONTINUING)\n Kim! Alex! Stay out in the\n hallway!\n Kim stumbles out into the corridor and begins to", "(REPROVINGLY)\n Alex!\n\n (CONTINUED)", "boy, casts a knowing look at Kim. Kim nods. Alex.\n shakes his head, then begins to rummage through the", "Alex through the silent cafeteria. Lou swaggers bask-\n ing in the attention. Alex walks with his head bowed.\n They exit.", "KIM\n\n (SCREAMS)\n Daddy!\n Hammond slams on the brakes, throwing Alex against\n the dashboard.", "Alex jumps out of the car and opens the door for his\n mother. Taking her arm, he helps her out. Kim leans\n over in the back seat." ], [ "LOU\n\n (CONTINUING)\n Jesus Christ!", "Lou sits pinned to the passenger seat, eyes wide,\n staring straight ahead as if he can't quite believe\n this trip. His bravado seems to have left him. He", "blood from his mouth, Lou grins maliciously and slugs\n Alex in the stomach. The boy groans and doubles over.\n Lou grabs Alex's hair and slams his head back against", "LOU\n Watch for me, little girl. You\n know I'm just a kiss away.\n Lou laughs and walks off toward the parking lot. Kim", "Lou's still pinned to his seat. Wendy shuts off the\n engine, looks at him. He looks at her, lets out a\n long deep breath.", "breaks away. Laughing, Lou grabs her wrists and rough-\n ly pulls her to him. Alex instantly jumps to his feet.", "onto the floor, Alex gets in several furious punches\n before Lou's gang can pry him loose.\n Two of the gang pin Alex against the counter. Wiping", "The girl's last scream catches in her throat as the\n glass slices through her neck. She is instantly\n decapitated.", "crumples to the floor. Lou turns around to see two\n MALE TEACHERS rapidly approaching. The larger teacher\n grabs Lou.", "Alex through the silent cafeteria. Lou swaggers bask-\n ing in the attention. Alex walks with his head bowed.\n They exit.", "chest. Slowly she works her way down. Lou begins to\n writhe. Wendy's head disappears from VIEW. Lou's eyes\n snap open in surprise.", "SLICK\n\n (ANGRILY)\n Hey, clown, what the...\n Three of Lou's gang quickly step up behind the masked\n figure.", "blown Lou is hurriedly doing up his belt, tucking in\n his shirt. He glances at the Car-hop then turns away\n to finish the job.", "(CONTINUING)\n Explanations?\n He looks at Alex. The boy stares at the floor and says\n nothing. Hammond holds the mask up to Lou.\n\n HAIIOND", "(SOFTLY)\n Asshole!\n Lou and his friends shove ahead in the line until he is\n standing behind Kim. Lou nuzzles Kim's neck.", "are standing quietly at the foot of the grave. Vivian\n looks at them both. Her eyes hold a terrible rage, a\n terrible sadness. Hammond carefully guides her away.", "the glass shield of the counter.\n As Lou rears back to throw another punch, his two\n friends suddenly release Alex and scatter. The boy", "(CONTINUING)\n All right, send them in.\n The two Male Teachers enter first, followed by Lou and\n finally Alex. Hammond gives his son a sharp look, then\n turns to glare at Lou.", "LOU\n See you around.\n He exits, slamming the door.\n\n HAMMOND\n\n (WITHOUT LOOKING", "NICK)\n Nick?\n Nick silently creeps from behind a partition and moves\n up directly behind Henri-Anne. He mimes choking her, a" ], [ "KELLY\n Someone was there! Someone was...\n in there...\n Kim is taking charge. She moves cautiously back to the\n shower room door, opens it, looks in. She gasps.", "KELLY\n\n (CONTINUING)\n What? What!s wrong?\n Kelly's on the edge of hysteria. She runs over to Kim.\n They both look.", "WENDY\n Kelly?\n Kelly looks from Wendy to the mangled body and begins\n to whimper.\n\n WENDY", "Horrified, Wendy watches the glass and the body crash\n to the concrete basement floor. Kelly screams. Jude\n sobs loudly. Nick can only stare in shock. Finally,", "KIM\n Watch it...\n Kelly covers her breasts with her arms, presses against\n the wall, terrified.", "KELLY\n\n (CONTINUING)\n Why?\n\n 86 INT. SHOWER ROOM - DAY 86", "Kim rushes into the room, Kelly right behind her.\n There's no one. Kelly is quivering. She clutches at\n Kim's arm. Kim looks at her.", "Drew is driving, his-arm around Kelly. She still\n appears shaken by the telephone call. The RADIO is ON.\n His right hand slowly descends towards her breast.", "KELLY\n I think I'll let Drew do it.\n The door to the locker roor slowly opens behind them.", "There's a tiny sliver of glass embedded in it.\n Jude hears SOMEONE COMING. She turns to see Kelly com-\n ing toward her.", "76 BACK TO SCENE 76\n Kim shuts the door, presses against it, stares at\n Kelly.\n\n 77 INT. HALLWAY - DAY 77", "(SHRUGS)\n Let him.\n\n KELLY\n I'd die if he did...\n The girls wrap towels around themselves and walk to-\n wards the showers.", "KELLY\n 'm serious!\n Drew makes a grab for her but she avoids him, hurries\n inside. He sighs and leans against the doorjamb to\n wait.", "KELLY\n Just... just... a shadow or.,.\n Kim heads for the exit door across the room. Kelly\n stays with her.\n\n 73 EXT. SCHOOL 73", "KELLY\n Oh, Drew, thank God!\n She throws herself into the arms of the pleasantly sur-\n prised DREW SHINNICK, a muscular blond athlete.", "sheet covering Robin's remains. Hammond steps up\n and gazes at his daughter's decapitated body. A\n look of absolute horror and revulsion freezes", "CONTINUED:\n Nick, Jude and Kelly appear in the doorway, chanting\n \"Kill, kill.\" Moving quickly, Robin grabs the ladder", "KELLY\n Jude... look...\n She has something in her hand. It's a photo of her, a,\n Yearbook photo with the same torn edges. Jude holds up\n her version.", "KELLY\n\n (MUMBLING )\n Hullo?\n A pause, then HEAVY BREATHING. Kelly's eyes grow wide\n as the dreadful voice speaks.", "Kim has a flower of her own, a white rose, which she\n drops on her sister's grave. She turns, meets Alex's\n stare, moves off after her parents. Alex remains a mo-" ], [ "LOU\n Watch for me, little girl. You\n know I'm just a kiss away.\n Lou laughs and walks off toward the parking lot. Kim", "NICK\n The killer is coming for you!\n He moves into the building, chanting \"Kill, kill.,\" in a", "SLICK\n\n (ANGRILY)\n Hey, clown, what the...\n Three of Lou's gang quickly step up behind the masked\n figure.", "LOU\n Say what?\n\n SLICK\n\n (SHRUGS)\n Forget it, Lou.\n\n LOU", "LOU\n\n (CONTINUING)\n Jesus Christ!", "(SOFTLY)\n Asshole!\n Lou and his friends shove ahead in the line until he is\n standing behind Kim. Lou nuzzles Kim's neck.", "(CALLING OUT)\n Here, killers, here!\n Nick's head disappears from the opening and Robin hears\n the POUNDING of RUNNING FEET.\n\n WENDY", "(CONTINUING)\n Explanations?\n He looks at Alex. The boy stares at the floor and says\n nothing. Hammond holds the mask up to Lou.\n\n HAIIOND", "Lou sits pinned to the passenger seat, eyes wide,\n staring straight ahead as if he can't quite believe\n this trip. His bravado seems to have left him. He", "blood from his mouth, Lou grins maliciously and slugs\n Alex in the stomach. The boy groans and doubles over.\n Lou grabs Alex's hair and slams his head back against", "NICK (O.S.\n The killer strikes!\n\n (CONTINUED)", "ALE \n er's face is revealed. It is the nine-year-old Alex.\n Kim cradles the killer on the ground. She turns his\n head toward the light. We SEE his face full-on.", "LOU\n (muffled by the mask)\n Like me better now?\n\n (CONTINUED)", "(SNIDE)\n I knew It !\n Hammond whirls on him.\n\n HAMMOND\n You knew what?\n\n LOU\n It just figures.", "KIM\n Go play with yourself, Lou.\n\n LOU\n I'm saving it for you.\n Kim sighs with disgust and turns around as Nick walks\n up talking to Wendy.", "(TO LOU)\n What do you want?\n Lou's shifting around in his seat, pulling himself\n together.\n\n LOU\n I'm uh... a little short on cash..", "VICKI\n Say goodbye, Lou.", "AT ALEX)\n Have the nurse take a look at you,\n then get back here.\n Alex exits. Hammond angrily grabs Lou's ski mask and\n hurls it at the trash can_", "NICK\n I've got it now... better!\n\n WENDY\n\n (ANGRILY)\n You don't even know...\n (spots Lou and", "LOU\n See you around.\n He exits, slamming the door.\n\n HAMMOND\n\n (WITHOUT LOOKING" ], [ "The figure climbs out of his car, gazes at the fading\n taillights of the Hammond car. The figure is Nick\n McBride.", "MCBRIDE\n Aren't you going with the Hammond\n girl? The principal's daughter?\n\n NICK\n\n (SMILES)\n Kim.", "NICK\n Right, I know...\n McBride steps out into the hallway. Nick grabs his", "MCBRIDE\n Let's go, son!\n A handsome dark-haired boy of eighteen emerges from a\n back room. He's Nick McBride. His father pulls open\n the front door.", "hand stops, moves across an open page to a smiling head\n shot of Nick McBride.\n The hand rips the picture from the page, sets it down", "girl nearby. He is NICK MCBRIDE, eleven years old,\n two grades ahead of Robin and the most popular boy in\n school. The pretty girl laughing at his antics is KIM", "tonight!... Okay, 'bye.\n Wendy hangs up the receiver and glances at her night\n table. A photograph of a grinning Nick McBride stares", "MCBRIDE\n Why didn't you answer i\n\n NICK\n It's just Wendy. She's pissed off.\n She wants me to take her to the\n prom tonight.", "and goes. Nick looks shaken up. He stares after her\n as she hurries away.\n Behind Nick, in the other corner of the parking lot, a", "CONTINUED:\n\n NICK", "39 INT. CORRIDOR - DAY\n\n The TELEPHONE keeps RINGING. McBride looks at his son.", "NICK\n Yeah... I'll see you later.\n She hesitates a moment, then kisses him quickly, turns", "out of Slick's van. Jude looks about as stoned as she\n can get. She spots Nick, waves.", "NICK (O.S.)\n Cut to where?\n Kim and Vicki turn to see Nick ambling across the lawn\n toward them.\n\n VICKI", "As Nick turns his back, hiding his eyes against an ex-\n posed beam, the children scatter through the structure.\n Robin watches with mounting excitement as Nick finishes", "NICK)\n Nick?\n Nick silently creeps from behind a partition and moves\n up directly behind Henri-Anne. He mimes choking her, a", "A class of senior male students occupies the water,\n among them Nick McBride and Drew Shinnick. With no", "NICK\n\n (WHISPERING HOARSELY)\n We gotta get somebody quick!\n Nick starts to go. Wendy instantly whirls, grabs his\n arm.", "NICK\n Wendy, for Christ sake, I never...\n\n (SEES KIM)\n Kim!\n\n KIM", "(CALLING OUT)\n Here, killers, here!\n Nick's head disappears from the opening and Robin hears\n the POUNDING of RUNNING FEET.\n\n WENDY" ], [ "(CALLING OUT)\n Here, killers, here!\n Nick's head disappears from the opening and Robin hears\n the POUNDING of RUNNING FEET.\n\n WENDY", "NICK\n The killer is coming for you!\n He moves into the building, chanting \"Kill, kill.,\" in a", "ALE \n er's face is revealed. It is the nine-year-old Alex.\n Kim cradles the killer on the ground. She turns his\n head toward the light. We SEE his face full-on.", "NICK (O.S.\n The killer strikes!\n\n (CONTINUED)", "chant. As the three \"killers\" move through the vast\n structure searching for Wendy, \"KILL, KILT\" ECHOES off\n the walls and hardwood floors.", "her. Immediately Jude's VOICE TAKES UP the \"kill\"\n chant in unison with Nick.", "CONTINUED:\n Nick, Jude and Kelly appear in the doorway, chanting\n \"Kill, kill.\" Moving quickly, Robin grabs the ladder", "(CONTINUING; SLOWLY)\n Kill, kill, kill...\n Picking up the chant, Wendy begins to advance on Robin.", "Terrified, Robin turns and rushes out of the room,\n bowling over Nick in the doorway. Delighted that the\n game is continuing with a new victim, he follows Wendy", "KIM\n\n (SCREAMS)\n Daddy!\n Hammond slams on the brakes, throwing Alex against\n the dashboard.", "The girl's last scream catches in her throat as the\n glass slices through her neck. She is instantly\n decapitated.", "WENDY\n Kelly?\n Kelly looks from Wendy to the mangled body and begins\n to whimper.\n\n WENDY", "WENDY\n I want to play 'Murder.' Who's\n the killer?\n\n NICK\n You, Wendy!\n\n JUDE", "(SOBBING WILDLY)\n Where is she? Where is Robin?\n Seeing the covered figure lying on a stretcher, Vivian", "Horrified, Wendy watches the glass and the body crash\n to the concrete basement floor. Kelly screams. Jude\n sobs loudly. Nick can only stare in shock. Finally,", "Flushed with excitement, she imagines herself a \"killer\"\n searching for Wendy. As she moves past an empty room,\n she hears a SOFT GIGGLE. Robin stops and listens care-", "KIM\n\n WHISPERING)\n Daddy?\n\n HAMMOND\n (angrily,", "Hammond moves quickly to the door, grabbing his\n hysterical wife as she bursts into the room.\n\n HA:MMIOND\n No!\n\n VIVIAN", "But as Wendy and her fellow \"killers\" close in on her,\n Robin continues down the ladder. Wendy rushes up and\n grabs the ladder.", "LOU\n Watch for me, little girl. You\n know I'm just a kiss away.\n Lou laughs and walks off toward the parking lot. Kim" ] ]

[ "Who is the Principal of the high school where the Prom is being held? ", "Who is blamed for Robin' death? ", "What pact do Wendy, Jude, Kelly and Nick make? ", "How many years have passed since Robin's death? ", "Who is investigating the escape of Leonard Merch? ", "Who is the first to die on Prom Night? ", "Who, as it turns out, is doing the killing at the Prom? ", "Why was Alex murdering the other kids? ", "How many siblings has Kim lost? ", "How does Robin die?", "Who is Leonard Merch?", "Who is the school principal?", "How does Kelly die?", "What does Kelly's throat get cut with?", "Who is watching Jude and Slick while they are in Slick's van?", "Where does the killer confront Wendy at?", "What happens to Lou's head?", "Who turns out to be the killer?", "Why does Kim cry when Alex dies?", "What kind of phone calls do the girls receive?", "What happens after Robin dies?", "Who is the killer?", "Who kills Alex?", "Who was Alex's twin?", "Where is Lou standing when he gets decapitated?", "Where is Kelly's body?", "Who does the killer think Lou is?", "What is Lt. McBride's relationship to Nick?", "Who's name does the killer cry out at the end?" ]

[ [ "Kim, Alex and Robin's father", "Robin, Kim, and Alex's father." ], [ "Leonard Merch - a known rapist", "Leonard Merch" ], [ "They make a pact not to tell anyone what really happened when Robin died", "Not to tell anyone what happened to Robin" ], [ "6 years", "Six." ], [ "Lt McBride - Nick's father", "Lt. McBride" ], [ "Kelly has her throat slit", "Kelly" ], [ "Alex, Robin's twin brother, is responsible for the Prom Night murders", "Alex." ], [ "Because they were responsible for Robin's death and he wanted revenge", "Because they caused his sister Robin's death years earlier." ], [ "Two - her twin siblings Robin and Alex", "2" ], [ "Robin falls out a window and it kills her.", "She falls out a window when the other kids are teasing her" ], [ "Leonard Merch is a rapist that is blamed for Robin's death.", "A rapist." ], [ "Robin's father is the principal of the school.", "Robin's father" ], [ "Somebody sneaks up wearing all black and a ski mask and slits Kelly's throat.", "Her throat is slit." ], [ "The piece of glass that was missing off of the mirror.", "mirror shard" ], [ "The masked killer that is all dressed in black.", "Alex the masked killer." ], [ "The killer confronts her while she is in the bathroom and he has an axe.", "in the bathroom at the the school" ], [ "The killer cuts his head off and it falls in the middle of the dance floor.", "It lands on the dance floor" ], [ "The killer is Alex who is Robin's twin.", "alex" ], [ "Kim cries because she is sad because she has lost both her sister and her brother.", "Kim loses another sibling." ], [ "Obscene", "obscene " ], [ "Someone is blamed for her murder", "Leonard merch descends on her and is mistakenly convicted" ], [ "Alex", "Alex" ], [ "Kim", "Lt. Mcbride" ], [ "Robin", "Robin." ], [ "Behind Nick", "Back stage." ], [ "In the storage closet", "In a storage room." ], [ "Nick", "Nick" ], [ "He is Nick's father", "He is Nick's father." ], [ "Robin's", "robin" ] ]

[ [ "his story. Well, he would show them. And a great resolve surged into\nhis will to the effect that he would not leave the office until he got", "\"Way behind,\" he said. \"Got to work after supper.\" And after supper\nthey worked until ten o'clock, under the blazing electric lights, until", "He read to her a story, one that he flattered himself was among his very\nbest. He called it \"The Wine of Life,\" and the wine of it, that had", "\"The greatest time of my life. You see, I ain't used to things. . . \" He\nlooked about him helplessly. \"To people and houses like this. It's all\nnew to me, and I like it.\"", "They toiled at it all day. At seven in the evening they broke off to run\nthe hotel linen through the mangle. At ten o'clock, while the hotel", "take the risk. In the meantime he was not in need of money, for several\nof his later stories had been accepted and paid for. He actually opened", "Another week passed, a great battle that continued under the electric\nlights each night and that culminated on Saturday afternoon at three", "his watch. It was just eight o'clock. He had nothing to do, and it was\ntoo early for bed. Then his mind went blank again, and the pictures", "On a beautiful fall day, a day of similar Indian summer to that which had\nseen their love declared the year before, Martin read his \"Love-cycle\" to", "greater exertion. At the end of three months he went down a third time\nto the village with Joe. He forgot, and lived again, and, living, he", "\"And you must develop discrimination. You must consult taste, and\nfineness, and tone.\"\n\n\"I dare too much,\" he muttered.\n\nShe smiled approbation, and settled herself to listen to another story.", "Martin began, that morning, a story which he had sketched out a number of\nweeks before and which ever since had been worrying him with its", "The car dashed on, leaving the flurry of combat far behind, and its\ndumfounded passengers never dreamed that the quiet young man and the\npretty working-girl sitting in the corner on the outside seat had been", "\"Ain't it grand, you writin' those sort of things.\"\n\n\"Yes, yes,\" he demanded impatiently. \"But the story--how did you like\nit?\"", "This went on, hour after hour, while outside all the world swooned under\nthe overhead California sun. But there was no swooning in that", "A few minutes later, filling the truck with soiled clothes for the\nwasher, Joe spied the hotel manager's shirt. He knew its mark, and with\na sudden glorious consciousness of freedom he threw it on the floor and\nstamped on it.", "of her fingers had been left in the cutting machine at the paper-box\nfactory the preceding winter. He remembered the hard palms of his mother", "until it was time for supper. Joe did not appear for that function, and\nwhen Martin heard the gardener remark that most likely he was ripping the\nslats off the bar, Martin understood. He went to bed immediately", "around him and upon him. It hurt. It hurt intolerably. It was the\nfirst time in his life that Martin had travelled first class. On ships", "Once in his room, he resumed his writing. The days and nights came and\nwent, and he sat at his table and wrote on. He went nowhere, save to the" ], [ "place, and yet she lay in his arms and quivered while he went on\nmuttering, \"The beasts! The beasts!\" And she still lay there when he", "his story. Well, he would show them. And a great resolve surged into\nhis will to the effect that he would not leave the office until he got", "The car dashed on, leaving the flurry of combat far behind, and its\ndumfounded passengers never dreamed that the quiet young man and the\npretty working-girl sitting in the corner on the outside seat had been", "He read to her a story, one that he flattered himself was among his very\nbest. He called it \"The Wine of Life,\" and the wine of it, that had", "in the best cafes in town. He still slept in his little room at Maria's,\nbut the sight of his new clothes caused the neighborhood children to", "dared to do.\" She looked about her with a shiver, though half the look\nwas curiosity. \"Just think of where I am.\"", "stairs to the second floor. Here lived his brother-in-law. The grocery\nwas below. There was a smell of stale vegetables in the air. As he", "place; and I never have. This is the first time I have even mentioned\nit. The girl had just the first signs of leprosy. The fingers of her", "He arrived at Shelly Hot Springs, tired and dusty, on Sunday night. Joe\ngreeted him exuberantly. With a wet towel bound about his aching brow,\nhe had been at work all day.", "They had dined together in San Francisco, and were at the Ferry Building,\nreturning to Oakland, when the whim came to him to show Martin the \"real", "\"Nothing for me to do. Their leader was a kind old fellow, pretty far\ngone, but he ruled like a king. He had discovered the little valley and", "\"Down in Oakland,\" Martin replied.\n\n\"To the show?\"\n\nMartin shoved his plate away and got up.", "\"I saw you first from across the street when you were with that girl.\"\n\n\"Oh, yes,\" he said simply. \"I took her down to night school.\"", "Once in his room, he resumed his writing. The days and nights came and\nwent, and he sat at his table and wrote on. He went nowhere, save to the", "\"And you must develop discrimination. You must consult taste, and\nfineness, and tone.\"\n\n\"I dare too much,\" he muttered.\n\nShe smiled approbation, and settled herself to listen to another story.", "\"The greatest time of my life. You see, I ain't used to things. . . \" He\nlooked about him helplessly. \"To people and houses like this. It's all\nnew to me, and I like it.\"", "This went on, hour after hour, while outside all the world swooned under\nthe overhead California sun. But there was no swooning in that", "building, with a saloon and grocery underneath. \"The gang lives here--got\nthe whole upstairs to themselves. But Kreis is the only one who has two\nrooms. Come on.\"", "They toiled at it all day. At seven in the evening they broke off to run\nthe hotel linen through the mangle. At ten o'clock, while the hotel", "He went downstairs and out into the street, breathing great breaths of\nair. He had been suffocating in that atmosphere, while the apprentice's" ], [ "Much of this Martin had already reasoned out, and some of it he reasoned\nout later. In the meantime he worked, taking no recreation except when", "At first, Martin had done nothing but rest. He had slept a great deal,\nand spent long hours musing and thinking and doing nothing. He was like", "One day Martin became aware that he was lonely. He was healthy and\nstrong, and had nothing to do. The cessation from writing and studying,", "\"You see, Martin's not seeking culture,\" Olney exulted. \"He's trying to\nget somewhere, to do something.\"", "Martin forgot his first impression of dislike. Here was the best the\nbooks had to offer coming true. Here was an intelligence, a living man", "afford to loaf through the land of nothing-to-do. He, Martin, had\nsomething to work for, and go to work he would. He would start out early", "Martin paused to think. The prospect was alluring. A few months of it,\nand he would have time to himself for study. He could work hard and\nstudy hard.", "So it was, as he listened to Professor Caldwell's easy flow of speech--the\nconversation of a clever, cultured man--that Martin kept seeing himself", "career. If he wanted to be a chemist, culture would be unnecessary.\nMartin wants to write, but he's afraid to say so because it will put you\nin the wrong.\"", "Martin forgot to listen. The refrain of \"Work performed,\" in his own\nbrain, was drowning the other's clatter. The refrain maddened him, and\nhe tried to escape from it.", "Furthermore, Professor Caldwell did not realize Martin's concept of the\naverage English professor. Martin wanted him to talk shop, and, though", "sole interest lay in the man she loved and her desire for him to make the\nbest of himself. So, while Martin poured out his heart to her, elated\nwith the first success his chosen work in the world had received, she", "around him and upon him. It hurt. It hurt intolerably. It was the\nfirst time in his life that Martin had travelled first class. On ships", "he seemed averse at first, succeeded in making him do it. For Martin did\nnot see why a man should not talk shop.", "Martin was steadily losing his battle. Economize as he would, the\nearnings from hack-work did not balance expenses. Thanksgiving found him", "And Martin did no reading that night. He had seen no daily paper all\nweek, and, strangely to him, felt no desire to see one. He was not", "The desire to write was stirring in Martin once more. Stories and poems\nwere springing into spontaneous creation in his brain, and he made notes", "Martin had enjoyed the fight, with a recrudescence of the old fighting\nthrills. But they quickly died away, and he was oppressed by a great", "But Martin did not shout out. The thought gnawed in his brain, an\nunceasing torment, while he smiled and succeeded in being tolerant. As", "Thus, in his development, Martin found himself face to face with economic\nmorality, or the morality of class; and soon it became to him a grisly" ], [ "\"But I love Martin already,\" was the plaintive protest.", "Martin had been wild to see Ruth. His was essentially a love-nature, and\nhe possessed more than the average man's need for sympathy. He was", "understanding of the objects of her sympathy. So it was while Martin\nheld her hand and gladly talked, that her love for him prompted her to", "had done for her, Martin decided he could do for Ruth. But first, she\nmust love him. The rest would be easy. He would give her strength and", "sole interest lay in the man she loved and her desire for him to make the\nbest of himself. So, while Martin poured out his heart to her, elated\nwith the first success his chosen work in the world had received, she", "With tears in her eyes and her arms around his neck, Marian, at parting,\ntold Martin how much she loved him and always had loved him. It was", "would not let Martin speak his love. As long as she did this, all would\nbe well. In a few days he would be off to sea. And even if he did", "Martin forgot his first impression of dislike. Here was the best the\nbooks had to offer coming true. Here was an intelligence, a living man", "Tongue-tied by inexperience and by excess of ardor, wooing unwittingly\nand awkwardly, Martin continued his approach by contact. The touch of", "Instead, her eyes were fixed anxiously upon her betrothed, and Martin,\nfollowing her gaze, saw spread on that worthy's asymmetrical features", "They disagreed about love, and the magazines, and many things, but they\nliked each other, and on Martin's part it was no less than a profound", "She gave a sharp cry. \"Oh, Martin, don't be cruel. You have not kissed\nme once. You are as unresponsive as a stone. And think what I have", "On a beautiful fall day, a day of similar Indian summer to that which had\nseen their love declared the year before, Martin read his \"Love-cycle\" to", "She stood before him, with shining eyes.\n\n\"I am waiting, Martin,\" she whispered, \"waiting for you to accept me.\nLook at me.\"", "Martin was sore beset. He could see that Ruth was hanging eagerly upon\nhis answer.", "of the world. All of which was appreciated and enjoyed by Martin. He\nfollowed her mental processes more clearly now, and her soul was no\nlonger the sealed wonder it had been. He was on terms of intellectual", "But Martin forgave him the sneer, for he had begun to discover that Olney\nwas not in love with Ruth. Later, he was dumfounded to learn from", "\"Do you think so?\" Martin queried absently, for to him there was only one\nbeautiful woman in the world, and she was beside him, her hand upon his\narm.", "Martin waited with satisfaction for her verdict. He had no doubt of what\nit would be, and he was astounded when he heard her say:\n\n\"It is beautiful.\"", "Martin shook his head with a smile, but in his secret heart he was\nwondering why any man wanted to marry. It seemed an amazing and\nincomprehensible thing." ], [ "Martin felt very uncomfortable, and looked entreaty at Ruth.\n\n\"Yes, what do you want?\" Ruth asked. \"That will settle it.\"", "had done for her, Martin decided he could do for Ruth. But first, she\nmust love him. The rest would be easy. He would give her strength and", "\"You leave Martin alone, Ruth. He knows what's best for himself. Look\nat what he's done already. He makes me sick sometimes, sick and ashamed", "During the walk Ruth and Martin held little conversation. She was\nstunned. He was apathetic. Once, he mentioned that he was going away,", "Martin was sore beset. He could see that Ruth was hanging eagerly upon\nhis answer.", "\"But Ruth is my teacher,\" Martin answered chivalrously. \"She is\nresponsible for what little I have learned.\"", "it had learned ways and means that it had never forgotten. It was in\nthis old, primitive way that Martin wooed Ruth. He did not know he was", "So Martin contaminated Professor Caldwell with his own earnestness,\nchallenging him to speak his mind. As Ruth paused beside them she heard\nMartin saying:-", "Ruth's hand sought Martin's beseechingly under the table, but his blood\nwas up. He was inflamed by the intellectual pretence and fraud of those", "\"Poor thing,\" Ruth murmured softly. \"It's a wonder she let you get\naway.\"\n\n\"How do you mean?\" Martin asked unwittingly.", "Ruth drew Martin away with her on a pretext; when she had got him aside,\nwhispering:-", "Martin went to the telephone in the corner of the room, and felt a wave\nof warmth rush through him as he heard Ruth's voice. In his battle with", "Martin had been wild to see Ruth. His was essentially a love-nature, and\nhe possessed more than the average man's need for sympathy. He was", "But Martin forgave him the sneer, for he had begun to discover that Olney\nwas not in love with Ruth. Later, he was dumfounded to learn from", "\"No, I'm not chump enough for that, at any rate,\" Martin answered. \"But\nI'll tell you what I will do. You gave me the greatest night of my life.", "\"We'll make a good Republican out of you yet,\" said Judge Blount.\n\n\"The man on horseback will arrive before that time,\" Martin retorted with\ngood humor, and returned to Ruth.", "Ruth looked at her mother in surprise.\n\n\"I thought you knew. Why, we're engaged, Martin and I.\"\n\nMrs. Morse laughed with incredulous vexation.", "Martin talked for fifteen minutes with him, nor could Ruth have wished\nbetter behavior on her lover's part. Not once did his eyes flash nor his", "open and nagging contempt of Bernard Higginbotham. Martin had faith in\nhimself, but he was alone in this faith. Not even Ruth had faith. She", "Those Sundays were great days for Martin, greatest because he was with\nRuth, and great, also, because they were putting him more on a par with" ], [ "Martin went down the street in a daze. He stopped at the corner and\nlooked about him vacantly.\n\n\"Well, I'll be damned!\" he murmured at last. \"The old fellow was afraid\nof me.\"", "But at that moment, with an impatient movement, Mr. Ends turned as if\nabout to leave the room. At the same instant Martin sprang for him,", "But Martin did not shout out. The thought gnawed in his brain, an\nunceasing torment, while he smiled and succeeded in being tolerant. As", "At first, Martin had done nothing but rest. He had slept a great deal,\nand spent long hours musing and thinking and doing nothing. He was like", "Martin had enjoyed the fight, with a recrudescence of the old fighting\nthrills. But they quickly died away, and he was oppressed by a great", "Martin was steadily losing his battle. Economize as he would, the\nearnings from hack-work did not balance expenses. Thanksgiving found him", "And Martin did no reading that night. He had seen no daily paper all\nweek, and, strangely to him, felt no desire to see one. He was not", "During the walk Ruth and Martin held little conversation. She was\nstunned. He was apathetic. Once, he mentioned that he was going away,", "\"No, no, not at all,\" Martin answered, shaking hands and waving him to\nthe solitary chair, himself taking to the bed. \"But how did you know\nwhere I lived?\"", "\"Sorry my hand played out,\" Martin said, when at last he desisted. \"It\nis quite numb.\"\n\nHe uprighted the cub and perched him on the bed.", "One day Martin became aware that he was lonely. He was healthy and\nstrong, and had nothing to do. The cessation from writing and studying,", "around him and upon him. It hurt. It hurt intolerably. It was the\nfirst time in his life that Martin had travelled first class. On ships", "He broke off suddenly and regarded Martin. Then, with a flash of\ndivination, he saw the situation. The expression on his face turned to\nwondering horror.", "Much of this Martin had already reasoned out, and some of it he reasoned\nout later. In the meantime he worked, taking no recreation except when", "Martin laughed merrily, but it was with an effort. The day had been too\nlong, the day's effort too intense, and he was deep in the throes of the\nreaction.", "So Martin did not scorch that, and eased down on his muscular tension,\nthough nervous tension rose higher than ever, and he listened", "Mr. Ends, and said that he had left his money home. That Mr. Ends\nresented this, was patent; and Martin saw the twitch of his arm as if to", "Yes, and twice in the months that followed you passed me on the street\nand did not know me, Martin almost said aloud. Each time I was hungry", "Martin forgot his first impression of dislike. Here was the best the\nbooks had to offer coming true. Here was an intelligence, a living man", "But Martin made no answer. A few more drinks, and in his brain he felt\nthe maggots of intoxication beginning to crawl. Ah, it was living, the" ], [ "During the walk Ruth and Martin held little conversation. She was\nstunned. He was apathetic. Once, he mentioned that he was going away,", "But Ruth did not care to wait ten days or two weeks. Besides, her lover\nwas sick. The next afternoon, accompanied by Arthur, she arrived in the", "Martin was sore beset. He could see that Ruth was hanging eagerly upon\nhis answer.", "had done for her, Martin decided he could do for Ruth. But first, she\nmust love him. The rest would be easy. He would give her strength and", "open and nagging contempt of Bernard Higginbotham. Martin had faith in\nhimself, but he was alone in this faith. Not even Ruth had faith. She", "market that weeks must elapse before he could hope for the first returns\nfrom his hack-work. Except at such times as he saw Ruth, or dropped in", "entertaining them, was pursuing her plan of surrounding Ruth with young\npeople. The campaign had begun during Martin's enforced absence, and was", "Ruth and her family were home again, and Martin, returned to Oakland, saw\nmuch of her. Having gained her degree, she was doing no more studying;", "Martin talked for fifteen minutes with him, nor could Ruth have wished\nbetter behavior on her lover's part. Not once did his eyes flash nor his", "Martin felt very uncomfortable, and looked entreaty at Ruth.\n\n\"Yes, what do you want?\" Ruth asked. \"That will settle it.\"", "Martin had been wild to see Ruth. His was essentially a love-nature, and\nhe possessed more than the average man's need for sympathy. He was", "Ruth's hand sought Martin's beseechingly under the table, but his blood\nwas up. He was inflamed by the intellectual pretence and fraud of those", "Martin went to the telephone in the corner of the room, and felt a wave\nof warmth rush through him as he heard Ruth's voice. In his battle with", "At first, Martin had done nothing but rest. He had slept a great deal,\nand spent long hours musing and thinking and doing nothing. He was like", "Martin, with the dull pain of despair at his heart, mechanically reaching\nfor the tobacco and paper (which he no longer carried) to roll a\ncigarette, muttered something inarticulate, and Ruth went on.", "But success had lost Martin's address, and her messengers no longer came\nto his door. For twenty-five days, working Sundays and holidays, he", "it had learned ways and means that it had never forgotten. It was in\nthis old, primitive way that Martin wooed Ruth. He did not know he was", "That Ruth had little faith in his power as a writer, did not alter her\nnor diminish her in Martin's eyes. In the breathing spell of the", "other, and the rest of the conversation being extremely desultory. Then\nafterward, when Ruth and Martin were alone, there was a scene.", "ever. He had asked for two years; time was flying, and he was achieving\nnothing. Again, he was always conscious of the fact that she did not" ], [ "At first, Martin had done nothing but rest. He had slept a great deal,\nand spent long hours musing and thinking and doing nothing. He was like", "Much of this Martin had already reasoned out, and some of it he reasoned\nout later. In the meantime he worked, taking no recreation except when", "Martin forgot his first impression of dislike. Here was the best the\nbooks had to offer coming true. Here was an intelligence, a living man", "One day Martin became aware that he was lonely. He was healthy and\nstrong, and had nothing to do. The cessation from writing and studying,", "Martin was thrilling all over. This was the old days with a vengeance,\nwith their dancing, and their fighting, and their fun. While he kept a", "So it was, as he listened to Professor Caldwell's easy flow of speech--the\nconversation of a clever, cultured man--that Martin kept seeing himself", "Furthermore, Professor Caldwell did not realize Martin's concept of the\naverage English professor. Martin wanted him to talk shop, and, though", "Brissenden nor even thought about him. For the first time Martin\nrealized the daze he had been in, and he felt shame for having forgotten", "Martin had enjoyed the fight, with a recrudescence of the old fighting\nthrills. But they quickly died away, and he was oppressed by a great", "And Martin did no reading that night. He had seen no daily paper all\nweek, and, strangely to him, felt no desire to see one. He was not", "Bless me, Martin thought to himself, he doesn't know what I was talking\nabout. He hasn't understood a word of it. What did he do with his\neducation, anyway?", "he seemed averse at first, succeeded in making him do it. For Martin did\nnot see why a man should not talk shop.", "been doing. Martin was elated and diffident. Here was a judge. She was\na bachelor of arts. She had studied literature under skilled", "But Martin did not shout out. The thought gnawed in his brain, an\nunceasing torment, while he smiled and succeeded in being tolerant. As", "delight of such a thirst assuaged. Who or what he was, Martin never\nlearned. He was a man without a past, whose future was the imminent", "Martin forgot to listen. The refrain of \"Work performed,\" in his own\nbrain, was drowning the other's clatter. The refrain maddened him, and\nhe tried to escape from it.", "Martin was steadily losing his battle. Economize as he would, the\nearnings from hack-work did not balance expenses. Thanksgiving found him", "\"No, no, not at all,\" Martin answered, shaking hands and waving him to\nthe solitary chair, himself taking to the bed. \"But how did you know\nwhere I lived?\"", "him, and had managed to get along quite well without him. Doubts arose\nin Martin's mind, and had he been less strongly individual he would have", "Martin went down the street in a daze. He stopped at the corner and\nlooked about him vacantly.\n\n\"Well, I'll be damned!\" he murmured at last. \"The old fellow was afraid\nof me.\"" ], [ "One day Martin became aware that he was lonely. He was healthy and\nstrong, and had nothing to do. The cessation from writing and studying,", "At first, Martin had done nothing but rest. He had slept a great deal,\nand spent long hours musing and thinking and doing nothing. He was like", "Much of this Martin had already reasoned out, and some of it he reasoned\nout later. In the meantime he worked, taking no recreation except when", "\"I'm not going to get a job,\" Martin said with a smile. \"And you can\ntell him so from me. I don't need a job, and there's the proof of it.\"", "Martin forgot his first impression of dislike. Here was the best the\nbooks had to offer coming true. Here was an intelligence, a living man", "afford to loaf through the land of nothing-to-do. He, Martin, had\nsomething to work for, and go to work he would. He would start out early", "Martin was steadily losing his battle. Economize as he would, the\nearnings from hack-work did not balance expenses. Thanksgiving found him", "\"But think of him now!\" she cried enthusiastically. \"Think of what his\nincome affords him. His early denials are paid for a thousand-fold.\"\n\nMartin looked at her sharply.", "Bless me, Martin thought to himself, he doesn't know what I was talking\nabout. He hasn't understood a word of it. What did he do with his\neducation, anyway?", "Martin, showed with what keenness and with what enormous planning he had\nmade the store. And he had plans for it, ambitious plans. The", "\"On the contrary,\" Martin considered, \"because the incident is not\nworthy.\" He broke into a laugh, hearty and wholesome. \"I confess you", "hand. The fortunate sale of several storiettes, some humorous verse, and\na few jokes gave Martin a temporary splurge of prosperity. Not only did", "And Martin did no reading that night. He had seen no daily paper all\nweek, and, strangely to him, felt no desire to see one. He was not", "Thus, in his development, Martin found himself face to face with economic\nmorality, or the morality of class; and soon it became to him a grisly", "around him and upon him. It hurt. It hurt intolerably. It was the\nfirst time in his life that Martin had travelled first class. On ships", "Mr. Ends, and said that he had left his money home. That Mr. Ends\nresented this, was patent; and Martin saw the twitch of his arm as if to", "\"You see, Martin's not seeking culture,\" Olney exulted. \"He's trying to\nget somewhere, to do something.\"", "sole interest lay in the man she loved and her desire for him to make the\nbest of himself. So, while Martin poured out his heart to her, elated\nwith the first success his chosen work in the world had received, she", "his pocket. As he read, he abstractedly ran his fingers, with a\ncaressing movement, through his hair. Martin noticed him no more that\nevening, except once when he observed him chaffing with great apparent", "And from such largess, dispensed from his future, Martin turned and took\nhis one good suit of clothes to the pawnshop. His plight was desperate" ], [ "Martin Eden had been mastered by curiosity all his days. He wanted to\nknow, and it was this desire that had sent him adventuring over the", "\"I mean that she is not to die an old maid if I can help it,\" was the\nanswer. \"If this young Eden can arouse her interest in mankind in\ngeneral, it will be a good thing.\"", "\"And it is that, the children, that makes Mr. Eden impossible,\" Mrs.\nMorse went on incisively. \"Their heritage must be clean, and he is, I am", "Martin Eden nodded. He had caught a glimpse of the apparently\nillimitable vistas of knowledge. What he saw took on tangibility. His", "school. When he was only seventeen, he was earning excellent wages at\nsetting type, but he was ambitious. He wanted a career, not a\nlivelihood, and he was content to make immediate sacrifices for his", "\"What you need, you realize yourself, and it is education. You should go\nback and finish grammar school, and then go through to high school and\nuniversity.\"\n\n\"But that takes money,\" he interrupted.", "\"And so you arise from the mud, Martin Eden,\" he said solemnly. \"And you\ncleanse your eyes in a great brightness, and thrust your shoulders among", "Several weeks went by, during which Martin Eden studied his grammar,\nreviewed the books on etiquette, and read voraciously the books that", "In one way, he had undergone a moral revolution. Her cleanness and\npurity had reacted upon him, and he felt in his being a crying need to be", "A terrible restlessness that was akin to hunger afflicted Martin Eden. He\nwas famished for a sight of the girl whose slender hands had gripped his", "himself. He had not changed. He was the same Martin Eden. What made\nthe difference? The fact that the stuff he had written had appeared", "\"Do I think so? If that girl had proper opportunity to dress, Mr. Eden,\nand if she were taught how to carry herself, you would be fairly dazzled\nby her, and so would all men.\"", "\"Martin Eden, the first thing to-morrow you go to the free library an'\nread up on etiquette. Understand!\"\n\nHe turned off the gas, and the springs shrieked under his body.", "himself. Along with his humbleness because he knew so little, there\narose a conviction of power. He felt a sharp gradation between himself\nand his shipmates, and was wise enough to realize that the difference lay", "ideal of man. And when she pointed out the opportuneness of the time,\nthat the entrance examinations to high school began on the following\nMonday, he promptly volunteered that he would take them.", "He was not bragging, not showing off. His sole motive was to make her\nhappy, to make her proud of him, to justify her long faith in him. She", "Ruth's sake. It was for this reason that his desire for fame was strong.\nHe wanted to be great in the world's eyes; \"to make good,\" as he", "vacation he had taken, he had spent many hours in self-analysis, and\nthereby learned much of himself. He had discovered that he loved beauty\nmore than fame, and that what desire he had for fame was largely for", "stories of his and with childish dreams. Martin Eden, I am afraid, will\nnever grow up. He does not take to responsibility and a man's work in", "\"Let me see--where were you born, Mr. Eden?\" the cub asked, assuming an\nair of expectant attention.\n\n\"He doesn't take notes,\" said Brissenden. \"He remembers it all.\"" ], [ "\"And it is that, the children, that makes Mr. Eden impossible,\" Mrs.\nMorse went on incisively. \"Their heritage must be clean, and he is, I am", "\"I mean that she is not to die an old maid if I can help it,\" was the\nanswer. \"If this young Eden can arouse her interest in mankind in\ngeneral, it will be a good thing.\"", "\"Ruth, this is Mr. Eden.\"", "\"It's absurd and unfair,\" he had told Ruth weeks before, \"this objection\nto talking shop. For what reason under the sun do men and women come", "\"No! no!\" Ruth cried, starting up. \"I do not want to be released. I\nlove him, and love is very sweet. I am going to marry him--of course, if\nyou will let me.\"", "that he encountered Ruth and her mother. Mrs. Morse was shocked. Even\nRuth was hurt, for she had some regard for appearances, and her lover,", "So he waited with Ruth and watched, desiring to speak his love but not\ndaring. He was afraid of shocking her, and he was not sure of himself.", "all, he is a mere boy of twenty-one. Ruth is no more than a child. It\nis calf love with the pair of them, and they will grow out of it.\"", "But Ruth did not care to wait ten days or two weeks. Besides, her lover\nwas sick. The next afternoon, accompanied by Arthur, she arrived in the", "\"Impossible,\" Mrs. Morse laughed. \"She is three years older than he,\nand, besides, it is impossible. Nothing will ever come of it. Trust\nthat to me.\"", "Again Ruth nodded, and again a blush mantled her face.\n\n\"It is just that,\" she said. \"It has not been his fault, but he has\nplayed much with--\"", "become a captain. Ruth seemed very near to him in that moment. As a\ncaptain, he could marry her (if she would have him). And if she", "As Ruth's front door closed behind them and he came down the steps with\nher, he found himself greatly perturbed. It was not unalloyed bliss,", "Ruth looked at her mother in surprise.\n\n\"I thought you knew. Why, we're engaged, Martin and I.\"\n\nMrs. Morse laughed with incredulous vexation.", "During the walk Ruth and Martin held little conversation. She was\nstunned. He was apathetic. Once, he mentioned that he was going away,", "kinship with him in the flesh. It was his own love that thrust her from\nhim and made her seem impossible for him. Love itself denied him the one\nthing that it desired.", "\"We have other plans for you, Ruth, dear, your father and I--oh, no, no;\nno man picked out for you, or anything like that. Our plans go no", "for him to do this, for it cut him off from Ruth. He had no second-best\nsuit that was presentable, and though he could go to the butcher and the", "He signified that he was done with the discussion, and turned to Ruth.\n\n\"I'm wrought up to-day,\" he said in an undertone. \"All I want to do is\nto love, not talk.\"", "But his wife shook her head. \"It will not be necessary. Ruth says he is\ngoing to sea in a few days. When he comes back, she will not be here. We" ], [ "so. That was the way bourgeois society valued a man, and who was he to\nexpect it otherwise? But he was proud. He disdained such valuation. He", "bourgeoisie. He had settled down into a strange and comfortable state of\nmind. He no longer cared. He forgave everybody, even the cub reporter", "terrorized honest, working-class householders. But his ideals had\nchanged. He glanced about him at the well-bred, well-dressed men and", "Morses had shown him the best their social position could produce, and he\nwas not impressed by it. A pauper himself, a slave to the money-lender,", "\"And it is that, the children, that makes Mr. Eden impossible,\" Mrs.\nMorse went on incisively. \"Their heritage must be clean, and he is, I am", "\"Bourgeois,\" \"trader's den\"--Brissenden's epithets repeated themselves in\nhis mind. But what of that? he demanded angrily. He was marrying Ruth,", "Thus, in his development, Martin found himself face to face with economic\nmorality, or the morality of class; and soon it became to him a grisly", "bourgeoisie is that he robs without illusion. He'll talk Nietzsche, or\nSchopenhauer, or Kant, or anything, but the only thing in this world, not", "and the bourgeois spirit hates realism. The bourgeoisie is cowardly. It\nis afraid of life. And all your effort was to make me afraid of life.", "So it was, reasoning thus, that Martin questioned the validity of his\npopularity. It was the bourgeoisie that bought his books and poured its", "indignation. After all, what did it matter? It was on a par with all\nthe rest that Brissenden had condemned in bourgeois society.", "his love-poems. The real bourgeois Ruth, with all the bourgeois failings\nand with the hopeless cramp of the bourgeois psychology in her mind, he\nhad never loved.", "for a living. He suddenly saw the aristocracy of the people who did not\nlabor. It towered before him on the wall, a figure in brass, arrogant", "He was appalled at the problem confronting him, weighted down by the\nincubus of his working-class station. Everything reached out to hold him", "waiting to take her back.\" He burst into laughter. \"Oh, these\nbourgeois! When I was broke, I was not fit to be seen with his sister.", "\"Come again, Mr. Eden; glad to see you any time,\" they laughed down at\nhim from the landing above.\n\nMartin grinned as he picked himself up.", "\"I mean that she is not to die an old maid if I can help it,\" was the\nanswer. \"If this young Eden can arouse her interest in mankind in\ngeneral, it will be a good thing.\"", "himself. He had not changed. He was the same Martin Eden. What made\nthe difference? The fact that the stuff he had written had appeared", "conclusion that he was nobody, nothing. Mart Eden, the hoodlum, and Mart\nEden, the sailor, had been real, had been he; but Martin Eden! the famous", "the iron rule of bourgeois convention. It was splendid, magnificent,\ndesperate. And yet, what was the matter with him? He was not thrilled" ], [ "\"I mean that she is not to die an old maid if I can help it,\" was the\nanswer. \"If this young Eden can arouse her interest in mankind in\ngeneral, it will be a good thing.\"", "\"And it is that, the children, that makes Mr. Eden impossible,\" Mrs.\nMorse went on incisively. \"Their heritage must be clean, and he is, I am", "\"But think of him now!\" she cried enthusiastically. \"Think of what his\nincome affords him. His early denials are paid for a thousand-fold.\"\n\nMartin looked at her sharply.", "And to Martin Eden's supreme surprise, she burst into a storm of tears\nthat took more kisses than one and many caresses to drive away. And all", "she or her mother addressed him as \"Mr. Eden,\" his aggressive pride was\nforgotten, and he was glowing and warm with delight. He was a civilized", "In one way, he had undergone a moral revolution. Her cleanness and\npurity had reacted upon him, and he felt in his being a crying need to be", "himself. He had not changed. He was the same Martin Eden. What made\nthe difference? The fact that the stuff he had written had appeared", "when she had felt so happy. This change in him was her handiwork, and\nshe was proud of it and fired with ambition further to help him.", "waiting to take her back.\" He burst into laughter. \"Oh, these\nbourgeois! When I was broke, I was not fit to be seen with his sister.", "and for them not to be alarmed, because they would find him an\ninteresting wild man. Martin Eden could not have found it in him, just\nthen, to believe that her brother could be guilty of such", "\"Do I think so? If that girl had proper opportunity to dress, Mr. Eden,\nand if she were taught how to carry herself, you would be fairly dazzled\nby her, and so would all men.\"", "In itself, this small sum seemed a fortune. Immediately on recovering\nhis clothes he had gone to see Ruth, and on the way he could not refrain", "A terrible restlessness that was akin to hunger afflicted Martin Eden. He\nwas famished for a sight of the girl whose slender hands had gripped his", "he had thrilled to--he who had been called \"Eden,\" or \"Martin Eden,\" or\njust \"Martin,\" all his life. And \"_Mister_!\" It was certainly going", "her. And she had not guessed. There was the difference. She was\ndifferent. He was appalled by his own grossness, awed by her clear", "did not deserve such fortune. His mood was essentially religious. He\nwas humble and meek, filled with self-disparagement and abasement. In", "\"Come again, Mr. Eden; glad to see you any time,\" they laughed down at\nhim from the landing above.\n\nMartin grinned as he picked himself up.", "To her astonishment (and it was something that she never ceased from\nrelating to her dying day), she saw Martin Eden seize an iron from the", "Martin Eden came back to earth. His was a fluid organism, swiftly\nadjustable, capable of flowing into and filling all sorts of nooks and", "possession of her was dim and nebulous and totally different from\npossession as he had known it. Ambition soared on mad wings, and he saw\nhimself climbing the heights with her, sharing thoughts with her," ], [ "Eden, a pretty good fellow and not particularly a fool. I could tell you\nthe moon is made of green cheese and you would subscribe to the notion,", "\"And it is that, the children, that makes Mr. Eden impossible,\" Mrs.\nMorse went on incisively. \"Their heritage must be clean, and he is, I am", "\"Let me see--where were you born, Mr. Eden?\" the cub asked, assuming an\nair of expectant attention.\n\n\"He doesn't take notes,\" said Brissenden. \"He remembers it all.\"", "\"Come again, Mr. Eden; glad to see you any time,\" they laughed down at\nhim from the landing above.\n\nMartin grinned as he picked himself up.", "He had tapped a gold mine. Where this came from he could always get\nmore. He planned to buy some more clothes, to subscribe to many", "\"I mean that she is not to die an old maid if I can help it,\" was the\nanswer. \"If this young Eden can arouse her interest in mankind in\ngeneral, it will be a good thing.\"", "for his work, but for the fame that was his, because he was somebody\namongst men, and--why not?--because he had a hundred thousand dollars or", "of it, and was at his best. Also, he had money in his pockets, and, as\nin the old days when he returned from sea with a pay-day, he made the\nmoney fly.", "with five dollars tinkling in his pocket. He paid a dollar each on\naccount to the four tradesmen, and in his kitchen fried steak and onions,", "\"And Mr. Ends, Mr. Eden. Mr. Ends is our business manager, you know.\"", "\"It's rather absurd, Mr. Eden, to have caught us in this shape,\" Mr. Ford\npreambled airily. \"All carelessness, I assure you. But I'll tell you", "Martin Eden had been mastered by curiosity all his days. He wanted to\nknow, and it was this desire that had sent him adventuring over the", "\"There is nothing the matter with you, Mr. Eden,\" he said, \"positively\nnothing the matter with you. You are in the pink of condition. Candidly,", "\"But think of him now!\" she cried enthusiastically. \"Think of what his\nincome affords him. His early denials are paid for a thousand-fold.\"\n\nMartin looked at her sharply.", "industrious, and economical. He denied himself the enjoyments that most\nboys indulge in. He made it a point to save so much every week, no", "\"I must say, Mr. Eden,\" the editor of The Hornet called down, \"that for a\npoet you can go some yourself. Where did you learn that right cross--if\nI may ask?\"", "from jingling the little handful of silver in his pocket. He had been so\nlong without money that, like a rescued starving man who cannot let the", "he had thrilled to--he who had been called \"Eden,\" or \"Martin Eden,\" or\njust \"Martin,\" all his life. And \"_Mister_!\" It was certainly going", "note with Brissenden's lawyer, he still had over a hundred dollars in\npocket. He ordered a suit of clothes from the tailor and ate his meals", "Several weeks went by, during which Martin Eden studied his grammar,\nreviewed the books on etiquette, and read voraciously the books that" ], [ "\"Ruth, this is Mr. Eden.\"", "\"I mean that she is not to die an old maid if I can help it,\" was the\nanswer. \"If this young Eden can arouse her interest in mankind in\ngeneral, it will be a good thing.\"", "\"And it is that, the children, that makes Mr. Eden impossible,\" Mrs.\nMorse went on incisively. \"Their heritage must be clean, and he is, I am", "But Ruth laughed from security. She was sure of herself, and in a few\ndays he would be off to sea. Then, by the time he returned, she would be", "\"No! no!\" Ruth cried, starting up. \"I do not want to be released. I\nlove him, and love is very sweet. I am going to marry him--of course, if\nyou will let me.\"", "But his wife shook her head. \"It will not be necessary. Ruth says he is\ngoing to sea in a few days. When he comes back, she will not be here. We", "that he encountered Ruth and her mother. Mrs. Morse was shocked. Even\nRuth was hurt, for she had some regard for appearances, and her lover,", "During the walk Ruth and Martin held little conversation. She was\nstunned. He was apathetic. Once, he mentioned that he was going away,", "\"Ruth.\" It was a talisman, a magic word to conjure with. Each time he\nmurmured it, her face shimmered before him, suffusing the foul wall with", "He signified that he was done with the discussion, and turned to Ruth.\n\n\"I'm wrought up to-day,\" he said in an undertone. \"All I want to do is\nto love, not talk.\"", "\"Now that's unfair,\" Ruth cried. \"I knew you were turning the\nconversation just in order to get off something.\"", "After several weeks, what he had been waiting for happened. He met Ruth\non the street. It was true, she was accompanied by her brother, Norman,\nand it was true that they tried to ignore him and that Norman attempted\nto wave him aside.", "\"Won't you sit down, Mr. Eden?\" the girl was saying. \"I have been\nlooking forward to meeting you ever since Arthur told us. It was brave\nof you--\"", "refusing his stuff. He could see that clearly now, and laugh at himself\nand the dreams he had dreamed. Ruth returned his \"Sea Lyrics\" by mail.", "kinship with him in the flesh. It was his own love that thrust her from\nhim and made her seem impossible for him. Love itself denied him the one\nthing that it desired.", "Ruth. A new conception of love formed in his mind as he listened. Reason\nhad nothing to do with love. It mattered not whether the woman he loved", "\"Because she must have loved you,\" Ruth said, still softly. \"Candidly,\nnow, didn't she?\"", "Again Ruth nodded, and again a blush mantled her face.\n\n\"It is just that,\" she said. \"It has not been his fault, but he has\nplayed much with--\"", "Ruth nodded.\n\n\"I did not want to say it, but he is not. He is rough, brutal,\nstrong--too strong. He has not--\"", "\"Ruth.\" He had not thought a simple sound could be so beautiful. It\ndelighted his ear, and he grew intoxicated with the repetition of it." ], [ "\"And it is that, the children, that makes Mr. Eden impossible,\" Mrs.\nMorse went on incisively. \"Their heritage must be clean, and he is, I am", "\"I mean that she is not to die an old maid if I can help it,\" was the\nanswer. \"If this young Eden can arouse her interest in mankind in\ngeneral, it will be a good thing.\"", "\"Ruth, this is Mr. Eden.\"", "kinship with him in the flesh. It was his own love that thrust her from\nhim and made her seem impossible for him. Love itself denied him the one\nthing that it desired.", "that he encountered Ruth and her mother. Mrs. Morse was shocked. Even\nRuth was hurt, for she had some regard for appearances, and her lover,", "\"Because she must have loved you,\" Ruth said, still softly. \"Candidly,\nnow, didn't she?\"", "But Ruth laughed from security. She was sure of herself, and in a few\ndays he would be off to sea. Then, by the time he returned, she would be", "\"No! no!\" Ruth cried, starting up. \"I do not want to be released. I\nlove him, and love is very sweet. I am going to marry him--of course, if\nyou will let me.\"", "Ruth. A new conception of love formed in his mind as he listened. Reason\nhad nothing to do with love. It mattered not whether the woman he loved", "had not really loved her. It was an idealized Ruth he had loved, an\nethereal creature of his own creating, the bright and luminous spirit of", "But his wife shook her head. \"It will not be necessary. Ruth says he is\ngoing to sea in a few days. When he comes back, she will not be here. We", "During the walk Ruth and Martin held little conversation. She was\nstunned. He was apathetic. Once, he mentioned that he was going away,", "\"Now that's unfair,\" Ruth cried. \"I knew you were turning the\nconversation just in order to get off something.\"", "Then there was Ruth. She had liked him for himself, that was\nindisputable. And yet, much as she had liked him she had liked the", "\"Ruth.\" It was a talisman, a magic word to conjure with. Each time he\nmurmured it, her face shimmered before him, suffusing the foul wall with", "He signified that he was done with the discussion, and turned to Ruth.\n\n\"I'm wrought up to-day,\" he said in an undertone. \"All I want to do is\nto love, not talk.\"", "Again Ruth nodded, and again a blush mantled her face.\n\n\"It is just that,\" she said. \"It has not been his fault, but he has\nplayed much with--\"", "Ruth nodded.\n\n\"I did not want to say it, but he is not. He is rough, brutal,\nstrong--too strong. He has not--\"", "After several weeks, what he had been waiting for happened. He met Ruth\non the street. It was true, she was accompanied by her brother, Norman,\nand it was true that they tried to ignore him and that Norman attempted\nto wave him aside.", "house wherein Ruth dwelt. There it was all spiritual. Here it was all\nmaterial, and meanly material." ], [ "liked, and were willing to scrap for, was just Mart Eden, one of the\nbunch and a pretty good guy.", "with her, did not even count. She valued him, himself. That was the way\nJimmy, the plumber, and all the old gang valued him. That had been", "desired to be valued for himself, or for his work, which, after all, was\nan expression of himself. That was the way Lizzie valued him. The work,", "Eden, a pretty good fellow and not particularly a fool. I could tell you\nthe moon is made of green cheese and you would subscribe to the notion,", "As for himself, he loved beauty passionately, and the joy of serving her\nwas to him sufficient wage. And more than beauty he loved Ruth. He", "\"And it is that, the children, that makes Mr. Eden impossible,\" Mrs.\nMorse went on incisively. \"Their heritage must be clean, and he is, I am", "himself. He had not changed. He was the same Martin Eden. What made\nthe difference? The fact that the stuff he had written had appeared", "\"Come again, Mr. Eden; glad to see you any time,\" they laughed down at\nhim from the landing above.\n\nMartin grinned as he picked himself up.", "for his work, but for the fame that was his, because he was somebody\namongst men, and--why not?--because he had a hundred thousand dollars or", "he had thrilled to--he who had been called \"Eden,\" or \"Martin Eden,\" or\njust \"Martin,\" all his life. And \"_Mister_!\" It was certainly going", "\"I mean that she is not to die an old maid if I can help it,\" was the\nanswer. \"If this young Eden can arouse her interest in mankind in\ngeneral, it will be a good thing.\"", "\"Let me see--where were you born, Mr. Eden?\" the cub asked, assuming an\nair of expectant attention.\n\n\"He doesn't take notes,\" said Brissenden. \"He remembers it all.\"", "he hinted about the purpose of his business. But his admirers' ears were\ndeaf. They sang his praises, told him what they had thought of his story", "she or her mother addressed him as \"Mr. Eden,\" his aggressive pride was\nforgotten, and he was glowing and warm with delight. He was a civilized", "and for them not to be alarmed, because they would find him an\ninteresting wild man. Martin Eden could not have found it in him, just\nthen, to believe that her brother could be guilty of such", "He was superior to the climb, and (he did not, with false modesty, hide\nit from himself) he was superior to the beings among whom he had", "He was not bragging, not showing off. His sole motive was to make her\nhappy, to make her proud of him, to justify her long faith in him. She", "Martin Eden nodded. He had caught a glimpse of the apparently\nillimitable vistas of knowledge. What he saw took on tangibility. His", "vacation he had taken, he had spent many hours in self-analysis, and\nthereby learned much of himself. He had discovered that he loved beauty\nmore than fame, and that what desire he had for fame was largely for", "So it was that she looked upon Martin Eden as a novelty, a strange\nindividual, and she identified with novelty and strangeness the effects" ], [ "\"Let me see--where were you born, Mr. Eden?\" the cub asked, assuming an\nair of expectant attention.\n\n\"He doesn't take notes,\" said Brissenden. \"He remembers it all.\"", "he had thrilled to--he who had been called \"Eden,\" or \"Martin Eden,\" or\njust \"Martin,\" all his life. And \"_Mister_!\" It was certainly going", "\"And it is that, the children, that makes Mr. Eden impossible,\" Mrs.\nMorse went on incisively. \"Their heritage must be clean, and he is, I am", "\"I must say, Mr. Eden,\" the editor of The Hornet called down, \"that for a\npoet you can go some yourself. Where did you learn that right cross--if\nI may ask?\"", "Martin Eden had been mastered by curiosity all his days. He wanted to\nknow, and it was this desire that had sent him adventuring over the", "Eden, a pretty good fellow and not particularly a fool. I could tell you\nthe moon is made of green cheese and you would subscribe to the notion,", "she or her mother addressed him as \"Mr. Eden,\" his aggressive pride was\nforgotten, and he was glowing and warm with delight. He was a civilized", "\"I mean that she is not to die an old maid if I can help it,\" was the\nanswer. \"If this young Eden can arouse her interest in mankind in\ngeneral, it will be a good thing.\"", "school. When he was only seventeen, he was earning excellent wages at\nsetting type, but he was ambitious. He wanted a career, not a\nlivelihood, and he was content to make immediate sacrifices for his", "Martin Eden nodded. He had caught a glimpse of the apparently\nillimitable vistas of knowledge. What he saw took on tangibility. His", "himself. He had not changed. He was the same Martin Eden. What made\nthe difference? The fact that the stuff he had written had appeared", "Several weeks went by, during which Martin Eden studied his grammar,\nreviewed the books on etiquette, and read voraciously the books that", "Martin Eden did not go out to hunt for a job in the morning. It was late\nafternoon before he came out of his delirium and gazed with aching eyes", "\"Your grammar is excellent,\" Professor Hilton informed him, staring at\nhim through heavy spectacles; \"but you know nothing, positively nothing,", "\"I heard you speak last night, Mr. Eden, and I've come to interview you,\"\nhe began.\n\nBrissenden burst out in a hearty laugh.", "Morses had shown him the best their social position could produce, and he\nwas not impressed by it. A pauper himself, a slave to the money-lender,", "by the thousands of books in the free library, and who had afterward\nlearned his way among them and mastered them; he was the fellow who had\nburned the midnight oil and bedded with a spur and written books himself.", "\"Come again, Mr. Eden; glad to see you any time,\" they laughed down at\nhim from the landing above.\n\nMartin grinned as he picked himself up.", "making him beastly. He did not know that many of them had done their\nbest, bad as it was. Never having been conscious of himself, he did not", "\"And Mr. Ends, Mr. Eden. Mr. Ends is our business manager, you know.\"" ], [ "\"I mean that she is not to die an old maid if I can help it,\" was the\nanswer. \"If this young Eden can arouse her interest in mankind in\ngeneral, it will be a good thing.\"", "\"And it is that, the children, that makes Mr. Eden impossible,\" Mrs.\nMorse went on incisively. \"Their heritage must be clean, and he is, I am", "Eden, a pretty good fellow and not particularly a fool. I could tell you\nthe moon is made of green cheese and you would subscribe to the notion,", "\"Let me see--where were you born, Mr. Eden?\" the cub asked, assuming an\nair of expectant attention.\n\n\"He doesn't take notes,\" said Brissenden. \"He remembers it all.\"", "right hand were slightly twisted, and there was a small spot on her arm.\nThat was all. I guess she is dead, now.\"", "\"It's rather absurd, Mr. Eden, to have caught us in this shape,\" Mr. Ford\npreambled airily. \"All carelessness, I assure you. But I'll tell you", "\"Come again, Mr. Eden; glad to see you any time,\" they laughed down at\nhim from the landing above.\n\nMartin grinned as he picked himself up.", "when he died. But Her hands were soft, and her mother's hands, and her\nbrothers'. This last came to him as a surprise; it was tremendously", "His wilful hands and feet began to beat and churn about, spasmodically\nand feebly. But he had fooled them and the will to live that made them", "\"My God!\" she sobbed. \"I could die for you. I could die for you.\"\n\nShe tore herself from him suddenly and ran up the steps. He felt a quick\nmoisture in his eyes.", "\"You have such a scar on your neck, Mr. Eden,\" the girl was saying. \"How\ndid it happen? I am sure it must have been some adventure.\"", "Eden, though for that matter I'm a bit worse--I smoke now. Don't you\nsmell my breath?\"", "\"Won't you sit down, Mr. Eden?\" the girl was saying. \"I have been\nlooking forward to meeting you ever since Arthur told us. It was brave\nof you--\"", "unafraid to die, bitter and cynical of all the ways of living; and yet,\ndying, he loved life, to the last atom of it. He was possessed by a", "In the moment of that thought the desperateness of his situation dawned\nupon him. He saw, cleared eyed, that he was in the Valley of the Shadow.\nAll the life that was in him was fading, fainting, making toward death.", "took their upward flight. Then came pain and strangulation. This hurt\nwas not death, was the thought that oscillated through his reeling", "book before him, and propped his eyelids with his fingers, and fell\nasleep with his eyes wide open. Then he surrendered, and, scarcely", "kinship with him in the flesh. It was his own love that thrust her from\nhim and made her seem impossible for him. Love itself denied him the one\nthing that it desired.", "And to Martin Eden's supreme surprise, she burst into a storm of tears\nthat took more kisses than one and many caresses to drive away. And all", "there seemed nothing else for him to do than die for her. It was the\nonly fit way in which he could express the tremendous and lofty emotion" ], [ "\"I mean that she is not to die an old maid if I can help it,\" was the\nanswer. \"If this young Eden can arouse her interest in mankind in\ngeneral, it will be a good thing.\"", "\"And it is that, the children, that makes Mr. Eden impossible,\" Mrs.\nMorse went on incisively. \"Their heritage must be clean, and he is, I am", "Eden, a pretty good fellow and not particularly a fool. I could tell you\nthe moon is made of green cheese and you would subscribe to the notion,", "\"Let me see--where were you born, Mr. Eden?\" the cub asked, assuming an\nair of expectant attention.\n\n\"He doesn't take notes,\" said Brissenden. \"He remembers it all.\"", "right hand were slightly twisted, and there was a small spot on her arm.\nThat was all. I guess she is dead, now.\"", "\"It's rather absurd, Mr. Eden, to have caught us in this shape,\" Mr. Ford\npreambled airily. \"All carelessness, I assure you. But I'll tell you", "\"Come again, Mr. Eden; glad to see you any time,\" they laughed down at\nhim from the landing above.\n\nMartin grinned as he picked himself up.", "when he died. But Her hands were soft, and her mother's hands, and her\nbrothers'. This last came to him as a surprise; it was tremendously", "His wilful hands and feet began to beat and churn about, spasmodically\nand feebly. But he had fooled them and the will to live that made them", "\"My God!\" she sobbed. \"I could die for you. I could die for you.\"\n\nShe tore herself from him suddenly and ran up the steps. He felt a quick\nmoisture in his eyes.", "\"You have such a scar on your neck, Mr. Eden,\" the girl was saying. \"How\ndid it happen? I am sure it must have been some adventure.\"", "Eden, though for that matter I'm a bit worse--I smoke now. Don't you\nsmell my breath?\"", "\"Won't you sit down, Mr. Eden?\" the girl was saying. \"I have been\nlooking forward to meeting you ever since Arthur told us. It was brave\nof you--\"", "unafraid to die, bitter and cynical of all the ways of living; and yet,\ndying, he loved life, to the last atom of it. He was possessed by a", "In the moment of that thought the desperateness of his situation dawned\nupon him. He saw, cleared eyed, that he was in the Valley of the Shadow.\nAll the life that was in him was fading, fainting, making toward death.", "took their upward flight. Then came pain and strangulation. This hurt\nwas not death, was the thought that oscillated through his reeling", "book before him, and propped his eyelids with his fingers, and fell\nasleep with his eyes wide open. Then he surrendered, and, scarcely", "kinship with him in the flesh. It was his own love that thrust her from\nhim and made her seem impossible for him. Love itself denied him the one\nthing that it desired.", "And to Martin Eden's supreme surprise, she burst into a storm of tears\nthat took more kisses than one and many caresses to drive away. And all", "there seemed nothing else for him to do than die for her. It was the\nonly fit way in which he could express the tremendous and lofty emotion" ], [ "\"I mean that she is not to die an old maid if I can help it,\" was the\nanswer. \"If this young Eden can arouse her interest in mankind in\ngeneral, it will be a good thing.\"", "\"And it is that, the children, that makes Mr. Eden impossible,\" Mrs.\nMorse went on incisively. \"Their heritage must be clean, and he is, I am", "\"Won't you sit down, Mr. Eden?\" the girl was saying. \"I have been\nlooking forward to meeting you ever since Arthur told us. It was brave\nof you--\"", "\"Let me see--where were you born, Mr. Eden?\" the cub asked, assuming an\nair of expectant attention.\n\n\"He doesn't take notes,\" said Brissenden. \"He remembers it all.\"", "\"And Mr. Ends, Mr. Eden. Mr. Ends is our business manager, you know.\"", "Martin Eden did not go out to hunt for a job in the morning. It was late\nafternoon before he came out of his delirium and gazed with aching eyes", "A terrible restlessness that was akin to hunger afflicted Martin Eden. He\nwas famished for a sight of the girl whose slender hands had gripped his", "Eden, a pretty good fellow and not particularly a fool. I could tell you\nthe moon is made of green cheese and you would subscribe to the notion,", "\"You have such a scar on your neck, Mr. Eden,\" the girl was saying. \"How\ndid it happen? I am sure it must have been some adventure.\"", "she or her mother addressed him as \"Mr. Eden,\" his aggressive pride was\nforgotten, and he was glowing and warm with delight. He was a civilized", "\"Come again, Mr. Eden; glad to see you any time,\" they laughed down at\nhim from the landing above.\n\nMartin grinned as he picked himself up.", "he had thrilled to--he who had been called \"Eden,\" or \"Martin Eden,\" or\njust \"Martin,\" all his life. And \"_Mister_!\" It was certainly going", "Eden, though for that matter I'm a bit worse--I smoke now. Don't you\nsmell my breath?\"", "\"It's rather absurd, Mr. Eden, to have caught us in this shape,\" Mr. Ford\npreambled airily. \"All carelessness, I assure you. But I'll tell you", "\"I heard you speak last night, Mr. Eden, and I've come to interview you,\"\nhe began.\n\nBrissenden burst out in a hearty laugh.", "responsive, while his imagination, pitched high, was ever at work\nestablishing relations of likeness and difference. \"Mr. Eden,\" was what", "\"Do I think so? If that girl had proper opportunity to dress, Mr. Eden,\nand if she were taught how to carry herself, you would be fairly dazzled\nby her, and so would all men.\"", "Sun,\" everything. And she had always and consistently urged him to get a\njob, to go to work--good God!--as if he hadn't been working, robbing", "the front of which ran the proud sign, HIGGINBOTHAM'S CASH STORE. Martin\nEden got off at this corner. He stared up for a moment at the sign. It", "and he, having worked all vitality out of his mind and body, was doing no\nwriting. This gave them time for each other that they had never had\nbefore, and their intimacy ripened fast." ], [ "\"Ruth, this is Mr. Eden.\"", "\"I mean that she is not to die an old maid if I can help it,\" was the\nanswer. \"If this young Eden can arouse her interest in mankind in\ngeneral, it will be a good thing.\"", "\"And it is that, the children, that makes Mr. Eden impossible,\" Mrs.\nMorse went on incisively. \"Their heritage must be clean, and he is, I am", "But Ruth laughed from security. She was sure of herself, and in a few\ndays he would be off to sea. Then, by the time he returned, she would be", "\"No! no!\" Ruth cried, starting up. \"I do not want to be released. I\nlove him, and love is very sweet. I am going to marry him--of course, if\nyou will let me.\"", "But his wife shook her head. \"It will not be necessary. Ruth says he is\ngoing to sea in a few days. When he comes back, she will not be here. We", "that he encountered Ruth and her mother. Mrs. Morse was shocked. Even\nRuth was hurt, for she had some regard for appearances, and her lover,", "During the walk Ruth and Martin held little conversation. She was\nstunned. He was apathetic. Once, he mentioned that he was going away,", "\"Ruth.\" It was a talisman, a magic word to conjure with. Each time he\nmurmured it, her face shimmered before him, suffusing the foul wall with", "He signified that he was done with the discussion, and turned to Ruth.\n\n\"I'm wrought up to-day,\" he said in an undertone. \"All I want to do is\nto love, not talk.\"", "\"Now that's unfair,\" Ruth cried. \"I knew you were turning the\nconversation just in order to get off something.\"", "After several weeks, what he had been waiting for happened. He met Ruth\non the street. It was true, she was accompanied by her brother, Norman,\nand it was true that they tried to ignore him and that Norman attempted\nto wave him aside.", "\"Won't you sit down, Mr. Eden?\" the girl was saying. \"I have been\nlooking forward to meeting you ever since Arthur told us. It was brave\nof you--\"", "refusing his stuff. He could see that clearly now, and laugh at himself\nand the dreams he had dreamed. Ruth returned his \"Sea Lyrics\" by mail.", "kinship with him in the flesh. It was his own love that thrust her from\nhim and made her seem impossible for him. Love itself denied him the one\nthing that it desired.", "Ruth. A new conception of love formed in his mind as he listened. Reason\nhad nothing to do with love. It mattered not whether the woman he loved", "\"Because she must have loved you,\" Ruth said, still softly. \"Candidly,\nnow, didn't she?\"", "Again Ruth nodded, and again a blush mantled her face.\n\n\"It is just that,\" she said. \"It has not been his fault, but he has\nplayed much with--\"", "Ruth nodded.\n\n\"I did not want to say it, but he is not. He is rough, brutal,\nstrong--too strong. He has not--\"", "\"Ruth.\" He had not thought a simple sound could be so beautiful. It\ndelighted his ear, and he grew intoxicated with the repetition of it." ], [ "\"And it is that, the children, that makes Mr. Eden impossible,\" Mrs.\nMorse went on incisively. \"Their heritage must be clean, and he is, I am", "\"I mean that she is not to die an old maid if I can help it,\" was the\nanswer. \"If this young Eden can arouse her interest in mankind in\ngeneral, it will be a good thing.\"", "\"Let me see--where were you born, Mr. Eden?\" the cub asked, assuming an\nair of expectant attention.\n\n\"He doesn't take notes,\" said Brissenden. \"He remembers it all.\"", "Eden, a pretty good fellow and not particularly a fool. I could tell you\nthe moon is made of green cheese and you would subscribe to the notion,", "\"Come again, Mr. Eden; glad to see you any time,\" they laughed down at\nhim from the landing above.\n\nMartin grinned as he picked himself up.", "He had tapped a gold mine. Where this came from he could always get\nmore. He planned to buy some more clothes, to subscribe to many", "matter what he had to do without in order to save it. Of course, he was\nsoon earning more than three dollars a week, and as his wages increased\nhe saved more and more.", "\"I must say, Mr. Eden,\" the editor of The Hornet called down, \"that for a\npoet you can go some yourself. Where did you learn that right cross--if\nI may ask?\"", "\"And Mr. Ends, Mr. Eden. Mr. Ends is our business manager, you know.\"", "\"But think of him now!\" she cried enthusiastically. \"Think of what his\nincome affords him. His early denials are paid for a thousand-fold.\"\n\nMartin looked at her sharply.", "himself. He had not changed. He was the same Martin Eden. What made\nthe difference? The fact that the stuff he had written had appeared", "note with Brissenden's lawyer, he still had over a hundred dollars in\npocket. He ordered a suit of clothes from the tailor and ate his meals", "Martin Eden nodded. He had caught a glimpse of the apparently\nillimitable vistas of knowledge. What he saw took on tangibility. His", "Martin Eden had been mastered by curiosity all his days. He wanted to\nknow, and it was this desire that had sent him adventuring over the", "\"It's rather absurd, Mr. Eden, to have caught us in this shape,\" Mr. Ford\npreambled airily. \"All carelessness, I assure you. But I'll tell you", "twenty dollars. Not a bad week's work. It was more money than he had\never possessed at one time. He did not know how he could spend it all.", "Martin Eden did not go out to hunt for a job in the morning. It was late\nafternoon before he came out of his delirium and gazed with aching eyes", "with five dollars tinkling in his pocket. He paid a dollar each on\naccount to the four tradesmen, and in his kitchen fried steak and onions,", "he had thrilled to--he who had been called \"Eden,\" or \"Martin Eden,\" or\njust \"Martin,\" all his life. And \"_Mister_!\" It was certainly going", "what we'll do. We'll mail you a check the first thing in the morning.\nYou have Mr. Eden's address, haven't you, Mr. Ends?\"" ], [ "\"And it is that, the children, that makes Mr. Eden impossible,\" Mrs.\nMorse went on incisively. \"Their heritage must be clean, and he is, I am", "kinship with him in the flesh. It was his own love that thrust her from\nhim and made her seem impossible for him. Love itself denied him the one\nthing that it desired.", "\"Impossible,\" Mrs. Morse laughed. \"She is three years older than he,\nand, besides, it is impossible. Nothing will ever come of it. Trust\nthat to me.\"", "\"I mean that she is not to die an old maid if I can help it,\" was the\nanswer. \"If this young Eden can arouse her interest in mankind in\ngeneral, it will be a good thing.\"", "\"It's absurd and unfair,\" he had told Ruth weeks before, \"this objection\nto talking shop. For what reason under the sun do men and women come", "had not really loved her. It was an idealized Ruth he had loved, an\nethereal creature of his own creating, the bright and luminous spirit of", "of times and had failed to like him. He and Ruth's father were\ndiscussing labor union politics, the local situation, and socialism, and", "girl's lap had been the easiest thing in the world until now, and now he\nfound Ruth's lap inaccessible and impossible. Yet it was right here, in", "that he encountered Ruth and her mother. Mrs. Morse was shocked. Even\nRuth was hurt, for she had some regard for appearances, and her lover,", "think. He did not know that he loved Ruth. She did not even exist, for\nhis driven soul had no time to remember her. It was only when he crawled", "for him to do this, for it cut him off from Ruth. He had no second-best\nsuit that was presentable, and though he could go to the butcher and the", "\"Ruth, this is Mr. Eden.\"", "Again Ruth nodded, and again a blush mantled her face.\n\n\"It is just that,\" she said. \"It has not been his fault, but he has\nplayed much with--\"", "Ruth. A new conception of love formed in his mind as he listened. Reason\nhad nothing to do with love. It mattered not whether the woman he loved", "had risen to the Roman purple. That being so, then he could rise to\nRuth. Under her purity, and saintliness, and culture, and ethereal", "Then there was Ruth. She had liked him for himself, that was\nindisputable. And yet, much as she had liked him she had liked the", "Ruth nodded.\n\n\"I did not want to say it, but he is not. He is rough, brutal,\nstrong--too strong. He has not--\"", "all, he is a mere boy of twenty-one. Ruth is no more than a child. It\nis calf love with the pair of them, and they will grow out of it.\"", "As Ruth's front door closed behind them and he came down the steps with\nher, he found himself greatly perturbed. It was not unalloyed bliss,", "So he waited with Ruth and watched, desiring to speak his love but not\ndaring. He was afraid of shocking her, and he was not sure of himself." ], [ "\"I mean that she is not to die an old maid if I can help it,\" was the\nanswer. \"If this young Eden can arouse her interest in mankind in\ngeneral, it will be a good thing.\"", "\"And it is that, the children, that makes Mr. Eden impossible,\" Mrs.\nMorse went on incisively. \"Their heritage must be clean, and he is, I am", "Eden, a pretty good fellow and not particularly a fool. I could tell you\nthe moon is made of green cheese and you would subscribe to the notion,", "with her, did not even count. She valued him, himself. That was the way\nJimmy, the plumber, and all the old gang valued him. That had been", "liked, and were willing to scrap for, was just Mart Eden, one of the\nbunch and a pretty good guy.", "value that I was when nobody wanted me. And what is puzzling me is why\nthey want me now. Surely they don't want me for myself, for myself is", "desired to be valued for himself, or for his work, which, after all, was\nan expression of himself. That was the way Lizzie valued him. The work,", "\"Let me see--where were you born, Mr. Eden?\" the cub asked, assuming an\nair of expectant attention.\n\n\"He doesn't take notes,\" said Brissenden. \"He remembers it all.\"", "for his work, but for the fame that was his, because he was somebody\namongst men, and--why not?--because he had a hundred thousand dollars or", "\"Come again, Mr. Eden; glad to see you any time,\" they laughed down at\nhim from the landing above.\n\nMartin grinned as he picked himself up.", "himself. He had not changed. He was the same Martin Eden. What made\nthe difference? The fact that the stuff he had written had appeared", "As for himself, he loved beauty passionately, and the joy of serving her\nwas to him sufficient wage. And more than beauty he loved Ruth. He", "\"Won't you sit down, Mr. Eden?\" the girl was saying. \"I have been\nlooking forward to meeting you ever since Arthur told us. It was brave\nof you--\"", "Spencer and his intellect. Therefore it was not for any real value, but\nfor a purely fictitious value that Judge Blount invited him to dinner.", "\"Do I think so? If that girl had proper opportunity to dress, Mr. Eden,\nand if she were taught how to carry herself, you would be fairly dazzled\nby her, and so would all men.\"", "\"I must say, Mr. Eden,\" the editor of The Hornet called down, \"that for a\npoet you can go some yourself. Where did you learn that right cross--if\nI may ask?\"", "and for them not to be alarmed, because they would find him an\ninteresting wild man. Martin Eden could not have found it in him, just\nthen, to believe that her brother could be guilty of such", "he had thrilled to--he who had been called \"Eden,\" or \"Martin Eden,\" or\njust \"Martin,\" all his life. And \"_Mister_!\" It was certainly going", "\"And Mr. Ends, Mr. Eden. Mr. Ends is our business manager, you know.\"", "And the little gnats of men sting his memory when they get their very\nbread and butter from the technical application of his ideas. What\nlittle of worth resides in their brains is largely due to him. It is" ], [ "bourgeoisie. He had settled down into a strange and comfortable state of\nmind. He no longer cared. He forgave everybody, even the cub reporter", "himself. He had not changed. He was the same Martin Eden. What made\nthe difference? The fact that the stuff he had written had appeared", "So it was, reasoning thus, that Martin questioned the validity of his\npopularity. It was the bourgeoisie that bought his books and poured its", "round of publishers. After several refusals, Singletree, Darnley & Co.\naccepted it, promising fall publication. When Martin asked for an", "In the meantime the world had begun to ask: \"Who is this Martin Eden?\" He\nhad declined to give any biographical data to his publishers, but the", "Editors and publishers contributed to the daily heap of letters, the\nformer on their knees for his manuscripts, the latter on their knees for", "\"I mean that she is not to die an old maid if I can help it,\" was the\nanswer. \"If this young Eden can arouse her interest in mankind in\ngeneral, it will be a good thing.\"", "if editors existed at all. He had never received a sign of the existence\nof one, and from absence of judgment in rejecting all he wrote it seemed\nplausible that editors were myths, manufactured and maintained by office", "photographer who had once taken Martin's picture and who promptly\ncopyrighted it and put it on the market. At first, so great was his\ndisgust with the magazines and all bourgeois society, Martin fought", "so. That was the way bourgeois society valued a man, and who was he to\nexpect it otherwise? But he was proud. He disdained such valuation. He", "him a thin letter from the editor of The Parthenon. A glance told him\nthat \"Ephemera\" was accepted. \"We have submitted the poem to Mr.", "bourgeoisie is that he robs without illusion. He'll talk Nietzsche, or\nSchopenhauer, or Kant, or anything, but the only thing in this world, not", "terrorized honest, working-class householders. But his ideals had\nchanged. He glanced about him at the well-bred, well-dressed men and", "\"Bourgeois,\" \"trader's den\"--Brissenden's epithets repeated themselves in\nhis mind. But what of that? he demanded angrily. He was marrying Ruth,", "\"Let me see--where were you born, Mr. Eden?\" the cub asked, assuming an\nair of expectant attention.\n\n\"He doesn't take notes,\" said Brissenden. \"He remembers it all.\"", "waiting to take her back.\" He burst into laughter. \"Oh, these\nbourgeois! When I was broke, I was not fit to be seen with his sister.", "\"I must say, Mr. Eden,\" the editor of The Hornet called down, \"that for a\npoet you can go some yourself. Where did you learn that right cross--if\nI may ask?\"", "But this was his first editor, and under the circumstances he did not\ndesire to scare him too abruptly. To his surprise, Mr. Ford leaped into", "that editors saw fit to publish. One thing was certain: What these\nmultitudinous writers did he could do, and only give him time and he", "along with one rejection of all his rejections, he would have been\ncheered. But not one editor had given that proof of existence. And he" ], [ "had not really loved her. It was an idealized Ruth he had loved, an\nethereal creature of his own creating, the bright and luminous spirit of", "It had been unfortunate from the first. But one regret she voiced in the\nwhole letter, and it was a bitter one to Martin. \"If only you had", "\"I wish you would show me all you write, Mr. Eden,\" she said.", "\"I mean that she is not to die an old maid if I can help it,\" was the\nanswer. \"If this young Eden can arouse her interest in mankind in\ngeneral, it will be a good thing.\"", "would have gone to work--to work for Ruth. He went back to the day he\nfirst attempted to write, and was appalled at the enormous waste of", "now. Not another line would he ever write. He would do what Ruth wanted\nhim to do, what everybody wanted him to do--get a job. The thought of", "refusing his stuff. He could see that clearly now, and laugh at himself\nand the dreams he had dreamed. Ruth returned his \"Sea Lyrics\" by mail.", "\"Because she must have loved you,\" Ruth said, still softly. \"Candidly,\nnow, didn't she?\"", "\"I--have thought about them,\" Ruth confessed, remembering the wanton\nthoughts that had vexed her in the past, her face again red with maiden\nshame that she should be telling such things.", "urged that he recreate this beauty for a wider audience than Ruth. And\nthen, in splendor and glory, came the great idea. He would write. He", "\"I think you are right,\" Ruth said in a low voice. \"And it is too bad.\nShe is such a pretty girl.\"", "of her letter. And she was right. He was firmly convinced of it as he\nread the poems over. Beauty and wonder had departed from him, and as he", "Then there was Ruth. She had liked him for himself, that was\nindisputable. And yet, much as she had liked him she had liked the", "his love-poems. The real bourgeois Ruth, with all the bourgeois failings\nand with the hopeless cramp of the bourgeois psychology in her mind, he\nhad never loved.", "had been aware of his work performed. Manuscript after manuscript of his\nhad been turned over to them by Ruth. They had read them. It was the", "\"I have thought.\" Ruth waited a long time for the thought to frame\nitself. \"And it is terrible. It sickens me to think of it. I told you", "had been the instrument, and, though Ruth did not love him, he had made\nher conscious of her womanhood.", "that he encountered Ruth and her mother. Mrs. Morse was shocked. Even\nRuth was hurt, for she had some regard for appearances, and her lover,", "He read her letter apathetically. She did her best to say how much she\nliked them and that they were beautiful. But she could not lie, and she", "During the walk Ruth and Martin held little conversation. She was\nstunned. He was apathetic. Once, he mentioned that he was going away," ], [ "\"I mean that she is not to die an old maid if I can help it,\" was the\nanswer. \"If this young Eden can arouse her interest in mankind in\ngeneral, it will be a good thing.\"", "But Ruth laughed from security. She was sure of herself, and in a few\ndays he would be off to sea. Then, by the time he returned, she would be", "But his wife shook her head. \"It will not be necessary. Ruth says he is\ngoing to sea in a few days. When he comes back, she will not be here. We", "But Ruth did not care to wait ten days or two weeks. Besides, her lover\nwas sick. The next afternoon, accompanied by Arthur, she arrived in the", "After several weeks, what he had been waiting for happened. He met Ruth\non the street. It was true, she was accompanied by her brother, Norman,\nand it was true that they tried to ignore him and that Norman attempted\nto wave him aside.", "He signified that he was done with the discussion, and turned to Ruth.\n\n\"I'm wrought up to-day,\" he said in an undertone. \"All I want to do is\nto love, not talk.\"", "\"And it is that, the children, that makes Mr. Eden impossible,\" Mrs.\nMorse went on incisively. \"Their heritage must be clean, and he is, I am", "\"It's absurd and unfair,\" he had told Ruth weeks before, \"this objection\nto talking shop. For what reason under the sun do men and women come", "now. Not another line would he ever write. He would do what Ruth wanted\nhim to do, what everybody wanted him to do--get a job. The thought of", "\"No! no!\" Ruth cried, starting up. \"I do not want to be released. I\nlove him, and love is very sweet. I am going to marry him--of course, if\nyou will let me.\"", "ever. He had asked for two years; time was flying, and he was achieving\nnothing. Again, he was always conscious of the fact that she did not", "think. He did not know that he loved Ruth. She did not even exist, for\nhis driven soul had no time to remember her. It was only when he crawled", "\"Ruth.\" It was a talisman, a magic word to conjure with. Each time he\nmurmured it, her face shimmered before him, suffusing the foul wall with", "Well, he would fight his way on and up higher. And he would take Ruth\nwith him. Her he dearly loved, and he was confident that she would shine", "market that weeks must elapse before he could hope for the first returns\nfrom his hack-work. Except at such times as he saw Ruth, or dropped in", "devote it to rest and love, and in both matters he prospered. He was\nsoon spilling over with vitality, and each day he saw Ruth, at the moment", "During the walk Ruth and Martin held little conversation. She was\nstunned. He was apathetic. Once, he mentioned that he was going away,", "So he waited with Ruth and watched, desiring to speak his love but not\ndaring. He was afraid of shocking her, and he was not sure of himself.", "had done for her, Martin decided he could do for Ruth. But first, she\nmust love him. The rest would be easy. He would give her strength and", "Martin felt very uncomfortable, and looked entreaty at Ruth.\n\n\"Yes, what do you want?\" Ruth asked. \"That will settle it.\"" ] ]

[ "When does the story take place?", "Where does the story take place?", "What profession does Martin pursue?", "Who is martin in love with?", "What does Martin Promise Ruth?", "What happens to Martin at the end of the story?", "How long is it before Ruth tires of waiting for Martin's success?", "What was Martin's prior profession?", "What does martin do with his wealth?", "What is Eden's primary motivation for educating and improving himself?", "Why can Eden and Ruth not get married?", "Why does Eden come to resent the bourgeoisie even though he becomes a wealthy member of society himself?", "How does Eden emotionally deal with becoming wealthy?", "What does Eden do frequently with his wealth?", "How does Ruth reject Eden?", "Why does Ruth reject Eden?", "What did Eden believe people valued most about him?", "What was Eden's profession before he educated himself?", "How does Eden die?", "How does Eden die?", "At the beginning of the story, what is Eden's job?", "How does Ruth reject Eden?", "What does Eden do with the wealth he acquires?", "Why would a union between Eden and Ruth have been impossible?", "What does Eden think people value him for?", "How does Eden relate to the bourgeoisie once publishers have accepted him?", "In her rejection letter, what does Ruth write she wishes Eden had done?", "How long does Eden promise Ruth that he'll be successful, before she rejects him?" ]

[ [ "The beginning of the 20th century.", "The beginning of the 20th Century" ], [ "Oakland", "Oakland" ], [ "Well known writer.", "Writing." ], [ "Ruth Morse.", "Ruth" ], [ "That he will become a successful writer.", "That success will come" ], [ "He commits suicide.", "He kills himself. " ], [ "Around 2 years.", "two years" ], [ "Sailor.", "Sailor." ], [ "He gives it to his working class friends and family.", "He donates his wealth to working class family and friends. " ], [ "His love for Ruth. ", "Love" ], [ "because they are from two different social and economic backgrounds. ", "Eden is a working class sailor while Ruth is from a bourgeois family " ], [ "Because of Ruth's rejection of him for his work-class background. ", "He has already been rejected for not becoming one of them sooner." ], [ "He becomes secluded and indifferent.", "He becomes jaded and reclusive. " ], [ "He donates to working class family and friends.", "Eden helped the working class" ], [ "In a letter.", "She rejects him in a letter." ], [ "Because Eden does not become wealthy and successful soon enough. ", "Eden did not settle down." ], [ "His fame.", "His fame" ], [ "Eden was a sailor. ", "A sailor" ], [ "Eden commits suicide by drowning. ", "By committing suicide" ], [ "Eden commits suicide by drowning himself.", "suicide by drowning" ], [ "Eden is a sailor.", "A sailor." ], [ "She writes him a letter of rejection.", "She sends a letter." ], [ "He donates it to working-class friends and family.", "he donates money to his working class friends." ], [ "Eden is uneducated and working-class, while Ruth is educated and middle-class. Ruth would not marry someone unless they were also middle-class or higher.", "Eden and Ruth came from different backgrounds" ], [ "Eden thinks people value him for his fame.", "Eden thinks people only value him for his fame. " ], [ "Eden holds himself apart from the bourgeoisie. ", "He has developed a grudge against them." ], [ "Ruth writes that she wishes Eden had settled down and made something of himself.", "settled down and made something of himself" ], [ "Eden promises Ruth that he will be successful for two years before she rejects him.", "Two years." ] ]

[ [ "HERBERT GREENLEAF\n Most enjoyable. Herbert Greenleaf.\n\n RIPLEY\n Tom Ripley. Thank you, sir.", "Ripley shakes hands with Herbert Greenleaf as he gets into\n his Rolls Royce. They are making an appointment. Ripley\n crosses the street to Fran, pecks her cheek. She hands him\n his share of their fee.", "RIPLEY\n Is Mr Greenleaf here?\n\n MACCARRON\n Mr Ripley? I'm Alvin MacCarron.", "HERBERT GREENLEAF (cont'd)\n Could you ever conceive of going to\n Italy, Tom, persuade my son to come home?", "RIPLEY\n I've always wanted to go to Europe, sir,\n but...\n\n HERBERT GREENLEAF\n Good. Now you can go for a reason.", "RIPLEY\n Mr Greenleaf.\n\n HERBERT GREENLEAF\n Tom. How are you? You look well.", "RIPLEY\n Even her.\n\n ROVERINI\n What about Thomas Ripley?\n\n RIPLEY\n What about Ripley?", "Princeton - a fellow named Tom Ripley.\n He says he's going to haunt me until I\n agree to come back to New York with\n him...</i>", "RIPLEY\n I'm well, thank you.\n\n HERBERT GREENLEAF\n Far cry from New York.", "INT. RIPLEY'S HOUSE. AFTERNOON.\n\n Herbert Greenleaf sits on a chair, Ripley pours him some tea.", "RIPLEY\n It's Tom. Tom Ripley. We were at\n Princeton together.", "HERBERT GREENLEAF\n (pointing at Ripley's borrowed\n jacket)\n I see you were at Princeton.", "Ripley studies an old photograph of Dickie Greenleaf in a\n Princeton Yearbook. He shoves the book in a bag, picks up\n his suitcase and takes a last look around the dingy apartment\n before closing the door behind him.", "MARGE\n Is he here? Are you with Dickie?\n\n RIPLEY\n No.\n (to Smith-Kingsley)\n Hello, I'm Tom Ripley.", "RIPLEY\n You have the key. Tell me some good\n things about Tom Ripley. Don't get up.\n Just tell me some nice things.", "RIPLEY\n Hello, Freddie, it's Tom, Tom Ripley.", "HERBERT GREENLEAF\n (cont'd)\n I'm going to take Marge for a little\n walk, Tom. Mr MacCarron wants to talk\n with you.", "HERBERT GREENLEAF\n Mongibello. Tiny place. South of Naples.\n Marge, his uh, the young lade is", "Ripley luxuriates in the back of the Greenleaf limousine. He\n opens up an envelope he's carrying with Greenleaf stationery.\n Inside a First Class Cunard Ticket, some traveler's checks\n and dollars.", "INT. TRAIN TO ROME. DAY.\n\n Ripley sits reading the LETTER from Herbert Greenleaf. He\n frowns, stops reading, looks out of the window." ], [ "RIPLEY\n Shut up! Just shut up! Just shut up!\n\n The boat slows as Dickie releases the tiller. Dickie looks\n up at Ripley wearily and slides onto his back.", "DICKIE\n Freddie drove me back in his car.\n\n RIPLEY\n (horrified)\n Is Freddie here?", "Ripley, terrified, hits Dickie again and again, the oar like\n a carpet-beater banging down flat, blood on the blade, blood", "Ripley grips the oar, his knuckles white. Dickie cuts the\n motor, and the boat slows to a crawl, miles from the shore.", "RIPLEY\n Oh - just amusing myself. Sorry, Dickie.\n (pause)\n I didn't think you were coming back.\n\n Dickie turns off the record player.", "Dickie and Ripley on the Vespa. There's a steep incline where\n the road winds down towards Naples and, as the Vespa gains\n speed, Ripley is happy to cling to Dickie.", "Dickie and Ripley travel up to San Remo. They sit next to\n each other. Dickie's asleep. Ripley lays his head on Dickie's", "He gets out, walks past Ripley, who doesn't turn around. But\n Dickie's reflected in the mirror. Ripley looks, then Dickie\n turns, holds his look momentarily before flicking him with\n his towel.", "reflection of the train window, so that he can move his head\n and see his reflection, then back and see Dickie's. Dickie\n suddenly catches him staring. Ripley looks away.", "Ripley studies an old photograph of Dickie Greenleaf in a\n Princeton Yearbook. He shoves the book in a bag, picks up\n his suitcase and takes a last look around the dingy apartment\n before closing the door behind him.", "RIPLEY\n Copy out from here...\n\n He hands the book to Dickie, pointing out the lines.", "DICKIE (O/S)\n What are you doing?\n\n Ripley turns, horrified, to see Dickie standing in the\n doorway. The music thumps away.", "Dickie's in the bath. Ripley, dressed, sits on the stool next\n to the bath. They're in the middle of playing chess, the", "DICKIE\n Marge and I are getting married.\n\n RIPLEY\n (appalled)\n How?\n\n DICKIE\n How?", "RIPLEY\n Dickie Greenleaf?\n\n Dickie squints at Ripley, who holds his shoes, lamely.\n\n DICKIE\n Who's this?", "Nobody's in sight. The boat rocks, gently, the sun sparkling\n indifferently on the waves. Ripley lies by Dickie in the\n bottom of the boat, in the embrace he's always wanted.", "Ripley, shocked at himself, goes to Dickie, rocking the boat,\n catches him up, then is horrified to see Dickie's face,", "RIPLEY\n What rumour?\n\n PETER\n That Dickie murdered you and is\n travelling under your passport. I know,\n ridiculous.", "Ripley finds himself pushing him away, picking up the oar,\n kicking off Dickie's hand around his ankle. The boat is", "MARGE\n Is he here? Are you with Dickie?\n\n RIPLEY\n No.\n (to Smith-Kingsley)\n Hello, I'm Tom Ripley." ], [ "DICKIE\n Freddie Miles. You know - he's\n organizing the Cortina skiing trip.", "They kiss cheeks, continental-style.\n\n DICKIE\n This is Tom Ripley. Freddie Miles.", "DICKIE\n Freddie drove me back in his car.\n\n RIPLEY\n (horrified)\n Is Freddie here?", "MACCARRON\n Three different people saw Dickie get\n into Freddie Miles' car. A man who won't\n identify himself because he was jumping", "DICKIE\n I'll tell you - I am so cabin-crazy with\n Mongi.\n\n Freddie and Dickie link arms Italian-style and cross the\n street to Freddie's car.", "FREDDIE\n (mugging)\n Hey, if I'm late, think what her\n husband's saying!\n\n He fills Dickie's glass with wine and drinks it standing up.", "RIPLEY\n Tell him I have a fiancÈe, Dickie has a\n fiancÈe and Freddie Miles probably had a\n string of them.", "DICKIE\n Look, Tom, we've got to go to a club and\n meet some friends of Freddie's. The best", "There's a yell from Dickie as Freddie wrestles with him.\n\n DICKIE\n (laughing and choking)\n He's drowning me!", "DICKIE\n Relax. The most important question is\n where to eat. I hope Freddie made a\n reservation.\n\n RIPLEY\n Freddie?", "MEREDITH\n Everybody knows Freddie Miles.\n\n RIPLEY\n (unsettled)\n Is Freddie in Rome?", "DICKIE (cont'd)\n Frederico!", "FREDDIE\n In fact the only thing which looks like\n Dickie is you.\n\n RIPLEY\n Hardly.", "FREDDIE\n (confused, not pleasantly)\n Oh hello, where's Dickie? How are you?", "As Peter translates Verrecchia watches intently.\n\n PETER\n He wants to know if you killed Freddie\n Miles and then killed Dickie Greenleaf?", "RIPLEY\n Hello?\n\n FREDDIE (O/S)\n Dickie?\n\n RIPLEY\n Who is it?", "for his own battered suitcase. He puts the license plates\n from Freddie's car in Dickie's luggage. He has placed one", "RIPLEY\n Copy out from here...\n\n He hands the book to Dickie, pointing out the lines.", "MEREDITH\n Dickie? Dickie?\n\n He turns. He's caught. Suddenly he's Dickie.", "Miles and then kill Dickie Greenleaf. Is\n he accusing me?\n (Peter clearly doesn't ask)\n Ask him if he's accusing me!" ], [ "him downwards. As Freddie slumps away, Ripley loses his\n balance and the head sends Freddie a glancing blow before", "FREDDIE\n I know. I was there.\n (looks back to see Ripley\n struggling to settle the", "AND HE'S GONE. Ripley shuts the door, smooths the silk runner\n on the table where Freddie's hand had rucked it. He goes back\n to the door, opens it and looks over the rail.", "Freddie falls like an ox, first to his knees, groaning, then\n to the floor as Ripley brings the head down again, beating", "FREDDIE (O/S)\n Dickie, come on, it's me.\n\n Ripley can't think what to hide, where to hide. He opens the\n door.", "MARGE\n Did he kill Freddie?\n\n RIPLEY\n Marge, when did you get here?", "INT. RIPLEY'S APARTMENT, ROME. LATE DAY.\n\n Freddie knocks on the door which pushes open. As he marches\n in, he launches into his interrogation.", "MARGE\n Tell me the truth. Did he kill Freddie?\n\n RIPLEY\n I'd swear he didn't. Of course he didn't.", "FREDDIE\n Have you done something to your hair?\n\n Ripley starts to smile, his eyes darting around the room.", "DICKIE\n Freddie drove me back in his car.\n\n RIPLEY\n (horrified)\n Is Freddie here?", "Ripley, terrified, hits Dickie again and again, the oar like\n a carpet-beater banging down flat, blood on the blade, blood", "Ripley is pressing against him, moving up his body, kisses\n his shoulder, the cord wrapped tight in his hands...\n\n INT. RIPLEY'S CABIN. NIGHT.", "It's deserted. Ripley hauls Freddie out of the shadows\n towards the car. A couple walk across the square. Ripley", "FREDDIE (O/S)\n It's Freddie. Let me in.\n\n RIPLEY ALMOST COLLAPSES. He's faint.", "MEREDITH\n Everybody knows Freddie Miles.\n\n RIPLEY\n (unsettled)\n Is Freddie in Rome?", "RIPLEY\n (outraged)\n No I did not. I did not kill Freddie", "He helps Marge to her feet and leads her out. RIPLEY IS\n PARALYSED. He waits for the door to shut. Aimlessly he walks", "FREDDIE\n Because he's been hiding from me - what\n happened at Christmas?\n\n RIPLEY\n What about Christmas?", "Ripley grips the oar, his knuckles white. Dickie cuts the\n motor, and the boat slows to a crawl, miles from the shore.", "FREDDIE\n Ripley? There's someth -" ], [ "Ripley studies an old photograph of Dickie Greenleaf in a\n Princeton Yearbook. He shoves the book in a bag, picks up\n his suitcase and takes a last look around the dingy apartment\n before closing the door behind him.", "RIPLEY\n Shut up! Just shut up! Just shut up!\n\n The boat slows as Dickie releases the tiller. Dickie looks\n up at Ripley wearily and slides onto his back.", "Ripley grips the oar, his knuckles white. Dickie cuts the\n motor, and the boat slows to a crawl, miles from the shore.", "Dickie and Ripley on the Vespa. There's a steep incline where\n the road winds down towards Naples and, as the Vespa gains\n speed, Ripley is happy to cling to Dickie.", "DICKIE\n Freddie drove me back in his car.\n\n RIPLEY\n (horrified)\n Is Freddie here?", "Nobody's in sight. The boat rocks, gently, the sun sparkling\n indifferently on the waves. Ripley lies by Dickie in the\n bottom of the boat, in the embrace he's always wanted.", "Dickie and Ripley travel up to San Remo. They sit next to\n each other. Dickie's asleep. Ripley lays his head on Dickie's", "RIPLEY\n Oh - just amusing myself. Sorry, Dickie.\n (pause)\n I didn't think you were coming back.\n\n Dickie turns off the record player.", "He gets out, walks past Ripley, who doesn't turn around. But\n Dickie's reflected in the mirror. Ripley looks, then Dickie\n turns, holds his look momentarily before flicking him with\n his towel.", "Ripley, shocked at himself, goes to Dickie, rocking the boat,\n catches him up, then is horrified to see Dickie's face,", "Ripley, terrified, hits Dickie again and again, the oar like\n a carpet-beater banging down flat, blood on the blade, blood", "Ripley appears, with his meagre luggage at Dickie's front\n door. He's carrying his tote bag under his arm, the bottom of", "reflection of the train window, so that he can move his head\n and see his reflection, then back and see Dickie's. Dickie\n suddenly catches him staring. Ripley looks away.", "Ripley finds himself pushing him away, picking up the oar,\n kicking off Dickie's hand around his ankle. The boat is", "DICKIE (cont'd)\n (losing his temper)\n You don't have to clean up! Really!\n\n Ripley disappears into the kitchen.", "RIPLEY\n Copy out from here...\n\n He hands the book to Dickie, pointing out the lines.", "Ripley starts undressing, his fingers clumsy with\n mortification and shock. Dickie looks at his feet, shakes\n his head.", "And Dickie's already gone, back to Ripley feinting to box him\n then dancing, satyr-like, down the hill.\n\n EXT. COASTAL ROAD TO NAPLES. EVENING.", "Marge and Ripley and Dickie watch from the terrace as below\n them an AMBULANCE takes away the body. It seems as if the", "RIPLEY\n Dickie Greenleaf?\n\n Dickie squints at Ripley, who holds his shoes, lamely.\n\n DICKIE\n Who's this?" ], [ "AND HE'S GONE. Ripley shuts the door, smooths the silk runner\n on the table where Freddie's hand had rucked it. He goes back\n to the door, opens it and looks over the rail.", "Ripley looks to left and right for a place to dump the body.\n He slows near a clump of trees.", "DICKIE\n Freddie drove me back in his car.\n\n RIPLEY\n (horrified)\n Is Freddie here?", "him downwards. As Freddie slumps away, Ripley loses his\n balance and the head sends Freddie a glancing blow before", "MARGE\n Tell me the truth. Did he kill Freddie?\n\n RIPLEY\n I'd swear he didn't. Of course he didn't.", "MARGE\n Did he kill Freddie?\n\n RIPLEY\n Marge, when did you get here?", "FREDDIE\n I know. I was there.\n (looks back to see Ripley\n struggling to settle the", "MEREDITH\n Everybody knows Freddie Miles.\n\n RIPLEY\n (unsettled)\n Is Freddie in Rome?", "It's deserted. Ripley hauls Freddie out of the shadows\n towards the car. A couple walk across the square. Ripley", "FREDDIE (O/S)\n Dickie, come on, it's me.\n\n Ripley can't think what to hide, where to hide. He opens the\n door.", "Freddie falls like an ox, first to his knees, groaning, then\n to the floor as Ripley brings the head down again, beating", "Ripley grips the oar, his knuckles white. Dickie cuts the\n motor, and the boat slows to a crawl, miles from the shore.", "RIPLEY\n (outraged)\n No I did not. I did not kill Freddie", "Ripley studies an old photograph of Dickie Greenleaf in a\n Princeton Yearbook. He shoves the book in a bag, picks up\n his suitcase and takes a last look around the dingy apartment\n before closing the door behind him.", "Marge and Ripley and Dickie watch from the terrace as below\n them an AMBULANCE takes away the body. It seems as if the", "INT. RIPLEY'S APARTMENT, ROME. LATE DAY.\n\n Freddie knocks on the door which pushes open. As he marches\n in, he launches into his interrogation.", "FREDDIE\n Have you done something to your hair?\n\n Ripley starts to smile, his eyes darting around the room.", "RIPLEY\n Shut up! Just shut up! Just shut up!\n\n The boat slows as Dickie releases the tiller. Dickie looks\n up at Ripley wearily and slides onto his back.", "RIPLEY\n Hello?\n\n FREDDIE (O/S)\n Dickie?\n\n RIPLEY\n Who is it?", "Ripley shakes hands with Herbert Greenleaf as he gets into\n his Rolls Royce. They are making an appointment. Ripley\n crosses the street to Fran, pecks her cheek. She hands him\n his share of their fee." ], [ "Then you'll most likely know our son,\n Dick. Dickie Greenleaf...", "RIPLEY\n Copy out from here...\n\n He hands the book to Dickie, pointing out the lines.", "as Ripley leaves behind his brief life as Dickie Greenleaf.", "DICKIE\n She came to me for help, she needed\n money, and I didn't help her. I didn't\n help her. Now she's dead and it's my\n fault.", "HERBERT GREENLEAF\n Of course, Dickie's idea of music is\n Jazz. He has a saxophone. To my ear Jazz\n is just noise, just an insolent noise.", "EMILY GREENLEAF\n Class of '56?\n\n RIPLEY\n (hesitating)\n How is Dickie?", "MACCARRON\n (cont'd)\n Mr Greenleaf also feels there was a\n silent promise in Dickie's letter to you", "Ripley studies an old photograph of Dickie Greenleaf in a\n Princeton Yearbook. He shoves the book in a bag, picks up\n his suitcase and takes a last look around the dingy apartment\n before closing the door behind him.", "Ripley and Dickie are walking out of the American Express\n Office, Dickie pushing the rest of his money into his case,\n Ripley - despondent - reading aloud extracts from a letter\n from Herbert Greenleaf -", "MACCARRON\n Why do you think Dickie's father sent him\n to Europe in the first place? Did you\n know at Princeton Dickie Greenleaf half-\n killed a boy?", "Dickie...disappear when he was the only,\n he was the only suspect in Freddie's\n murder.", "MARGE\n (returning with the drinks)\n What? What?\n\n DICKIE\n Meet my father, Herbert Richard Greenleaf\n 1st.", "DICKIE\n It's got nothing to do with my mother!\n She's had leukemia for - ! This is what", "HERBERT GREENLEAF\n This theory, the letter he left for you,\n the Police think that's a clear\n indication he was planning on doing\n something...to himself.", "RIPLEY\n Oh - just amusing myself. Sorry, Dickie.\n (pause)\n I didn't think you were coming back.\n\n Dickie turns off the record player.", "Miles and then kill Dickie Greenleaf. Is\n he accusing me?\n (Peter clearly doesn't ask)\n Ask him if he's accusing me!", "RIPLEY\n Dickie Greenleaf?\n\n Dickie squints at Ripley, who holds his shoes, lamely.\n\n DICKIE\n Who's this?", "Dickie - <i>Dickie Greenleaf</i> - at the Grand.", "Her partner, DICKIE GREENLEAF, dives too. They're brown,\n beautiful, perfect. Ripley notices the name of the boat:\n \"BIRD\".", "DICKIE\n The mysterious Mr Ripley. Marge and I\n spend hours speculating.\n (drinking)\n Cold beer. Thank you Dad." ], [ "Ripley studies an old photograph of Dickie Greenleaf in a\n Princeton Yearbook. He shoves the book in a bag, picks up\n his suitcase and takes a last look around the dingy apartment\n before closing the door behind him.", "Dickie and Ripley on the Vespa. There's a steep incline where\n the road winds down towards Naples and, as the Vespa gains\n speed, Ripley is happy to cling to Dickie.", "DICKIE\n Sure. I love Venice.\n\n RIPLEY\n I have to go to Venice.", "Ripley and Dickie are walking out of the American Express\n Office, Dickie pushing the rest of his money into his case,\n Ripley - despondent - reading aloud extracts from a letter\n from Herbert Greenleaf -", "RIPLEY\n I thought I might come back. In the New\n Year. Under my own steam.\n\n DICKIE\n (suddenly tight)\n Really? To Italy?", "as Ripley leaves behind his brief life as Dickie Greenleaf.", "RIPLEY\n We passed it a few blocks back, where the\n police were. The Palazzo Gioia. They\n don't even know I'm in Rome and I'm not\n going to incriminate Dickie -", "RIPLEY\n Oh - just amusing myself. Sorry, Dickie.\n (pause)\n I didn't think you were coming back.\n\n Dickie turns off the record player.", "RIPLEY\n I met him in New York.\n\n DICKIE\n Marge! You've got to hear this!", "RIPLEY\n Copy out from here...\n\n He hands the book to Dickie, pointing out the lines.", "It's past eight, Ripley stands, one foot on the guard step of\n the Naples train, waiting forlornly for Dickie, then giving", "Dickie and Ripley travel up to San Remo. They sit next to\n each other. Dickie's asleep. Ripley lays his head on Dickie's", "Ripley appears, with his meagre luggage at Dickie's front\n door. He's carrying his tote bag under his arm, the bottom of", "ROVERINI\n Dickie Greenleaf?\n\n RIPLEY\n Yes?\n\n ROVERINI\n Inspector Roverini. Can we come in?", "MARGE\n Is he here? Are you with Dickie?\n\n RIPLEY\n No.\n (to Smith-Kingsley)\n Hello, I'm Tom Ripley.", "RIPLEY\n He's gone to dinner! Search the place. I\n can't think why you would imagine Dickie\n would hide from you.", "Marge and Ripley are on a shopping expedition. They walk down\n the hill towards the grocery shop, next to the bar in the\n little square. Ripley has asked Marge how she and Dickie met.", "RIPLEY\n Dickie Greenleaf?\n\n Dickie squints at Ripley, who holds his shoes, lamely.\n\n DICKIE\n Who's this?", "instantly absorbed in the music, Ripley absorbed in Dickie.\n An attractive Italian Girl, DAHLIA, comes over, kisses", "They kiss cheeks, continental-style.\n\n DICKIE\n This is Tom Ripley. Freddie Miles." ], [ "Ripley studies an old photograph of Dickie Greenleaf in a\n Princeton Yearbook. He shoves the book in a bag, picks up\n his suitcase and takes a last look around the dingy apartment\n before closing the door behind him.", "DICKIE\n Freddie drove me back in his car.\n\n RIPLEY\n (horrified)\n Is Freddie here?", "RIPLEY\n Oh - just amusing myself. Sorry, Dickie.\n (pause)\n I didn't think you were coming back.\n\n Dickie turns off the record player.", "MARGE\n Is he here? Are you with Dickie?\n\n RIPLEY\n No.\n (to Smith-Kingsley)\n Hello, I'm Tom Ripley.", "Dickie and Ripley on the Vespa. There's a steep incline where\n the road winds down towards Naples and, as the Vespa gains\n speed, Ripley is happy to cling to Dickie.", "RIPLEY\n What rumour?\n\n PETER\n That Dickie murdered you and is\n travelling under your passport. I know,\n ridiculous.", "Dickie and Ripley travel up to San Remo. They sit next to\n each other. Dickie's asleep. Ripley lays his head on Dickie's", "RIPLEY\n Copy out from here...\n\n He hands the book to Dickie, pointing out the lines.", "They kiss cheeks, continental-style.\n\n DICKIE\n This is Tom Ripley. Freddie Miles.", "MARGE\n Well, we ate everything without you.\n\n DICKIE\n We?\n\n MARGE\n Yes, Tom Ripley's here.", "RIPLEY\n Dickie Greenleaf?\n\n Dickie squints at Ripley, who holds his shoes, lamely.\n\n DICKIE\n Who's this?", "DICKIE\n You like jazz!\n\n RIPLEY\n (gathering up the records)\n I <i>love</i> jazz.", "Ripley and Dickie are walking out of the American Express\n Office, Dickie pushing the rest of his money into his case,\n Ripley - despondent - reading aloud extracts from a letter\n from Herbert Greenleaf -", "DICKIE\n Marge and I are getting married.\n\n RIPLEY\n (appalled)\n How?\n\n DICKIE\n How?", "Nobody's in sight. The boat rocks, gently, the sun sparkling\n indifferently on the waves. Ripley lies by Dickie in the\n bottom of the boat, in the embrace he's always wanted.", "They're shown to a good table. Dickie watches the band while\n their glasses are filled with champagne. Ripley looks happy.\n He's got Dickie all to himself.", "Ripley shakes hands with Herbert Greenleaf as he gets into\n his Rolls Royce. They are making an appointment. Ripley\n crosses the street to Fran, pecks her cheek. She hands him\n his share of their fee.", "Ripley appears, with his meagre luggage at Dickie's front\n door. He's carrying his tote bag under his arm, the bottom of", "DICKIE (cont'd)\n (as Ripley returns)\n She was pregnant. Did you know that? Do\n you know what that means in a place like\n this?", "DICKIE\n The mysterious Mr Ripley. Marge and I\n spend hours speculating.\n (drinking)\n Cold beer. Thank you Dad." ], [ "He gets out, walks past Ripley, who doesn't turn around. But\n Dickie's reflected in the mirror. Ripley looks, then Dickie\n turns, holds his look momentarily before flicking him with\n his towel.", "Ripley studies an old photograph of Dickie Greenleaf in a\n Princeton Yearbook. He shoves the book in a bag, picks up\n his suitcase and takes a last look around the dingy apartment\n before closing the door behind him.", "DICKIE\n Freddie drove me back in his car.\n\n RIPLEY\n (horrified)\n Is Freddie here?", "DICKIE (cont'd)\n (as Ripley returns)\n She was pregnant. Did you know that? Do\n you know what that means in a place like\n this?", "DICKIE (cont'd)\n I'm never going back!\n\n RIPLEY\n No, I think your mother, her illness -", "Dickie and Ripley travel up to San Remo. They sit next to\n each other. Dickie's asleep. Ripley lays his head on Dickie's", "RIPLEY\n Dickie Greenleaf?\n\n Dickie squints at Ripley, who holds his shoes, lamely.\n\n DICKIE\n Who's this?", "RIPLEY\n Oh - just amusing myself. Sorry, Dickie.\n (pause)\n I didn't think you were coming back.\n\n Dickie turns off the record player.", "DICKIE (O/S)\n What are you doing?\n\n Ripley turns, horrified, to see Dickie standing in the\n doorway. The music thumps away.", "FREDDIE (O/S)\n Dickie, come on, it's me.\n\n Ripley can't think what to hide, where to hide. He opens the\n door.", "Ripley grips the oar, his knuckles white. Dickie cuts the\n motor, and the boat slows to a crawl, miles from the shore.", "RIPLEY\n Copy out from here...\n\n He hands the book to Dickie, pointing out the lines.", "RIPLEY\n We passed it a few blocks back, where the\n police were. The Palazzo Gioia. They\n don't even know I'm in Rome and I'm not\n going to incriminate Dickie -", "Ripley, shocked at himself, goes to Dickie, rocking the boat,\n catches him up, then is horrified to see Dickie's face,", "DICKIE\n Okay.\n (he sits up)\n And did we know each other?\n\n RIPLEY\n Well, I knew you, so I suppose you must\n have known me.", "DICKIE\n me neither. Nor does Marge. All only\n children - what does that mean?\n\n He looks at Ripley who looks at him, a little too long.", "They're shown to a good table. Dickie watches the band while\n their glasses are filled with champagne. Ripley looks happy.\n He's got Dickie all to himself.", "DICKIE\n Yes, it's vile. Don't worry, you don't\n have to come.\n (to Ripley)\n It's great. You're going to love it.", "Dickie, in his new dressing gown, is sitting at the table,\n typing. Ripley's head emerges from behind the couch on which\n he has been enjoying a blissful sleep.", "(focusing on Ripley's cuts and\n bruises)\n What happened to your face?\n\n RIPLEY\n Dickie did it." ], [ "RIPLEY\n Oh - just amusing myself. Sorry, Dickie.\n (pause)\n I didn't think you were coming back.\n\n Dickie turns off the record player.", "He gets out, walks past Ripley, who doesn't turn around. But\n Dickie's reflected in the mirror. Ripley looks, then Dickie\n turns, holds his look momentarily before flicking him with\n his towel.", "RIPLEY\n Copy out from here...\n\n He hands the book to Dickie, pointing out the lines.", "reflection of the train window, so that he can move his head\n and see his reflection, then back and see Dickie's. Dickie\n suddenly catches him staring. Ripley looks away.", "Ripley, shocked at himself, goes to Dickie, rocking the boat,\n catches him up, then is horrified to see Dickie's face,", "RIPLEY\n Dickie Greenleaf?\n\n Dickie squints at Ripley, who holds his shoes, lamely.\n\n DICKIE\n Who's this?", "Ripley studies an old photograph of Dickie Greenleaf in a\n Princeton Yearbook. He shoves the book in a bag, picks up\n his suitcase and takes a last look around the dingy apartment\n before closing the door behind him.", "DICKIE\n Did I know you at Princeton, Tom? I\n didn't, did I?\n\n RIPLEY\n Why are you asking all of a sudden?", "Dickie and Ripley on the Vespa. There's a steep incline where\n the road winds down towards Naples and, as the Vespa gains\n speed, Ripley is happy to cling to Dickie.", "DICKIE\n Freddie drove me back in his car.\n\n RIPLEY\n (horrified)\n Is Freddie here?", "RIPLEY\n I know why you're upset.\n (Dickie continues playing)\n I know about Silvana, Dickie. About you\n and Silvana.", "Ripley and Dickie are walking out of the American Express\n Office, Dickie pushing the rest of his money into his case,\n Ripley - despondent - reading aloud extracts from a letter\n from Herbert Greenleaf -", "DICKIE\n The mysterious Mr Ripley. Marge and I\n spend hours speculating.\n (drinking)\n Cold beer. Thank you Dad.", "Dickie and Ripley travel up to San Remo. They sit next to\n each other. Dickie's asleep. Ripley lays his head on Dickie's", "RIPLEY\n Shut up! Just shut up! Just shut up!\n\n The boat slows as Dickie releases the tiller. Dickie looks\n up at Ripley wearily and slides onto his back.", "Ripley starts undressing, his fingers clumsy with\n mortification and shock. Dickie looks at his feet, shakes\n his head.", "MARGE\n Is he here? Are you with Dickie?\n\n RIPLEY\n No.\n (to Smith-Kingsley)\n Hello, I'm Tom Ripley.", "MARGE\n Well, we ate everything without you.\n\n DICKIE\n We?\n\n MARGE\n Yes, Tom Ripley's here.", "RIPLEY\n You love me and you're not marrying me.\n\n DICKIE\n (cold)\n Tom, I don't love you.", "RIPLEY\n I was just looking at you -\n (looking at her tenderly)\n - so quiet.\n\n MARGE\n Where's Dickie?" ], [ "RIPLEY\n It's Tom. Tom Ripley. We were at\n Princeton together.", "RIPLEY\n You have the key. Tell me some good\n things about Tom Ripley. Don't get up.\n Just tell me some nice things.", "RIPLEY\n Even her.\n\n ROVERINI\n What about Thomas Ripley?\n\n RIPLEY\n What about Ripley?", "PETER\n Good things about Tom Ripley? Could take\n some time!... Tom is talented. Tom is\n tender... Tom is beautiful...", "RIPLEY\n I think I just said. Ripley was handling\n some business for me, nor does Mr Ripley\n want to marry me. Nor did he ask me\n every day if I would marry him. And when.", "Princeton - a fellow named Tom Ripley.\n He says he's going to haunt me until I\n agree to come back to New York with\n him...</i>", "Ripley studies an old photograph of Dickie Greenleaf in a\n Princeton Yearbook. He shoves the book in a bag, picks up\n his suitcase and takes a last look around the dingy apartment\n before closing the door behind him.", "Ripley shakes hands with Herbert Greenleaf as he gets into\n his Rolls Royce. They are making an appointment. Ripley\n crosses the street to Fran, pecks her cheek. She hands him\n his share of their fee.", "They kiss cheeks, continental-style.\n\n DICKIE\n This is Tom Ripley. Freddie Miles.", "MARGE\n Is he here? Are you with Dickie?\n\n RIPLEY\n No.\n (to Smith-Kingsley)\n Hello, I'm Tom Ripley.", "PETER\n No, we're meeting another friend. Tom\n Ripley.\n\n MARGE\n Do you know Tom?", "DICKIE\n Did I know you at Princeton, Tom? I\n didn't, did I?\n\n RIPLEY\n Why are you asking all of a sudden?", "RIPLEY\n Hello, Freddie, it's Tom, Tom Ripley.", "HERBERT GREENLEAF\n Most enjoyable. Herbert Greenleaf.\n\n RIPLEY\n Tom Ripley. Thank you, sir.", "MARGE\n Well, we ate everything without you.\n\n DICKIE\n We?\n\n MARGE\n Yes, Tom Ripley's here.", "RIPLEY\n Is Mr Greenleaf here?\n\n MACCARRON\n Mr Ripley? I'm Alvin MacCarron.", "DICKIE\n The mysterious Mr Ripley. Marge and I\n spend hours speculating.\n (drinking)\n Cold beer. Thank you Dad.", "FAUSTO (cont'd)\n <i>And a big round of applause for a new\n friend from New York - Tom Ripley!</i>", "MACCARRON\n (cont'd)\n Nor did they think to check whether a\n Thomas Ripley had ever been a student at", "RIPLEY\n (during this, and tender)\n You're such a liar...\n\n PETER\n ...Tom is a mystery..." ], [ "RIPLEY\n Copy out from here...\n\n He hands the book to Dickie, pointing out the lines.", "RIPLEY\n Oh - just amusing myself. Sorry, Dickie.\n (pause)\n I didn't think you were coming back.\n\n Dickie turns off the record player.", "RIPLEY\n What rumour?\n\n PETER\n That Dickie murdered you and is\n travelling under your passport. I know,\n ridiculous.", "Ripley and Dickie are walking out of the American Express\n Office, Dickie pushing the rest of his money into his case,\n Ripley - despondent - reading aloud extracts from a letter\n from Herbert Greenleaf -", "DICKIE\n The mysterious Mr Ripley. Marge and I\n spend hours speculating.\n (drinking)\n Cold beer. Thank you Dad.", "DICKIE\n Oh God, I don't think so.\n\n RIPLEY\n - you see, particularly with the Marge\n problem, you can just blame me.", "DICKIE\n Freddie drove me back in his car.\n\n RIPLEY\n (horrified)\n Is Freddie here?", "Ripley studies an old photograph of Dickie Greenleaf in a\n Princeton Yearbook. He shoves the book in a bag, picks up\n his suitcase and takes a last look around the dingy apartment\n before closing the door behind him.", "DICKIE (cont'd)\n (as Ripley returns)\n She was pregnant. Did you know that? Do\n you know what that means in a place like\n this?", "RIPLEY\n I was just looking at you -\n (looking at her tenderly)\n - so quiet.\n\n MARGE\n Where's Dickie?", "RIPLEY\n Dickie Greenleaf?\n\n Dickie squints at Ripley, who holds his shoes, lamely.\n\n DICKIE\n Who's this?", "RIPLEY\n He's gone to dinner! Search the place. I\n can't think why you would imagine Dickie\n would hide from you.", "RIPLEY\n I met him in New York.\n\n DICKIE\n Marge! You've got to hear this!", "RIPLEY\n I know why you're upset.\n (Dickie continues playing)\n I know about Silvana, Dickie. About you\n and Silvana.", "Dickie and Ripley on the Vespa. There's a steep incline where\n the road winds down towards Naples and, as the Vespa gains\n speed, Ripley is happy to cling to Dickie.", "MARGE\n Is he here? Are you with Dickie?\n\n RIPLEY\n No.\n (to Smith-Kingsley)\n Hello, I'm Tom Ripley.", "RIPLEY\n Shut up! Just shut up! Just shut up!\n\n The boat slows as Dickie releases the tiller. Dickie looks\n up at Ripley wearily and slides onto his back.", "RIPLEY\n Then I'll take it as a compliment.\n\n DICKIE\n I knew it! I had a bet with Marge!", "MARGE\n Well, we ate everything without you.\n\n DICKIE\n We?\n\n MARGE\n Yes, Tom Ripley's here.", "Dickie and Ripley travel up to San Remo. They sit next to\n each other. Dickie's asleep. Ripley lays his head on Dickie's" ], [ "DICKIE (cont'd)\n I'll kill you!", "DICKIE\n Freddie drove me back in his car.\n\n RIPLEY\n (horrified)\n Is Freddie here?", "MEREDITH\n Dickie? Dickie?\n\n He turns. He's caught. Suddenly he's Dickie.", "RIPLEY\n Copy out from here...\n\n He hands the book to Dickie, pointing out the lines.", "DICKIE\n She came to me for help, she needed\n money, and I didn't help her. I didn't\n help her. Now she's dead and it's my\n fault.", "RIPLEY\n Oh - just amusing myself. Sorry, Dickie.\n (pause)\n I didn't think you were coming back.\n\n Dickie turns off the record player.", "DICKIE\n I feel like he's here. Horrible. Like the\n old bastard is here right now! That's\n brilliant! How do you know him?", "slowly sinking. Shuddering from the exertion, the cold, he\n finds Dickie's jacket, puts it on and watches as the boat\n disappears under the surface.", "Dickie...disappear when he was the only,\n he was the only suspect in Freddie's\n murder.", "Dickie's bag into his knapsack as he approaches his scooter.\n Marge spots him and strides across the piazza. She is in no\n mood for pleasantries.", "Dickie, pulls off his hat, puts it on, there's no room for\n her to sit, so she sits on Dickie's lap, smoking his", "And Dickie's already gone, back to Ripley feinting to box him\n then dancing, satyr-like, down the hill.\n\n EXT. COASTAL ROAD TO NAPLES. EVENING.", "Nobody's in sight. The boat rocks, gently, the sun sparkling\n indifferently on the waves. Ripley lies by Dickie in the\n bottom of the boat, in the embrace he's always wanted.", "Ripley's mortified, but Dickie jumps off the stage and pulls\n him up. The song continues and now, at the chorus, it's", "DICKIE\n I'll tell you - I am so cabin-crazy with\n Mongi.\n\n Freddie and Dickie link arms Italian-style and cross the\n street to Freddie's car.", "DICKIE\n Marge and I are getting married.\n\n RIPLEY\n (appalled)\n How?\n\n DICKIE\n How?", "Dickie and Ripley travel up to San Remo. They sit next to\n each other. Dickie's asleep. Ripley lays his head on Dickie's", "Dickie lets him leave and then sits amongst the debris of the\n dressing-up session, not amused.\n\n EXT. DICKIE'S TERRACE. DAY.", "Ripley starts undressing, his fingers clumsy with\n mortification and shock. Dickie looks at his feet, shakes\n his head.", "FREDDIE\n (mugging)\n Hey, if I'm late, think what her\n husband's saying!\n\n He fills Dickie's glass with wine and drinks it standing up." ], [ "Ripley grips the oar, his knuckles white. Dickie cuts the\n motor, and the boat slows to a crawl, miles from the shore.", "AND HE'S GONE. Ripley shuts the door, smooths the silk runner\n on the table where Freddie's hand had rucked it. He goes back\n to the door, opens it and looks over the rail.", "Ripley, terrified, hits Dickie again and again, the oar like\n a carpet-beater banging down flat, blood on the blade, blood", "MARGE\n Tell me the truth. Did he kill Freddie?\n\n RIPLEY\n I'd swear he didn't. Of course he didn't.", "him downwards. As Freddie slumps away, Ripley loses his\n balance and the head sends Freddie a glancing blow before", "RIPLEY\n Shut up! Just shut up! Just shut up!\n\n The boat slows as Dickie releases the tiller. Dickie looks\n up at Ripley wearily and slides onto his back.", "Freddie falls like an ox, first to his knees, groaning, then\n to the floor as Ripley brings the head down again, beating", "He helps Marge to her feet and leads her out. RIPLEY IS\n PARALYSED. He waits for the door to shut. Aimlessly he walks", "Ripley is pressing against him, moving up his body, kisses\n his shoulder, the cord wrapped tight in his hands...\n\n INT. RIPLEY'S CABIN. NIGHT.", "MARGE\n Did he kill Freddie?\n\n RIPLEY\n Marge, when did you get here?", "Ripley goes straight to Meredith and grabs her.\n\n RIPLEY\n Let's go.\n\n MEREDITH\n I thought you were enjoying yourself?", "Ripley's way ahead and has reached the door of his apartment.\n He waits nervously for Roverini. He unlocks the door and can\n barely wait for Roverini to catch up.", "Ripley has to cover his face. MacCarron comes off the boat to\n restrain her. Ripley looks at him as if to say: <i>what can you", "He shares some intimacy with Marge, makes her laugh. Ripley\n stands as they wrestle around him. Marge looks up.", "WATCHING HIM. Ripley screams and swerves, crashing into the\n pavement, the scooter falling onto him and pulling him along", "A deserted cove, several miles along the coast. Ripley\n clambers onto a rock over the shore. He's watching the boat", "shirts, ties. On the dressing table there are toiletries,\n cufflinks scattered, a silk tie. Ripley picks up the tie and\n walks towards the open window below which is a terrace where", "FREDDIE\n I know. I was there.\n (looks back to see Ripley\n struggling to settle the", "Ripley looks to left and right for a place to dump the body.\n He slows near a clump of trees.", "on Ripley, until he's on his knees, heaving for breath,\n letting his arm drop, then realizing, disgusted, that he's" ], [ "RIPLEY\n Copy out from here...\n\n He hands the book to Dickie, pointing out the lines.", "MEREDITH\n Dickie? Dickie?\n\n He turns. He's caught. Suddenly he's Dickie.", "which he intends to honor. He intends to\n transfer a good part of Dickie's income\n from his trust into your name. He doesn't", "for his own battered suitcase. He puts the license plates\n from Freddie's car in Dickie's luggage. He has placed one", "RIPLEY\n Oh - just amusing myself. Sorry, Dickie.\n (pause)\n I didn't think you were coming back.\n\n Dickie turns off the record player.", "Dickie, pulls off his hat, puts it on, there's no room for\n her to sit, so she sits on Dickie's lap, smoking his", "Nobody's in sight. The boat rocks, gently, the sun sparkling\n indifferently on the waves. Ripley lies by Dickie in the\n bottom of the boat, in the embrace he's always wanted.", "DICKIE\n I feel like he's here. Horrible. Like the\n old bastard is here right now! That's\n brilliant! How do you know him?", "DICKIE\n Freddie drove me back in his car.\n\n RIPLEY\n (horrified)\n Is Freddie here?", "Dickie's bag into his knapsack as he approaches his scooter.\n Marge spots him and strides across the piazza. She is in no\n mood for pleasantries.", "DICKIE\n She came to me for help, she needed\n money, and I didn't help her. I didn't\n help her. Now she's dead and it's my\n fault.", "Ripley and Dickie are walking out of the American Express\n Office, Dickie pushing the rest of his money into his case,\n Ripley - despondent - reading aloud extracts from a letter\n from Herbert Greenleaf -", "Dickie's passport slides across the marble desk. A key comes\n back, collected by a hand sporting Dickie's two distinctive", "slowly sinking. Shuddering from the exertion, the cold, he\n finds Dickie's jacket, puts it on and watches as the boat\n disappears under the surface.", "Ripley appears, with his meagre luggage at Dickie's front\n door. He's carrying his tote bag under his arm, the bottom of", "PETER\n But the point is Dickie - well we know\n this - Dickie loves Marge and he misses\n her and apparently he's come to his\n senses...", "He takes Dickie's rings, opens up a LITTLE BOX of buttons and\n needles and cufflinks and sadly tosses them in. Dickie's", "DICKIE\n I'll tell you - I am so cabin-crazy with\n Mongi.\n\n Freddie and Dickie link arms Italian-style and cross the\n street to Freddie's car.", "FREDDIE\n (mugging)\n Hey, if I'm late, think what her\n husband's saying!\n\n He fills Dickie's glass with wine and drinks it standing up.", "And Dickie's already gone, back to Ripley feinting to box him\n then dancing, satyr-like, down the hill.\n\n EXT. COASTAL ROAD TO NAPLES. EVENING." ], [ "RIPLEY\n Copy out from here...\n\n He hands the book to Dickie, pointing out the lines.", "which he intends to honor. He intends to\n transfer a good part of Dickie's income\n from his trust into your name. He doesn't", "Ripley's signing Dickie's allowance receipt. Meredith is with\n him, signing her own counterfoil. He is, of course, endorsed\n by her presence. She goes to the window ahead of him.", "DICKIE\n I feel like he's here. Horrible. Like the\n old bastard is here right now! That's\n brilliant! How do you know him?", "DICKIE\n It'll just be for a little while. He can\n be... he makes me laugh.\n\n MARGE\n Okay, darling.", "right, but Dickie loves you. He's - I\n think you'll find he's coming home to\n you.", "He produces Dickie's pen and signs the blotter quickly - <i>H R\n Greenleaf</i>. Then he pulls out a postcard from the writing", "DICKIE\n (flattered)\n Well we certainly know that's true.\n\n INT. DICKIE'S BATHROOM. NIGHT.", "MEREDITH\n Dickie? Dickie?\n\n He turns. He's caught. Suddenly he's Dickie.", "PETER\n But the point is Dickie - well we know\n this - Dickie loves Marge and he misses\n her and apparently he's come to his\n senses...", "for his own battered suitcase. He puts the license plates\n from Freddie's car in Dickie's luggage. He has placed one", "Ripley collects and studies his mail. As they walk outside he\n holds up one letter to Dickie.", "Ripley and Dickie are walking out of the American Express\n Office, Dickie pushing the rest of his money into his case,\n Ripley - despondent - reading aloud extracts from a letter\n from Herbert Greenleaf -", "in bringing Dickie home. Naturally, I\n hope the trip has afforded you some\n pleasure despite the failure of its main\n objective you need no longer consider", "RIPLEY\n Then I'll take it as a compliment.\n\n DICKIE\n I knew it! I had a bet with Marge!", "case to reveal Dickie's <i>Stars, hide your fires</i> handwriting\n specimen. He compares the two signatures, is pleased.", "RIPLEY\n Now your signature.\n (watching him write)\n Not \"Dickie\". Your signature.", "RIPLEY\n What rumour?\n\n PETER\n That Dickie murdered you and is\n travelling under your passport. I know,\n ridiculous.", "Dickie's bag into his knapsack as he approaches his scooter.\n Marge spots him and strides across the piazza. She is in no\n mood for pleasantries.", "Then you'll most likely know our son,\n Dick. Dickie Greenleaf..." ], [ "He helps Marge to her feet and leads her out. RIPLEY IS\n PARALYSED. He waits for the door to shut. Aimlessly he walks", "He shares some intimacy with Marge, makes her laugh. Ripley\n stands as they wrestle around him. Marge looks up.", "MARGE\n Tell me the truth. Did he kill Freddie?\n\n RIPLEY\n I'd swear he didn't. Of course he didn't.", "Ripley emerges from the American Express Office. Across the\n street at the cafe, as once before, sits Marge. Ripley slips", "RIPLEY\n I can explain.\n\n He can't. His eyes dart. Marge holds up the evidence.", "RIPLEY\n It's fantastic.\n (to Peter)\n I feel guilty. Marge doesn't understand\n this, but anytime Dickie does something I\n feel guilty.", "Ripley lights a cigarette. Marge loses confidence.\n\n MARGE (cont'd)\n He hates being confronted.", "MARGE\n Hi Tom.\n\n DICKIE\n (looks up)\n Marge, Ripley's saying goodbye.", "INT. RIPLEY'S SITTING ROOM, VENICE. NIGHT.\n\n Marge is leaving, coat on, as Ripley comes out of the\n bathroom.", "MARGE\n Dickie!\n\n RIPLEY\n I'll go and see what's the matter.\n\n MARGE\n I'll go.", "MARGE\n Did he kill Freddie?\n\n RIPLEY\n Marge, when did you get here?", "MARGE\n I don't know her.\n (to Ripley)\n He hasn't called, he's hardly written,\n just these cryptic notes. You don't just\n dump people.", "MARGE (cont'd)\n (back to Ripley)\n Anyway, then one day, we go in, I see", "Ripley, irritated, opens the door, his towel wrapped around\n his waist. Marge is white. She's wearing a robe. She's\n slightly breathless.", "Marge is shivering. Ripley, ominous, advances, she retreats.\n\n RIPLEY\n You're shivering, Marge. Can I hold you?\n Would you let me hold you?", "RIPLEY\n Yesterday you're ogling girls on the\n terrace, today you're getting married.\n It's absurd.\n\n DICKIE\n I love Marge.", "DICKIE\n Oh God, I don't think so.\n\n RIPLEY\n - you see, particularly with the Marge\n problem, you can just blame me.", "MARGE\n (flicking a crumb at him)\n Bastard!\n (to Ripley)", "RIPLEY\n Then I'll take it as a compliment.\n\n DICKIE\n I knew it! I had a bet with Marge!", "RIPLEY\n I was just looking at you -\n (looking at her tenderly)\n - so quiet.\n\n MARGE\n Where's Dickie?" ], [ "Ripley looks to left and right for a place to dump the body.\n He slows near a clump of trees.", "AND HE'S GONE. Ripley shuts the door, smooths the silk runner\n on the table where Freddie's hand had rucked it. He goes back\n to the door, opens it and looks over the rail.", "Marge and Ripley and Dickie watch from the terrace as below\n them an AMBULANCE takes away the body. It seems as if the", "Ripley grips the oar, his knuckles white. Dickie cuts the\n motor, and the boat slows to a crawl, miles from the shore.", "A deserted cove, several miles along the coast. Ripley\n clambers onto a rock over the shore. He's watching the boat", "Ripley studies an old photograph of Dickie Greenleaf in a\n Princeton Yearbook. He shoves the book in a bag, picks up\n his suitcase and takes a last look around the dingy apartment\n before closing the door behind him.", "Ripley, familiar battered luggage in tow, appears at the\n entrance of the building next to his own, glances at the\n police car parked opposite the big doors, then hurries off\n into the darkness.", "RIPLEY\n Shut up! Just shut up! Just shut up!\n\n The boat slows as Dickie releases the tiller. Dickie looks\n up at Ripley wearily and slides onto his back.", "Nobody's in sight. The boat rocks, gently, the sun sparkling\n indifferently on the waves. Ripley lies by Dickie in the\n bottom of the boat, in the embrace he's always wanted.", "MARGE\n Tell me the truth. Did he kill Freddie?\n\n RIPLEY\n I'd swear he didn't. Of course he didn't.", "Ripley, abandoned, goes over. There's no room in the car. He\n has to crouch in the rear.", "MEREDITH\n Everybody knows Freddie Miles.\n\n RIPLEY\n (unsettled)\n Is Freddie in Rome?", "shirts, ties. On the dressing table there are toiletries,\n cufflinks scattered, a silk tie. Ripley picks up the tie and\n walks towards the open window below which is a terrace where", "EXT. BY THE PALAZZO GIOIA. NIGHT.\n\n Ripley's briefly silhouetted as he scuttles down an alley,\n hurrying towards a gate, and disappears behind it.", "DICKIE (cont'd)\n (losing his temper)\n You don't have to clean up! Really!\n\n Ripley disappears into the kitchen.", "RIPLEY (cont'd)\n Today, for the first time, I've even\n wondered whether he might have killed", "He helps Marge to her feet and leads her out. RIPLEY IS\n PARALYSED. He waits for the door to shut. Aimlessly he walks", "RIPLEY\n Oh - just amusing myself. Sorry, Dickie.\n (pause)\n I didn't think you were coming back.\n\n Dickie turns off the record player.", "MARGE\n Did he kill Freddie?\n\n RIPLEY\n Marge, when did you get here?", "Ripley is pressing against him, moving up his body, kisses\n his shoulder, the cord wrapped tight in his hands...\n\n INT. RIPLEY'S CABIN. NIGHT." ], [ "MARGE\n (returning with the drinks)\n What? What?\n\n DICKIE\n Meet my father, Herbert Richard Greenleaf\n 1st.", "Then you'll most likely know our son,\n Dick. Dickie Greenleaf...", "HERBERT GREENLEAF\n Of course, Dickie's idea of music is\n Jazz. He has a saxophone. To my ear Jazz\n is just noise, just an insolent noise.", "DICKIE\n I feel like he's here. Horrible. Like the\n old bastard is here right now! That's\n brilliant! How do you know him?", "Dickie - <i>Dickie Greenleaf</i> - at the Grand.", "Ripley and Dickie are walking out of the American Express\n Office, Dickie pushing the rest of his money into his case,\n Ripley - despondent - reading aloud extracts from a letter\n from Herbert Greenleaf -", "Ripley studies an old photograph of Dickie Greenleaf in a\n Princeton Yearbook. He shoves the book in a bag, picks up\n his suitcase and takes a last look around the dingy apartment\n before closing the door behind him.", "He produces Dickie's pen and signs the blotter quickly - <i>H R\n Greenleaf</i>. Then he pulls out a postcard from the writing", "RIPLEY\n Dickie Greenleaf?\n\n Dickie squints at Ripley, who holds his shoes, lamely.\n\n DICKIE\n Who's this?", "Miles and then kill Dickie Greenleaf. Is\n he accusing me?\n (Peter clearly doesn't ask)\n Ask him if he's accusing me!", "HERBERT GREENLEAF\n Most enjoyable. Herbert Greenleaf.\n\n RIPLEY\n Tom Ripley. Thank you, sir.", "MACCARRON\n Why do you think Dickie's father sent him\n to Europe in the first place? Did you\n know at Princeton Dickie Greenleaf half-\n killed a boy?", "They reach the console where Uncle Ted has their drinks.\n\n JOAN (cont'd)\n I was sure we'd met, weren't you, Ted?\n This is Herbert Greenleaf's boy.", "as Ripley leaves behind his brief life as Dickie Greenleaf.", "MEREDITH\n Dickie? Dickie?\n\n He turns. He's caught. Suddenly he's Dickie.", "RIPLEY\n Copy out from here...\n\n He hands the book to Dickie, pointing out the lines.", "MACCARRON\n (cont'd)\n Mr Greenleaf also feels there was a\n silent promise in Dickie's letter to you", "EMILY GREENLEAF\n Darling couple, aren't they?\n\n HERBERT GREENLEAF\n Yes. An exceptional young man.", "As Peter translates Verrecchia watches intently.\n\n PETER\n He wants to know if you killed Freddie\n Miles and then killed Dickie Greenleaf?", "Her partner, DICKIE GREENLEAF, dives too. They're brown,\n beautiful, perfect. Ripley notices the name of the boat:\n \"BIRD\"." ], [ "INT. RIPLEY'S HOUSE. AFTERNOON.\n\n Herbert Greenleaf sits on a chair, Ripley pours him some tea.", "Ripley shakes hands with Herbert Greenleaf as he gets into\n his Rolls Royce. They are making an appointment. Ripley\n crosses the street to Fran, pecks her cheek. She hands him\n his share of their fee.", "HERBERT GREENLEAF\n Most enjoyable. Herbert Greenleaf.\n\n RIPLEY\n Tom Ripley. Thank you, sir.", "RIPLEY\n I've always wanted to go to Europe, sir,\n but...\n\n HERBERT GREENLEAF\n Good. Now you can go for a reason.", "HERBERT GREENLEAF\n (pointing at Ripley's borrowed\n jacket)\n I see you were at Princeton.", "RIPLEY\n Even her.\n\n ROVERINI\n What about Thomas Ripley?\n\n RIPLEY\n What about Ripley?", "Ripley's way ahead and has reached the door of his apartment.\n He waits nervously for Roverini. He unlocks the door and can\n barely wait for Roverini to catch up.", "Ripley and Dickie are walking out of the American Express\n Office, Dickie pushing the rest of his money into his case,\n Ripley - despondent - reading aloud extracts from a letter\n from Herbert Greenleaf -", "RIPLEY\n I'm well, thank you.\n\n HERBERT GREENLEAF\n Far cry from New York.", "RIPLEY\n I think I just said. Ripley was handling\n some business for me, nor does Mr Ripley\n want to marry me. Nor did he ask me\n every day if I would marry him. And when.", "RIPLEY\n Copy out from here...\n\n He hands the book to Dickie, pointing out the lines.", "INT. TRAIN TO ROME. DAY.\n\n Ripley sits reading the LETTER from Herbert Greenleaf. He\n frowns, stops reading, looks out of the window.", "RIPLEY\n I wanted to tell you my plan.\n\n DICKIE\n So tell me.", "Ripley has Dickie's Hermes Baby typewriter on the desk and is\n busy writing letters. He has finished a letter to the", "RIPLEY\n Yes it is.\n\n HERBERT GREENLEAF\n Marge, good morning. Unusual weather.\n\n MARGE\n Very.", "Ripley luxuriates in the back of the Greenleaf limousine. He\n opens up an envelope he's carrying with Greenleaf stationery.\n Inside a First Class Cunard Ticket, some traveler's checks\n and dollars.", "RIPLEY\n And you, sir? Any better?\n\n HERBERT GREENLEAF\n Pretty good. Sticking with hot water.", "RIPLEY\n Mr Greenleaf.\n\n HERBERT GREENLEAF\n Tom. How are you? You look well.", "RIPLEY\n You try. You try talking to her.\n\n PETER\n (calls after him)\n Tom. Tom! Tell me, what's going on?", "Ripley goes straight to Meredith and grabs her.\n\n RIPLEY\n Let's go.\n\n MEREDITH\n I thought you were enjoying yourself?" ], [ "MARGE\n (stunned at the mention of his\n name)\n Dickie? Do you know Dickie?", "Dickie's bag into his knapsack as he approaches his scooter.\n Marge spots him and strides across the piazza. She is in no\n mood for pleasantries.", "DICKIE\n Marge and I are getting married.\n\n RIPLEY\n (appalled)\n How?\n\n DICKIE\n How?", "MARGE\n (suddenly tense)\n Dickie?", "Marge and Ripley are on a shopping expedition. They walk down\n the hill towards the grocery shop, next to the bar in the\n little square. Ripley has asked Marge how she and Dickie met.", "RIPLEY\n I met him in New York.\n\n DICKIE\n Marge! You've got to hear this!", "RIPLEY\n Yesterday you're ogling girls on the\n terrace, today you're getting married.\n It's absurd.\n\n DICKIE\n I love Marge.", "MARGE\n Dickie!\n\n RIPLEY\n I'll go and see what's the matter.\n\n MARGE\n I'll go.", "MARGE\n (returning with the drinks)\n What? What?\n\n DICKIE\n Meet my father, Herbert Richard Greenleaf\n 1st.", "RIPLEY\n Then I'll take it as a compliment.\n\n DICKIE\n I knew it! I had a bet with Marge!", "MARGE (cont'd)\n If you're not at my place by 7.00, Tom\n and I are running off together.\n\n DICKIE\n Okay.", "RIPLEY\n I was just looking at you -\n (looking at her tenderly)\n - so quiet.\n\n MARGE\n Where's Dickie?", "his crew of Marge and a painfully awkward anxious-to-please\n Ripley. Dickie goes over to help him.", "MARGE\n Dickie hasn't killed himself. I'm sure of\n that. There's a private detective on the\n case now - a Mr MacCarron - Dickie's\n father's employing him.", "DICKIE\n You'd say if you mind?\n\n MARGE\n No, I like him.\n\n DICKIE\n Marge, you like everybody.", "PETER\n But the point is Dickie - well we know\n this - Dickie loves Marge and he misses\n her and apparently he's come to his\n senses...", "DICKIE\n The mysterious Mr Ripley. Marge and I\n spend hours speculating.\n (drinking)\n Cold beer. Thank you Dad.", "DICKIE\n Marge-maintenance.\n\n FREDDIE\n Aye, aye.", "Dickie and Ripley are leaving. They're fooling around.\n Dickie jumps on Ripley's shoulders. Marge watches from the\n top of the garden.", "DICKIE\n (finds this idea absurd)\n Passing through! You're so white. Did you\n ever see a guy so white, Marge? Gray,\n actually." ], [ "MARGE\n Is he here? Are you with Dickie?\n\n RIPLEY\n No.\n (to Smith-Kingsley)\n Hello, I'm Tom Ripley.", "DICKIE\n Marge and I are getting married.\n\n RIPLEY\n (appalled)\n How?\n\n DICKIE\n How?", "DICKIE\n Oh God, I don't think so.\n\n RIPLEY\n - you see, particularly with the Marge\n problem, you can just blame me.", "RIPLEY\n Then I'll take it as a compliment.\n\n DICKIE\n I knew it! I had a bet with Marge!", "RIPLEY\n Yesterday you're ogling girls on the\n terrace, today you're getting married.\n It's absurd.\n\n DICKIE\n I love Marge.", "RIPLEY\n I met him in New York.\n\n DICKIE\n Marge! You've got to hear this!", "RIPLEY\n It's fantastic.\n (to Peter)\n I feel guilty. Marge doesn't understand\n this, but anytime Dickie does something I\n feel guilty.", "DICKIE\n The mysterious Mr Ripley. Marge and I\n spend hours speculating.\n (drinking)\n Cold beer. Thank you Dad.", "Marge and Ripley are on a shopping expedition. They walk down\n the hill towards the grocery shop, next to the bar in the\n little square. Ripley has asked Marge how she and Dickie met.", "RIPLEY\n I was just looking at you -\n (looking at her tenderly)\n - so quiet.\n\n MARGE\n Where's Dickie?", "RIPLEY\n I don't know. I don't understand Dickie,\n Marge, so your guess is as good as mine.\n\n MARGE\n What does that mean?", "MARGE\n Well, we ate everything without you.\n\n DICKIE\n We?\n\n MARGE\n Yes, Tom Ripley's here.", "MARGE\n Dickie!\n\n RIPLEY\n I'll go and see what's the matter.\n\n MARGE\n I'll go.", "RIPLEY\n I'll try my best, sir. Obviously I'll do\n anything to help Dickie.\n\n Marge looks at him in contempt.", "MARGE\n I'll come down.\n\n DICKIE\n (to Ripley)\n Did you speak to my father?", "DICKIE\n me neither. Nor does Marge. All only\n children - what does that mean?\n\n He looks at Ripley who looks at him, a little too long.", "Dickie and Ripley are leaving. They're fooling around.\n Dickie jumps on Ripley's shoulders. Marge watches from the\n top of the garden.", "his crew of Marge and a painfully awkward anxious-to-please\n Ripley. Dickie goes over to help him.", "MARGE\n Hi Tom.\n\n DICKIE\n (looks up)\n Marge, Ripley's saying goodbye.", "Ripley comes down, apprehensive, to find Marge and Dickie and\n Freddie having a jolly breakfast on the terrace. Dickie looks\n perfectly happy." ], [ "Ripley locates his room, puts down his luggage in what is a\n comfortable and simple room, then heads back downstairs only\n to be tempted by the open door of Dickie's bedroom.", "Ripley explores the casual elegance of Dickie's bedroom - the\n Louis Vuitton chest, the closet's open door spilling out", "Dickie and Ripley travel up to San Remo. They sit next to\n each other. Dickie's asleep. Ripley lays his head on Dickie's", "reflection of the train window, so that he can move his head\n and see his reflection, then back and see Dickie's. Dickie\n suddenly catches him staring. Ripley looks away.", "Ripley appears, with his meagre luggage at Dickie's front\n door. He's carrying his tote bag under his arm, the bottom of", "Dickie's in the bath. Ripley, dressed, sits on the stool next\n to the bath. They're in the middle of playing chess, the", "RIPLEY\n Oh - just amusing myself. Sorry, Dickie.\n (pause)\n I didn't think you were coming back.\n\n Dickie turns off the record player.", "DICKIE (O/S)\n What are you doing?\n\n Ripley turns, horrified, to see Dickie standing in the\n doorway. The music thumps away.", "RIPLEY\n Copy out from here...\n\n He hands the book to Dickie, pointing out the lines.", "Dickie, in his new dressing gown, is sitting at the table,\n typing. Ripley's head emerges from behind the couch on which\n he has been enjoying a blissful sleep.", "He gets out, walks past Ripley, who doesn't turn around. But\n Dickie's reflected in the mirror. Ripley looks, then Dickie\n turns, holds his look momentarily before flicking him with\n his towel.", "Ripley studies an old photograph of Dickie Greenleaf in a\n Princeton Yearbook. He shoves the book in a bag, picks up\n his suitcase and takes a last look around the dingy apartment\n before closing the door behind him.", "They're shown to a good table. Dickie watches the band while\n their glasses are filled with champagne. Ripley looks happy.\n He's got Dickie all to himself.", "And he disappears again, leaving Dickie to resume the sax,\n somehow in thrall to Ripley.", "Ripley starts undressing, his fingers clumsy with\n mortification and shock. Dickie looks at his feet, shakes\n his head.", "DICKIE\n Freddie drove me back in his car.\n\n RIPLEY\n (horrified)\n Is Freddie here?", "Dickie and Ripley on the Vespa. There's a steep incline where\n the road winds down towards Naples and, as the Vespa gains\n speed, Ripley is happy to cling to Dickie.", "RIPLEY\n He's gone to dinner! Search the place. I\n can't think why you would imagine Dickie\n would hide from you.", "Ripley, shocked at himself, goes to Dickie, rocking the boat,\n catches him up, then is horrified to see Dickie's face,", "DICKIE (cont'd)\n (losing his temper)\n You don't have to clean up! Really!\n\n Ripley disappears into the kitchen." ], [ "Dickie and Ripley travel up to San Remo. They sit next to\n each other. Dickie's asleep. Ripley lays his head on Dickie's", "shoulder, but as he does that, the ticket inspector announces\n the San Remo stop, taps on the window and Dickie stirs. Then\n Ripley plays his familiar game of studying his face in the", "Ripley studies an old photograph of Dickie Greenleaf in a\n Princeton Yearbook. He shoves the book in a bag, picks up\n his suitcase and takes a last look around the dingy apartment\n before closing the door behind him.", "EXT. MID OCEAN. DAY.\n\n The bay of San Remo. DICKIE and RIPLEY have hired a motor \n boat.", "reflection of the train window, so that he can move his head\n and see his reflection, then back and see Dickie's. Dickie\n suddenly catches him staring. Ripley looks away.", "Dickie and Ripley on the Vespa. There's a steep incline where\n the road winds down towards Naples and, as the Vespa gains\n speed, Ripley is happy to cling to Dickie.", "Ripley grips the oar, his knuckles white. Dickie cuts the\n motor, and the boat slows to a crawl, miles from the shore.", "He gets out, walks past Ripley, who doesn't turn around. But\n Dickie's reflected in the mirror. Ripley looks, then Dickie\n turns, holds his look momentarily before flicking him with\n his towel.", "They're shown to a good table. Dickie watches the band while\n their glasses are filled with champagne. Ripley looks happy.\n He's got Dickie all to himself.", "RIPLEY\n What rumour?\n\n PETER\n That Dickie murdered you and is\n travelling under your passport. I know,\n ridiculous.", "RIPLEY\n Dickie Greenleaf?\n\n Dickie squints at Ripley, who holds his shoes, lamely.\n\n DICKIE\n Who's this?", "Ripley, shocked at himself, goes to Dickie, rocking the boat,\n catches him up, then is horrified to see Dickie's face,", "Dickie's in the bath. Ripley, dressed, sits on the stool next\n to the bath. They're in the middle of playing chess, the", "DICKIE\n Freddie drove me back in his car.\n\n RIPLEY\n (horrified)\n Is Freddie here?", "ROVERINI\n You and Signor Ripley went to San Remo,\n is that right?\n\n Ripley is appalled. He smiles.", "RIPLEY\n Oh - just amusing myself. Sorry, Dickie.\n (pause)\n I didn't think you were coming back.\n\n Dickie turns off the record player.", "DICKIE\n Sure. I love Venice.\n\n RIPLEY\n I have to go to Venice.", "And Dickie's already gone, back to Ripley feinting to box him\n then dancing, satyr-like, down the hill.\n\n EXT. COASTAL ROAD TO NAPLES. EVENING.", "Ripley shakes hands with Herbert Greenleaf as he gets into\n his Rolls Royce. They are making an appointment. Ripley\n crosses the street to Fran, pecks her cheek. She hands him\n his share of their fee.", "Dickie, in his new dressing gown, is sitting at the table,\n typing. Ripley's head emerges from behind the couch on which\n he has been enjoying a blissful sleep." ], [ "PETER\n They found this in Dickie's place in\n Rome.\n\n RIPLEY\n You opened this?\n\n VERRECCHIA\n Of course!", "MEREDITH\n Everybody knows Freddie Miles.\n\n RIPLEY\n (unsettled)\n Is Freddie in Rome?", "Ripley's way ahead and has reached the door of his apartment.\n He waits nervously for Roverini. He unlocks the door and can\n barely wait for Roverini to catch up.", "RIPLEY\n We passed it a few blocks back, where the\n police were. The Palazzo Gioia. They\n don't even know I'm in Rome and I'm not\n going to incriminate Dickie -", "RIPLEY\n I know.\n\n MEREDITH\n I've never admitted that to anyone.\n\n INT. AMERICAN EXPRESS OFFICE, ROME. DAY.", "MARGE\n (as if she's seen a ghost)\n Oh my God. Tom.\n\n RIPLEY\n Marge, how are you? What are you doing in\n Rome?", "INT. RIPLEY'S APARTMENT, ROME. LATE DAY.\n\n Freddie knocks on the door which pushes open. As he marches\n in, he launches into his interrogation.", "EXT. ROME STREET, BY THE RIVER. DAY.\n\n Ripley pulls up several hundred yards later, in a different\n piazza full of book stalls. Marge is confused.", "Ripley loves this idea and mouths the word, \"Batistoni\".\n\n DICKIE (cont'd)\n Andiamo a Roma. We're taking Tom to\n Roma!", "As Ripley hurries inside he encounters officers conducting\n more thorough forensic investigations in the stairwell. On a\n landing is Roverini. Ripley hurries towards him.", "Ripley emerges from the American Express Office. Across the\n street at the cafe, as once before, sits Marge. Ripley slips", "RIPLEY\n It's okay.\n\n PETER\n Anyway I've got to the bottom of the\n delay. Finally. We're waiting for\n someone from Rome.", "RIPLEY\n Even her.\n\n ROVERINI\n What about Thomas Ripley?\n\n RIPLEY\n What about Ripley?", "RIPLEY\n I've left Marge, Meredith. And Mongi. So\n the rat's here now, in Rome.", "RIPLEY\n I think he's planning on staying in Rome\n for a few days.\n\n MARGE\n (looks at him)\n Ha. Did he say why?", "RIPLEY\n (returning, flinching)\n No. No, I'm staying here for a few days,\n in Rome. That's a new piano, so you prob -", "Verrecchia hands over a letter. It's opened. Ripley's name on\n the outside. Ripley stares at it.", "INT. TRAIN TO ROME. DAY.\n\n Ripley sits reading the LETTER from Herbert Greenleaf. He\n frowns, stops reading, looks out of the window.", "EXT. CAROZZA, ROME. NIGHT.\n\n Meredith shivers in the raw night as they cross the Tiber.\n Ripley as Dickie is confessing his heart belongs to Marge.", "Ripley forgets he's not supposed to have much Italian and\n answers.\n\n RIPLEY\n In Rome, about three weeks ago.\n (shrugs)\n I knew that one." ], [ "Ripley grips the oar, his knuckles white. Dickie cuts the\n motor, and the boat slows to a crawl, miles from the shore.", "Ripley goes straight to Meredith and grabs her.\n\n RIPLEY\n Let's go.\n\n MEREDITH\n I thought you were enjoying yourself?", "They kiss cheeks, continental-style.\n\n DICKIE\n This is Tom Ripley. Freddie Miles.", "He helps Marge to her feet and leads her out. RIPLEY IS\n PARALYSED. He waits for the door to shut. Aimlessly he walks", "He shares some intimacy with Marge, makes her laugh. Ripley\n stands as they wrestle around him. Marge looks up.", "Ripley, terrified, hits Dickie again and again, the oar like\n a carpet-beater banging down flat, blood on the blade, blood", "RIPLEY\n Shut up! Just shut up! Just shut up!\n\n The boat slows as Dickie releases the tiller. Dickie looks\n up at Ripley wearily and slides onto his back.", "him downwards. As Freddie slumps away, Ripley loses his\n balance and the head sends Freddie a glancing blow before", "MEREDITH\n Everybody knows Freddie Miles.\n\n RIPLEY\n (unsettled)\n Is Freddie in Rome?", "AND HE'S GONE. Ripley shuts the door, smooths the silk runner\n on the table where Freddie's hand had rucked it. He goes back\n to the door, opens it and looks over the rail.", "Ripley is pressing against him, moving up his body, kisses\n his shoulder, the cord wrapped tight in his hands...\n\n INT. RIPLEY'S CABIN. NIGHT.", "Dickie, furious, gets up, and lurches towards Ripley.", "Ripley's way ahead and has reached the door of his apartment.\n He waits nervously for Roverini. He unlocks the door and can\n barely wait for Roverini to catch up.", "Freddie falls like an ox, first to his knees, groaning, then\n to the floor as Ripley brings the head down again, beating", "MARGE\n Tell me the truth. Did he kill Freddie?\n\n RIPLEY\n I'd swear he didn't. Of course he didn't.", "Ripley, shocked at himself, goes to Dickie, rocking the boat,\n catches him up, then is horrified to see Dickie's face,", "Ripley has to cover his face. MacCarron comes off the boat to\n restrain her. Ripley looks at him as if to say: <i>what can you", "WATCHING HIM. Ripley screams and swerves, crashing into the\n pavement, the scooter falling onto him and pulling him along", "A deserted cove, several miles along the coast. Ripley\n clambers onto a rock over the shore. He's watching the boat", "on Ripley, until he's on his knees, heaving for breath,\n letting his arm drop, then realizing, disgusted, that he's" ], [ "RIPLEY\n Oh - just amusing myself. Sorry, Dickie.\n (pause)\n I didn't think you were coming back.\n\n Dickie turns off the record player.", "RIPLEY\n Copy out from here...\n\n He hands the book to Dickie, pointing out the lines.", "RIPLEY\n I know why you're upset.\n (Dickie continues playing)\n I know about Silvana, Dickie. About you\n and Silvana.", "RIPLEY\n What rumour?\n\n PETER\n That Dickie murdered you and is\n travelling under your passport. I know,\n ridiculous.", "DICKIE (cont'd)\n (as Ripley returns)\n She was pregnant. Did you know that? Do\n you know what that means in a place like\n this?", "DICKIE\n Freddie drove me back in his car.\n\n RIPLEY\n (horrified)\n Is Freddie here?", "Ripley studies an old photograph of Dickie Greenleaf in a\n Princeton Yearbook. He shoves the book in a bag, picks up\n his suitcase and takes a last look around the dingy apartment\n before closing the door behind him.", "RIPLEY\n He's gone to dinner! Search the place. I\n can't think why you would imagine Dickie\n would hide from you.", "RIPLEY\n It's fantastic.\n (to Peter)\n I feel guilty. Marge doesn't understand\n this, but anytime Dickie does something I\n feel guilty.", "DICKIE\n The mysterious Mr Ripley. Marge and I\n spend hours speculating.\n (drinking)\n Cold beer. Thank you Dad.", "RIPLEY\n Dickie Greenleaf?\n\n Dickie squints at Ripley, who holds his shoes, lamely.\n\n DICKIE\n Who's this?", "RIPLEY\n Then I'll take it as a compliment.\n\n DICKIE\n I knew it! I had a bet with Marge!", "RIPLEY\n I met him in New York.\n\n DICKIE\n Marge! You've got to hear this!", "RIPLEY\n I wanted to tell you my plan.\n\n DICKIE\n So tell me.", "RIPLEY\n I was just looking at you -\n (looking at her tenderly)\n - so quiet.\n\n MARGE\n Where's Dickie?", "RIPLEY\n You love me and you're not marrying me.\n\n DICKIE\n (cold)\n Tom, I don't love you.", "RIPLEY\n Shut up! Just shut up! Just shut up!\n\n The boat slows as Dickie releases the tiller. Dickie looks\n up at Ripley wearily and slides onto his back.", "Dickie and Ripley travel up to San Remo. They sit next to\n each other. Dickie's asleep. Ripley lays his head on Dickie's", "They're shown to a good table. Dickie watches the band while\n their glasses are filled with champagne. Ripley looks happy.\n He's got Dickie all to himself.", "DICKIE\n Did I know you at Princeton, Tom? I\n didn't, did I?\n\n RIPLEY\n Why are you asking all of a sudden?" ], [ "MEREDITH\n Dickie? Dickie?\n\n He turns. He's caught. Suddenly he's Dickie.", "Nobody's in sight. The boat rocks, gently, the sun sparkling\n indifferently on the waves. Ripley lies by Dickie in the\n bottom of the boat, in the embrace he's always wanted.", "RIPLEY\n Copy out from here...\n\n He hands the book to Dickie, pointing out the lines.", "for his own battered suitcase. He puts the license plates\n from Freddie's car in Dickie's luggage. He has placed one", "which he intends to honor. He intends to\n transfer a good part of Dickie's income\n from his trust into your name. He doesn't", "RIPLEY\n Oh - just amusing myself. Sorry, Dickie.\n (pause)\n I didn't think you were coming back.\n\n Dickie turns off the record player.", "Dickie, pulls off his hat, puts it on, there's no room for\n her to sit, so she sits on Dickie's lap, smoking his", "DICKIE\n Freddie drove me back in his car.\n\n RIPLEY\n (horrified)\n Is Freddie here?", "Ripley and Dickie are walking out of the American Express\n Office, Dickie pushing the rest of his money into his case,\n Ripley - despondent - reading aloud extracts from a letter\n from Herbert Greenleaf -", "Dickie's bag into his knapsack as he approaches his scooter.\n Marge spots him and strides across the piazza. She is in no\n mood for pleasantries.", "DICKIE\n She came to me for help, she needed\n money, and I didn't help her. I didn't\n help her. Now she's dead and it's my\n fault.", "slowly sinking. Shuddering from the exertion, the cold, he\n finds Dickie's jacket, puts it on and watches as the boat\n disappears under the surface.", "DICKIE\n I'll tell you - I am so cabin-crazy with\n Mongi.\n\n Freddie and Dickie link arms Italian-style and cross the\n street to Freddie's car.", "He takes Dickie's rings, opens up a LITTLE BOX of buttons and\n needles and cufflinks and sadly tosses them in. Dickie's", "DICKIE\n I feel like he's here. Horrible. Like the\n old bastard is here right now! That's\n brilliant! How do you know him?", "PETER\n But the point is Dickie - well we know\n this - Dickie loves Marge and he misses\n her and apparently he's come to his\n senses...", "FREDDIE\n (mugging)\n Hey, if I'm late, think what her\n husband's saying!\n\n He fills Dickie's glass with wine and drinks it standing up.", "Dickie and Ripley, still horsing about, pass Silvana's\n grocery store. Dickie dismounts, goes over to Silvana, who's", "Dickie and Ripley on the Vespa. There's a steep incline where\n the road winds down towards Naples and, as the Vespa gains\n speed, Ripley is happy to cling to Dickie.", "MEREDITH\n I won't actually, although I think this\n might - are you waiting for Dickie?\n\n PETER\n Well no, as it happens, although..." ] ]

[ "To what country does Herbert Greenleaf ask Tom Ripley to go?", "How does Ripley murder Dickie?", "Who is Freddie Miles to Dickie?", "With what item does Ripley kill Freddie Miles?", "How does Ripley dispose of Dickie's body?", "Where does Ripley dispose of Freddie Mile's body?", "What did the Greenleafs believe to be the cause of Dickie's death?", "From what city did Ripley leave to go to Italy to meet Dickie?", "How did Ripley gain Dickie's fortune?", "Who's idea was it for Ripley to persuade Dickie to return to the U.S.?", "What was the turning point that caused mistrust of Ripley by Dickie?", "How do we know that Tom Ripley's unethical behavior is not new?", "To whom did Ripley suggest that Dickie was depressed and may have committed suicide?", "How does Dickie die?", "How does Ripley use to kill Miles?", "Who receives Dickie's inheritance?", "What causes the family to believe that Dickie's will is legitamate?", "What changes Ripley's mind about ending Marge's life?", "Where did Ripley dispose of Miles' body?", "What is Dickie's relationship to Herbert Greenleaf?", "What does Herbert want Ripley to do?", "What is Marge Sherwood's relationship to Dickie?", "What does Marge believe Ripley to be in relation to Dickie?", "What does Dickie find Ripley doing in Dickie's bedroom?", "What does Ripley decide to do to Dickie while travelling to Sanremo together?", "Who discovers Ripley's deceit in Rome?", "What does Ripley do to Miles?", "What does Ripley tell Dickie's family that Dickie did?", "Who ends up inheriting Dickie's fortune?" ]

[ [ "Italy.", "Italy." ], [ "beats him with an oar", "Ripley used an oar to beat Dickie to Death." ], [ "His longtime friend.", "friend" ], [ "An ashtray", "ashtray" ], [ "Dumps his body in the water.", "drops him in the ocean" ], [ "On the outskirts of Rome.", "The outskirts of Rome." ], [ "Suicide", "suiside" ], [ "New York City.", "New York City" ], [ "By forging his will.", "assumes Dickie's identity" ], [ "Herbert Greenleaf, Dickie's father", "herbert greenleaf" ], [ "Dickie discovered Ripley trying on his clothes and imitating his mannerisms.", "by wearing his clothes and acting rich" ], [ "Ripley has particiapated in small time confidence scams in the past.", "The story opens with explaining that Ripley has a history of scams." ], [ "Dickie's father and an American private detective.", "Dickie's father" ], [ "Ripley beats him with an oar.", "Ripley beats him to death with an oar." ], [ "Ashtray", "Ripley kills him with an ashtray." ], [ "Ripley", "Ripley." ], [ "It was forged on his Hermes typerwriter.", "the will is written using Dickie's Hermes typewriter" ], [ "She mentions that if Dickie gave Ripley his rings, he probably did commit suicide.", "she believes he killed him self cause ripley had dickie ring" ], [ "On the outskirts of Rome.", "The outskirts of Rome." ], [ "Dickie is Herbert's son.", "Dickie is Herbert's son." ], [ "Convince Dickie to return to his father.", "travel to italy to find and convince dickie to return to US" ], [ "Marge is Dickie's friend.", "friend" ], [ "Gay", "Marge believes Ripley is gay." ], [ "Dressing up in Dickie's clothes and imitating Dickie.", "dressed in his clothes making fun of him" ], [ "Murder Dickie.", "murder him and takes his identity" ], [ "Dickie's friend Miles.", "Freddie Miles" ], [ "Ripley murders Miles.", "Beats him to death with an ashtray" ], [ "Committed suicide.", "He suggests that Dickie killed himself" ], [ "Ripley.", "ripley" ] ]

[ [ "extraordinary name of his. Ozias Midwinter! Upon my life, his father\nought to be ashamed of himself.\"", "man's name! It is so remarkably ugly that it must be genuine. No sane\nhuman being would _assume_ such a name as Ozias Midwinter.\"", "who is only known to others under the name of Ozias Midwinter. Stranger\nstill; it is not relationship, it is not chance, that has made them", "may hide my identity under any name I please. As Ozias Midwinter, Mr.\nArmadale first knew me; as Ozias Midwinter he shall know me to the end", "\"'I can't deceive you,' he answered, after another interval of silence;\n'Midwinter is _not_ really my name.'\n\n\"I nestled a little closer to him.", "Ozias Midwinter took a step forward to the table. His wandering eyes\nrested on the rector's New Testament, which was one of the objects lying\non it.", "I. THE MYSTERY OF OZIAS MIDWINTER.", "on the books, and identified him to the magistrate and the landlord\nunder the strangely uncouth name of Ozias Midwinter.", "Everything Ozias Midwinter said, everything Ozias Midwinter did, was\nagainst him. He had spoken with a sardonic indifference, almost with an", "Once started on the subject of Ozias Midwinter, Allan rattled on about\nhis new friend in his usual easy, light-hearted way. But he had really", "his hand, and then, with a sudden misgiving, confusedly drew it back\nagain. \"You meant that kindly, sir,\" said Ozias Midwinter, with his own", "Ozias Midwinter, recovering from brain-fever, was a startling object to\ncontemplate on a first view of him. His shaven head, tied up in an old", "'Mr. Midwinter,'\" he said, slowly, in a whisper. \"She speaks of 'our\nacquaintance.'\" He waited a little and looked round the room. His", "\"Mr. Armadale is not the man who took you away from me,\" he answered.\n\"Mr. Midwinter is the man. I found it out in your face yesterday. I", "just the common name which a cunning runaway boy would be most likely\nto assume; Midwinter, just the remarkable name which he would be most\nlikely to avoid. The pursuit had accordingly followed Brown, and had", "Midwinter at twenty spoke of his life as Ozias Midwinter at seventy\nmight have spoken with a long weariness of years on him which he had\nlearned to bear patiently.", "The time has come, sir, to decide whether I am to be that companion or\nnot. After all you have heard of Ozias Midwinter, tell me plainly, will", "\"'Nobody told me,' I said; 'and I don't know what made me suspect. Women\nhave strange fancies sometimes. Is Midwinter really your name?'", "\"There is some mistake,\" said Midwinter. \"I wished to see--\" Once more\nhe tried to utter the name, and once more he failed to force it to his\nlips.", "\"Every word of it, from first to last.\"\n\n\"Have I dealt openly with you so far. Has Ozias Midwinter--\"" ], [ "Ozias Midwinter took a step forward to the table. His wandering eyes\nrested on the rector's New Testament, which was one of the objects lying\non it.", "extraordinary name of his. Ozias Midwinter! Upon my life, his father\nought to be ashamed of himself.\"", "his hand, and then, with a sudden misgiving, confusedly drew it back\nagain. \"You meant that kindly, sir,\" said Ozias Midwinter, with his own", "Ozias Midwinter, recovering from brain-fever, was a startling object to\ncontemplate on a first view of him. His shaven head, tied up in an old", "Everything Ozias Midwinter said, everything Ozias Midwinter did, was\nagainst him. He had spoken with a sardonic indifference, almost with an", "Once started on the subject of Ozias Midwinter, Allan rattled on about\nhis new friend in his usual easy, light-hearted way. But he had really", "I. THE MYSTERY OF OZIAS MIDWINTER.", "who is only known to others under the name of Ozias Midwinter. Stranger\nstill; it is not relationship, it is not chance, that has made them", "Midwinter at twenty spoke of his life as Ozias Midwinter at seventy\nmight have spoken with a long weariness of years on him which he had\nlearned to bear patiently.", "The time has come, sir, to decide whether I am to be that companion or\nnot. After all you have heard of Ozias Midwinter, tell me plainly, will", "Midwinter looked at the steward. \"Stand back,\" he said. \"I want to speak\nto Mr. Armadale.\" There was something in his eye which it was not safe", "Arrived in London, Mr. Brock found himself unexpectedly face to face\nwith a new anxiety. The unwelcome subject of Ozias Midwinter, which", "invited Ozias Midwinter to reside permanently in the neighborhood in the\nnew and interesting character of his bosom friend.", "\"Mr. Armadale is not the man who took you away from me,\" he answered.\n\"Mr. Midwinter is the man. I found it out in your face yesterday. I", "formally summoned me to take leave of him, 'I got you cheap!' Was Ozias\nMidwinter's stick as cruel as that? I think not. Well! there I was, out", "Mr. Brock slept badly that night. The issue of the interview in the lane\nhad made the problem of Ozias Midwinter a harder problem to solve than\never.", "intention of writing to Ozias Midwinter with her own hand. Remonstrance\nirritated her to such a pitch that she astounded Mr. Brock by reverting", "man's name! It is so remarkably ugly that it must be genuine. No sane\nhuman being would _assume_ such a name as Ozias Midwinter.\"", "\"Mr. Midwinter is a person of coarse manners and suspicious temper,\"\nrejoined the doctor, steadily watching her. \"He was rude enough\nto insist on staying here as soon as Mr. Armadale had accepted my\ninvitation.\"", "'Mr. Midwinter,'\" he said, slowly, in a whisper. \"She speaks of 'our\nacquaintance.'\" He waited a little and looked round the room. His" ], [ "\"Dreams?\" repeated the doctor, looking at Midwinter directly, and\naddressing him under a mistaken impression of the meaning of Allan's\nwords. \"With your constitution, you ought to be well used to dreaming by\nthis time.\"", "Once started on the subject of Ozias Midwinter, Allan rattled on about\nhis new friend in his usual easy, light-hearted way. But he had really", "of the dream. Here, strangely unmoved by the scene around him, so lately\nthe object of his superstitious distrust, Allan's friend now waited", "in your mind, have you?\" He seized Allan impulsively by the hand. At\nthe same moment the consciousness came to him that he was speaking and\nacting as earnestly as if he still believed in the Dream. The color", "of them, and hid his face on Allan's knee. \"No dream!\" he murmured to\nhimself, mournfully. \"Oh me, no dream!\"", "Allan influence him undividedly again, his mind hurried along the whole\nresulting chain of thought at lightning speed. If the Dream was proved\nto be no longer a warning from the other world, it followed inevitably", "He opened the narrative of the Dream, and held it under Allan's eyes.\nHis finger pointed to the lines which recorded the first Vision; his\nvoice, sinking lower and lower, repeated the words:", "\"I believe you love Allan,\" he said, \"and I believe you have spoken the\ntruth. A man who has produced that impression on me is a man whom I am\nbound to trust. I trust you.\"", "\"Many men, many opinions,\" he said. \"I don't agree with either of you\nabout this dream. Your theory,\" he added, looking at Allan, with a", "Allan's eyebrows contracted impatiently; the subject of the dream, and\nMidwinter's obstinacy in returning to it, seemed to be alike distasteful", "to part from Allan rooted itself in the belief that he had seen at Hurle\nMere the fatal fulfillment of the first Vision of the Dream. And this", "had settled his bills. Ozias Midwinter spoke of his obligations--and\nespecially of his obligation to Allan--with a fervor of thankfulness\nwhich it was not surprising only, but absolutely painful to witness. He", "\"By all means,\" said Mr. Hawbury. \"Here it is. There is nothing at all\nextraordinary in my theory of dreams: it is the theory accepted by", "which Allan had drawn--the conclusion literally forced into his mind by\nthe facts before him--was, nevertheless, the conclusion of all others\nthat was furthest even from touching on the truth. The true story of", "the Shadows of the Vision warned Allan in his sleep,' he went on; 'and\nthrice those Shadows have been embodied in the after-time by You and by", "Allan's room. Resigning all further effort to connect his suspicion of a\nconspiracy against his friend with the outrage which had the day before", "Mr. Hawbury spread the manuscript before him on the breakfast-table, and\nread these lines:\n\n \"ALLAN ARMADALE'S DREAM.", "him, Midwinter laid his hand gently on Allan's forehead. Light as the\ntouch was, there were mysterious sympathies in the dreaming man that", "answered by getting Allan to sleep in the Sanitarium. Everything that\nhe had noticed above stairs associated the lurking-place in which the", "\"Allan,\" he said, \"I have reasons--\" He stopped. Could the reasons be\ngiven before he had fairly realized them himself; at that time, too," ], [ "and Henry Blanchard had died, leaving no surviving child but a daughter.\nUnder these circumstances, Allan was the next heir male pointed at by\nthe will, and was now legally successor to the Thorpe Ambrose estate.", "subjects, especially if Allan led the way to them. But not a word\nescaped him about himself. Mr. Brock tried him with questions about\nhis recent inheritance, and was answered as he had been answered", "Ambrose estate now appeared before him. He had never, in his relations\nwith Allan, so entirely forgotten his business interests as he forgot\nthem now.", "So the three lives were mown down by death. So, in a clear sequence of\nevents, a woman's suicide-leap into a river had opened to Allan Armadale\nthe succession to the Thorpe Ambrose estates.", "While this useless investigation (undertaken at Allan's express desire)\nwas in progress, the lawyers had settled the preliminary formalities\nconnected with the succession to the property. All that remained was", "Left necessarily to his own guidance in this matter, Allan settled\nit for himself in his usual hot-headed, generous way. He positively", "The news of Allan's sudden appearance at Thorpe Ambrose had preceded the\nservant's arrival at his destination by some hours. Wherever he went,", "composedly for Allan's return; and here, more strangely still, he looked\non a change in the household arrangements, due in the first instance\nentirely to himself. His own lips had revealed the discovery which he", "During this period Allan had made regular inquiries at the inn, and, as\nsoon as the sick man was allowed to see visitors, Allan was the first", "\"Is there no steward now on the estate?\" he asked, his face showing\nplainly that he was far from feeling satisfied with Allan's answer. \"Is\nthe business neglected all this time?\"", "instructing Allan on the subject of the domestic establishment which\nshe has left behind her. It seems that all the servants, indoors and out\n(with three exceptions), are waiting here, on the chance that Allan", "he found his master the subject of public discussion. The opinion of\nAllan's conduct among the leading townspeople, the resident gentry\nof the neighborhood, and the principal tenants on the estate was", "master's movements than the servants indoors. He had seen Allan pass the\nstables more than an hour since, going out by the back way into the park\nwith a nosegay in his hand.", "which Allan had tossed across the table to him. Before he had come to\nthe end of it, his hands dropped helplessly on his knees, and the blank", "truly.\" Never had Allan's habitual brevity as a letter-writer done him\nbetter service than it did him now. With a little more skillfulness in", "The evening passed; the next day passed; Thursday morning came, and\nbrought with it a letter for Allan. The direction was in Mrs. Milroy's", "This letter did wonders in raising Allan's spirits. It gave him a\nnew interest to look to, entirely disassociated from his past life in", "called with Mr. Darch's answer. Allan briskly shut up the wardrobe, and\ngave his whole attention to the lawyer's letter. The lawyer's letter\nrewarded him by the following lines:", "\"I have merely given a few simple directions,\" pursued Allan. \"Our\nfriend the usher is to have everything he requires, and is to be treated\nlike a prince; and when the doctor and the landlord want their money\nthey are to come to me.\"", "With that characteristic request, Allan's report of his exploring\nexpedition among the resident gentry came to a close. For a moment" ], [ "foot, of which Allan is destined to be the victim, and that the prime\nmover in the conspiracy is the vile woman who helped his mother's\nmarriage and who hastened his mother's death.", "\"What other person?\" inquired Allan.\n\n\"A young lady who is a near neighbor of yours, sir. Shall I mention the\nname in confidence? Miss Milroy.\"", "\"Moore's own words, ma'am,\" said Allan, \"in my mother's copy of the\nMelodies.\"", "\"Anne Milroy?\" he repeated. \"It must be the major's wife. What can she\npossibly want with me?\" By way of discovering what she wanted, Allan", "\"What is her name?\" asked Allan. \"Brown? Grubb? Scraggs? Anything of\nthat sort?\"", "Neelie looked up at her mother for the first time. The hardest part\nof the confession was over now. She had revealed the truth about Miss\nGwilt, and she had openly mentioned Allan's name.", "The evening passed; the next day passed; Thursday morning came, and\nbrought with it a letter for Allan. The direction was in Mrs. Milroy's", "Allan started, and changed color.\n\n\"Miss Milroy!\" he repeated. \"Can _she_ be concerned in this miserable\nbusiness? I hope not, Mr. Pedgift; I sincerely hope not.\"", "She stole a glance at her companion which said plainly enough, \"The name\nis yours.\" Allan advanced a step nearer to her, and lowered his voice,", "from her young mistress, which was placed in Allan's hands.", "Left by himself, Allan rang for writing materials, and took out of his\npocket-book the fatal letter of introduction to \"Mrs. Mandeville\" which\nhe had received from the major's wife.", "associations connected with her early life. No word more on the\nforbidden topic had passed between the rector and herself; no suspicion\nhad ever been raised in Allan's mind of the existence of his namesake;", "She gave a little start when Allan appeared, and came forward without\nhesitation to meet him. She was not in her best looks. Her rosy\ncomplexion had suffered under confinement to the house, and a marked\nexpression of embarrassment clouded her pretty face.", "inscription re-appeared. His previous knowledge of dates and persons\nhelped him to draw the true inference from what he saw. The books must\nhave belonged to Allan's mother; and she must have inscribed them with", "The one noticeable event of the next day was another disclosure of\nMrs. Milroy's infirmity of temper. Half an hour after Allan's basket of", "Allan's manner changed the moment the governess's name passed his\nfriend's lips.\n\n\"I wish you had heard my story first,\" he said. \"Where did you meet with\nMiss Gwilt?\"", "Before Mr. Brock could make up his mind how to act in this emergency, he\nreceived a note from Allan's mother, begging him to use his privilege as\nan old friend, and to pay her a visit in her room.", "\"Miss Milroy!\" repeated Allan. \"What are you thinking of! I'm not in\nlove with Miss Milroy.\"\n\n\"Who is it, then?\"", "\"Glad to see you looking so well, ma'am,\" said Allan, when the cook, in\nthe majesty of her office, stood proclaimed before him. \"Your name is", "when I met them in the village half an hour since. They have been making\ninquiries already about Allan's mother here, where her exemplary life" ], [ "answered by getting Allan to sleep in the Sanitarium. Everything that\nhe had noticed above stairs associated the lurking-place in which the", "himself open to attack. He had positively denied on the previous evening\nthat he knew anything of Allan's movements, or that he had any interest", "\"Wait?\" repeated Allan, in the blankest astonishment at his friend's\nexcessive caution. \"What on earth does he mean? I'll be hanged if I\nwait. Where one of us goes, the other goes too!\"", "He tried, as he spoke, to lead the way back by the outside of the house;\nbut Allan's flighty attention had been caught by the open window and the", "embarrassing and least dangerous to pursue. Accustomed to let his\nimpulses direct him on all other occasions, Allan acted on impulse in\nthe serious emergency that now confronted him. Though his attachment", "At nightfall he had come back stealthily in the darkness, had been\ncaught on the stairs by Allan, eager to tell him of the change in the", "The man led him away from the road, and pointed to a barely perceptible\nbreak in the outer trees of the plantation. After pausing for one more\nuseless look around him, Allan turned his back on the Mere and made for\nthe trees.", "Allan made no further inquiries. He seemed to shrink from pursuing the\nsubject, after having started it himself. \"Let's be doing something to\nkill the time,\" he said. \"Let's pack up and pay the bill.\"", "If Mr. Bashwood had been caught in the act of committing murder, he\ncould hardly have shown greater alarm than he now testified at Allan's", "In those terms the major's wife threw off the mask, and left her victim\nto survey at his leisure the trap in which she had caught him. Allan's", "which Allan had drawn--the conclusion literally forced into his mind by\nthe facts before him--was, nevertheless, the conclusion of all others\nthat was furthest even from touching on the truth. The true story of", "\"He is impatient to get away,\" thought Allan; \"I'll try again.\" He\nhailed the land once more, and, taught by previous experience, pitched\nhis voice in its highest key.", "As soon as the doctor's back was turned, Allan left his place at the\ntable, and appealed to his friend, with that irresistible heartiness of", "Before Mr. Brock could make up his mind how to act in this emergency, he\nreceived a note from Allan's mother, begging him to use his privilege as\nan old friend, and to pay her a visit in her room.", "end, and lowered the other to Allan in the boat. \"Make that fast,\" he\nsaid, \"and wait till I see if it's all safe on board.\" With those words,", "master's movements than the servants indoors. He had seen Allan pass the\nstables more than an hour since, going out by the back way into the park\nwith a nosegay in his hand.", "He went back to Allan, sat down by his side, and took his hand. \"Forgive\nme,\" he said, gently; \"I have hurt you for the last time.\" Before it", "Good-morning.\" The doctor withdrew as noiselessly as he had appeared;\nthe man in the shabby livery silently opened the door; and Allan and his\ncompanion found themselves in the street again.", "Allan had left a note at the lodgings, giving his address at the hotel,\nand begging Midwinter to come and say good-by before his departure for\nParis.", "in Allan's return to England. Having detected Mr. Bashwood in one lie\ntold to himself. Midwinter instantly suspected him of telling another\nto Allan. He seized the opportunity of sifting the statement about Miss" ], [ "foot, of which Allan is destined to be the victim, and that the prime\nmover in the conspiracy is the vile woman who helped his mother's\nmarriage and who hastened his mother's death.", "In those terms the major's wife threw off the mask, and left her victim\nto survey at his leisure the trap in which she had caught him. Allan's", "witness. \"Armadale will die this time,\" she said to herself, as she went\nslowly down the stairs. \"The doctor will kill him, by my hands.\"", "that she _has_ discovered me. She will find her way to Allan next; she\nwill poison my son's mind against me. Help me to get away from her! help", "of Allan's room fell to, but not noisily enough to wake him. She turned\nas she heard it close. For one moment she stood staring at it like a", "wasting time on my own idle fancies, when I ought to have been carefully\ngathering up facts. If this woman ever attempts to find her way to\nAllan, I must be prepared to stop her.\" He began searching restlessly", "did. Was she some such pitiable victim to the treachery of a man unknown\nas Allan had supposed? _She was no such pitiable victim_. The conclusion", "In this frame of mind Miss Neelie applied herself forthwith to the\nfascination of Pedgift and the discomfiture of Allan. \"Oh, Mr. Pedgift,", "Bashwood, that she had gone privately to London with Allan in the\ncharacter of Allan's future wife.", "the risk of Allan's seeing her and speaking to her, Mrs. Armadale would\nleave England if necessary, and end her days in a foreign land. Taking", "answered by getting Allan to sleep in the Sanitarium. Everything that\nhe had noticed above stairs associated the lurking-place in which the", "In this tempting form the unscrupulous ingenuity of the major's wife\nhad set the trap. Without a moment's hesitation, Allan followed his", "forth to surprise Mrs. Oldershaw by a visit from her darling Lydia! It\nis almost needless to add that I determined to sound her carefully, and", "In those artless words, still entirely unsuspicious of the character of\nthe woman he had to deal with, Allan put the weapon she wanted into Mrs.\nMilroy's hands.", "ought to know; and to Allan she looked for information--with this\npreliminary assurance to assist him in laying down the law, that she\nwould die of a broken heart a thousand times over, rather than be the", "composedly for Allan's return; and here, more strangely still, he looked\non a change in the household arrangements, due in the first instance\nentirely to himself. His own lips had revealed the discovery which he", "Left by himself, Allan rang for writing materials, and took out of his\npocket-book the fatal letter of introduction to \"Mrs. Mandeville\" which\nhe had received from the major's wife.", "the poison of her life--wrung her to the heart. After moving a few\nsteps from the bedside, she stopped, and came back again. Armed with the", "Allan took his friend's hand and wrung it hard. \"If you were as fond of\nher as I am,\" he whispered, \"you would take no rest, you could get no", "So the three lives were mown down by death. So, in a clear sequence of\nevents, a woman's suicide-leap into a river had opened to Allan Armadale\nthe succession to the Thorpe Ambrose estates." ], [ "\"After solemnly announcing that she meant to sacrifice herself to her\nbeloved father's wishes (the brazen assurance of her setting up for a", "Lydia,' said the brazen old wretch, wiping her eyes. 'Nothing will\ninduce me to return to the subject of that wicked speculation of yours\non the folly of a rich young man.'", "possibly have hoped for. After the lawyer's report to me, there cannot\nbe a moment's doubt of what you ought to do. In two words, Lydia, take", "of me, and the first words she said were--'Oh, Lydia! Lydia! why are you\nnot at church?'", "So the three lives were mown down by death. So, in a clear sequence of\nevents, a woman's suicide-leap into a river had opened to Allan Armadale\nthe succession to the Thorpe Ambrose estates.", "the poison of her life--wrung her to the heart. After moving a few\nsteps from the bedside, she stopped, and came back again. Armed with the", "\"Judging by my experience of women,\" remarked Bashwood the younger,\noverhearing him, \"I should say she probably tried to drown herself. But", "_had_ loved, never to love again. Does a woman not love when the man's\nhardness to her drives her to drown herself? A man drove _me_ to that", "helpless. He dropped, as the dead drop. He lay as the dead lie, in the\narms of the wife who had denied him.", "She rose when the door closed on him. A change came over her the instant\nshe was alone. The color faded out of her cheeks; the beauty died out of", "She looked at the child, established comfortably on the bed, and an ashy\npaleness spread slowly over her face. She looked at the fatal", "Mrs. Milroy leaned back on her pillow in dead silence. The plain\nbetrayal of her daughter's first love, by her daughter's own lips, which", "The instant she was alone she raised him from her knee. With both arms\nclasped round him, the miserable woman lifted his lifeless face to hers", "One moment more of silence, one moment more of inaction, might have been\nthe salvation of her. But the fatal force of her character triumphed", "come by her death) was found dead--that a coroner's inquest inquired\ninto the circumstances--that the evidence showed her to have entered\nthe house as a patient--and that the medical investigation ended in", "say. Not much, indeed! It didn't last a moment. Your darling Lydia soon\ncame to her senses again.", "forth to surprise Mrs. Oldershaw by a visit from her darling Lydia! It\nis almost needless to add that I determined to sound her carefully, and", "from her husband by making herself a widow, the captain must have been\nthe man. And unless she contrived, guarded and watched as she was, to", "\"I have just finished the letter. It is headed 'private and\nconfidential,' and signed 'Lydia Armadale.' There is nothing in it to", "manner.\" Those were her words. She never lifted her eyes from the ground\nwhile she spoke them. When she had done, the last faint vestige of color\nin her cheeks faded out." ], [ "\"Miss Milroy!\" repeated Allan. \"What are you thinking of! I'm not in\nlove with Miss Milroy.\"\n\n\"Who is it, then?\"", "The spring had advanced to the end of April. It was the eve of Allan's\nwedding-day. Midwinter and he had sat talking together at the great", "\"Are you sure of yourself, Allan?\" he asked, with his face bent once\nmore over the book. \"Are you really attached to this lady? Have you\nthought seriously already of asking her to be your wife?\"", "He went back to Allan, sat down by his side, and took his hand. \"Forgive\nme,\" he said, gently; \"I have hurt you for the last time.\" Before it", "Allan hesitated. \"I hardly know how to put it,\" he replied. \"As you\nsaid just now, I love her, and she loves me; and yet there is a sort of", "\"I am thinking seriously of it at this moment,\" said Allan. \"I can't be\nhappy--I can't live without her. Upon my soul, I worship the very ground\nshe treads on!\"", "\"It's too late to make objections,\" proceeded Allan. \"I really mean it\nwhen I tell you I'm in love with her.\"", "\"Well,\" resumed Allan, \"if there's no harm in her being only a\ngoverness, and no harm in her being a little older than I am, what's the\nobjection to Miss Gwilt?\"", "which Allan had drawn--the conclusion literally forced into his mind by\nthe facts before him--was, nevertheless, the conclusion of all others\nthat was furthest even from touching on the truth. The true story of", "\"What other person?\" inquired Allan.\n\n\"A young lady who is a near neighbor of yours, sir. Shall I mention the\nname in confidence? Miss Milroy.\"", "Allan's views on marriage, until the servants downstairs began to think\nthat their master's strange friend had gone mad. Lastly, he had accepted", "Midwinter suddenly looked up again, his cheeks turning ashy pale, and\nhis glittering black eyes fixed full on Allan's face.\n\n\"You love her,\" he said. \"Does _she_ love _you_?\"", "did. Was she some such pitiable victim to the treachery of a man unknown\nas Allan had supposed? _She was no such pitiable victim_. The conclusion", "truly.\" Never had Allan's habitual brevity as a letter-writer done him\nbetter service than it did him now. With a little more skillfulness in", "\"I believe you love Allan,\" he said, \"and I believe you have spoken the\ntruth. A man who has produced that impression on me is a man whom I am\nbound to trust. I trust you.\"", "to the end. He had detected the state of affairs between Miss Milroy and\nAllan at glance, and he at once provided for his client's inclinations\nin that quarter by offering, in virtue of his local knowledge, to lead", "Bashwood, that she had gone privately to London with Allan in the\ncharacter of Allan's future wife.", "Allan stood watching her in speechless admiration till she was out\nof sight. His second interview with Miss Milroy had produced an", "The day's register comprised three marriages solemnized that morning;\nand the first two signatures on the page were \"Allan Armadale\" and\n\"Lydia Gwilt!\"", "She reverted to first principles, and insisted on knowing whether Allan\nwas quite sure he loved her. Allan called Heaven to witness how sure he\nwas; and got another question directly for his pains. Could he solemnly" ], [ "\"There _are_ two,\" interposed Mrs. Armadale. \"Allan, as you know, is\nsixteen years old. If you look back at the advertisement, you will find", "\"I beg your pardon for speaking to you so roughly,\" said Allan; \"but the\nfact is, you rather startled me. My name is Armadale (put on your hat,", "The day's register comprised three marriages solemnized that morning;\nand the first two signatures on the page were \"Allan Armadale\" and\n\"Lydia Gwilt!\"", "continue to speak of him here, but in the name which was as certainly\nhis as mine, 'Allan Armadale.' The fraud at the outset presented few", "Armadale, whom I have long since known of, and who is the son of my old\nmistress. A dark-haired Allan Armadale, whom I only know of now, and", "the description of Armadale of Thorpe Ambrose, if I had really married\nhim. 'Name and Surname'--Allan Armadale. 'Age'--twenty-one,", "\"Would you like to hear what it is, Mr. Armadale?\"\n\n\"If you please,\" said Allan.", "\"And there are two Allan Armadales--two Allan Armadales--two Allan\nArmadales. There! three is a lucky number. Haunt me again, after that,\nif you can!", "\"'Mrs. Armadale!' Pretty.\n\n\"'Mrs. Allan Armadale!' Prettier still.", "of the dark Allan Armadale, known as such to nobody but my husband and\nmyself; and I may, out of that very position, claim the character of", "christened her first-born by his father's name. You, too, were Allan\nArmadale. Even in that early time--even while I was happily ignorant of", "\"What do you think of my friend?\" whispered Allan, as he and Miss Milroy\nfollowed.\n\n\"Must I tell you the truth, Mr. Armadale?\" she whispered back.\n\n\"Of course!\"", "\"Oh, Mr. Armadale, how very, very kind you are. How can I thank you?\"\n\nAllan saw his way to another compliment--an elaborate compliment, in the\nshape of a trap, this time.", "\"Yes; there is another person,\" said Allan, answering rather\nunwillingly.\n\n\"Is the person a young woman, Mr. Armadale?\"", "\"Yours truly, ALLAN ARMADALE.\"", "me with Allan Armadale's father and mother. I asked him if he actually\nthought me old enough to have known either of them. And he said No, poor", "come in when he pleases. Yours truly, Allan Armadale.\" And one to the\nlawyer: \"Dear sir, I regret that circumstances prevent me from", "\"Mr. Armadale.\"", "\"N. B.--On my word of honor as a gentleman, I am not to blame. Yours\naffectionately,\n\n\"ALLAN ARMADALE.", "to dinner if you possibly can. Yours truly. ALLAN ARMADALE.\" Having read\nthis composition aloud with unconcealed admiration of his own rapidity" ], [ "\"Are you sure of yourself, Allan?\" he asked, with his face bent once\nmore over the book. \"Are you really attached to this lady? Have you\nthought seriously already of asking her to be your wife?\"", "Bashwood, that she had gone privately to London with Allan in the\ncharacter of Allan's future wife.", "possibly have hoped for. After the lawyer's report to me, there cannot\nbe a moment's doubt of what you ought to do. In two words, Lydia, take", "forth to surprise Mrs. Oldershaw by a visit from her darling Lydia! It\nis almost needless to add that I determined to sound her carefully, and", "Allan hesitated. \"I hardly know how to put it,\" he replied. \"As you\nsaid just now, I love her, and she loves me; and yet there is a sort of", "\"My dear Lydia, the object is your future security (and mine). We may\nsucceed or we may fail, in persuading the parson that you have actually", "She reverted to first principles, and insisted on knowing whether Allan\nwas quite sure he loved her. Allan called Heaven to witness how sure he\nwas; and got another question directly for his pains. Could he solemnly", "\"Well,\" resumed Allan, \"if there's no harm in her being only a\ngoverness, and no harm in her being a little older than I am, what's the\nobjection to Miss Gwilt?\"", "subject of their own Christian names, and Allan was as near a pointblank\nproposal of marriage as it is well possible for a thoughtless young\ngentleman of two-and-twenty to be.", "creditable to his taste, and far more dangerous to both of us, than\nthe motive you supposed him to have. In plainer words, Lydia, I rather", "anybody. Well, and what of all this? you will ask, with that sparkling\nimpatience which becomes you so well. My dear Lydia, don't sparkle! The", "She gave a little start when Allan appeared, and came forward without\nhesitation to meet him. She was not in her best looks. Her rosy\ncomplexion had suffered under confinement to the house, and a marked\nexpression of embarrassment clouded her pretty face.", "Allan's proposal that he should be presented to the major's daughter,\nand judge of her for himself, as readily, nay, more readily than it", "\"Marry her?\"\n\n\"Yes, mamma.\"\n\nBreathlessly interested, Mrs. Milroy leaned forward, and twined her hand\ncaressingly in her daughter's hair.", "\"I am thinking seriously of it at this moment,\" said Allan. \"I can't be\nhappy--I can't live without her. Upon my soul, I worship the very ground\nshe treads on!\"", "\"Certainly!\" said Allan. \"I have a very particular reason for wishing to\nsee her.\"", "of me, and the first words she said were--'Oh, Lydia! Lydia! why are you\nnot at church?'", "had felt his heart leap in him at the declaration of her indifference to\nAllan. For the first time since they had known each other, his interests\nnow stood self-revealed before him as openly adverse to the interests of", "\"Miss Milroy!\" repeated Allan. \"What are you thinking of! I'm not in\nlove with Miss Milroy.\"\n\n\"Who is it, then?\"", "to the end. He had detected the state of affairs between Miss Milroy and\nAllan at glance, and he at once provided for his client's inclinations\nin that quarter by offering, in virtue of his local knowledge, to lead" ], [ "\"There is more to tell before I can leave the dead man to his rest. I\nhave described the finding of his body. But I have not described the\ncircumstances under which he met his death.", "\"The ship in which the deed was done,\" Midwinter answered, with the\nfirst signs of impatience that he had shown yet. \"The ship in which my\nfather's murderous hand turned the lock of the cabin door.\"", "by going into details. I have told you already how cleverly her counsel\npaved his way for treating the charge of murder as the crowning calamity\nof the many that had already fallen on an innocent woman. The two legal", "dark on more than one point of importance. I have already told you how\nthey were entrapped into the house, and how they passed the night\nthere. To this I can now add that something did certainly happen to Mr.", "\"The first thing you know of me,\" he said, \"is what my father's\nconfession has told you already. He mentions here that I was a child,", "\"You wretch!\" said Mrs. Milroy. With that expression of opinion, she\nopened the letter.\n\nIt was evidently written in great haste, was undated, and was signed in\ninitials only. Thus it ran:", "later and fuller than any I had received thus far, of the widow of the\nmurdered man. The letter lies before me while I write. It comes from a", "\"Tell me,\" reiterated Mrs. Milroy, more gently, \"why do you hate her?\"\n\nThe answer came reluctantly, a word at a time, in fragments.\n\n\"Because she is trying--\"", "If Mr. Bashwood had been caught in the act of committing murder, he\ncould hardly have shown greater alarm than he now testified at Allan's", "\"All I can learn is that a strange man had been noticed hanging\nsuspiciously about the grounds; that the housemaid was so ugly a woman", "\"If I could have killed them both at that moment by lifting up my little\nfinger, I have not the least doubt I should have lifted it. As things\nwere, I only waited to see what Miss Milroy would do.", "No such introduction to the evening readings as this had ever happened\nbefore in all Mrs. Armadale's experience as a listener. She looked\nup from the sofa in a flutter of curiosity, and besought her reverend\nfriend to favor her with an explanation.", "known to be, for the most part, outlawed ruffians capable of any crime,\nand they were suspected and examined accordingly. It was not till\nafterward that I heard by accident of the suspicion shifting round at", "his back, he was dead. We made all the outcry we could; but the dogs\nwere little, and I was little, and the place was lonely; and no help", "\"Yes. A murderous hand had locked him in, and left him to drown. That\nhand was mine.\"", "The window of the next room was open, when the doctor entered it from\nthe death chamber, with the child in his arms. He looked out as he\npassed by, and saw Mr. Neal in the street below, slowly returning to the\ninn.", "of inquiry. Slowly the motionless lips struggled into movement. With\nthick, hesitating articulation, they put the question which the eyes\nasked mutely, into words: \"Are you the man?\"", "\"In the first place, the news of Armadale's death has reached Miss\nMilroy. It has so completely overwhelmed her that her father has been", "discovering that she had died of apoplexy. My idea is that Mr. Midwinter\nhad a motive of his own for not coming forward with the evidence that he", "\"So we parted. I went my way to an appointment at my place of business,\nand he went his in a hurry; which is of itself suspicious. What I can't" ], [ "\"Why?\"\n\n\"Do you remember what you told me a day or two since?\" asked the doctor.\n\"You said there was a chance of Mr. Armadale's dying in my Sanitarium?\"", "\"Wait a minute,\" said Bashwood the younger. \"Are you as certain as ever\nthat Mr. Armadale is the man?\"\n\n\"What man?\"\n\n\"The man who is going to marry her.\"", "\"What next? The murder in the timber ship? No; the murder is a good\nreason why the dark Armadale, whose father committed it, should keep his", "Armadale, whom I have long since known of, and who is the son of my old\nmistress. A dark-haired Allan Armadale, whom I only know of now, and", "\"It may possibly help your decision,\" he went on, \"if I tell you how I\ndetermined to act toward Mr. Armadale--in the matter of the similarity", "his face overspread it again. \"Mr. Armadale is young; Mr. Armadale has\nall his life before him,\" he whispered, cunningly, with his trembling", "\"You have guessed right,\" he answered. \"I stand in the place of a father\nto Allan Armadale, and I am naturally unwilling to leave him, at his\nage, with a man whom I don't know.\"", "\"Because I am of a sanguine disposition, like you. I mean to trust to\nthe chapter of accidents to the very last. Mr. Armadale may die yet, on\nhis way home.\"", "\"I can hardly believe my own eyes,\" said Mr. Brock. \"Here is an\nadvertisement, Mrs. Armadale, addressed to your son.\"\n\nWithout further preface, he read the advertisement as follows:", "way. At the period of that second event in the clergyman's life with\nhis pupil which is now to be related, young Armadale had practiced long", "I felt persuaded that he knew you. 'How?' you will ask. My dear, as\nill-luck would have it, we were speaking at the time of young Armadale.", "Midwinter looked at the steward. \"Stand back,\" he said. \"I want to speak\nto Mr. Armadale.\" There was something in his eye which it was not safe", "Armadale beforehand to any stranger who might come forward to help him.\nThus far the sole object I had kept in view was to protect myself, by\nthe sacrifice of Armadale, from the exposure that threatened me. I", "\"I beg your pardon for speaking to you so roughly,\" said Allan; \"but the\nfact is, you rather startled me. My name is Armadale (put on your hat,", "the story of Mrs. Armadale's marriage. I have heard her son talk of her;\nI know how he loves her memory. As God is my witness, he shall never\nlove it less dearly through _me_!\"", "\"I can't imagine why, but the parting words spoken to Armadale by that\nold brute of a lawyer have come back to my mind! Here they are, as", "\"I am quite serious. He is much better worth the venture than you\nsuppose. Only persuade him to make you Mrs. Armadale, and you may set", "\"Would you like to hear what it is, Mr. Armadale?\"\n\n\"If you please,\" said Allan.", "\"'Don't think I am behaving cruelly to you, my dear: I am merely asking\nyou to put Mr. Armadale to the proof. It is not only right, it is", "\"I know him to be an old friend of Mr. Armadale's,\" she said. \"Does\nhe--?\" Her voice failed her, and her eyes fell before the doctor's" ], [ "\"You have been dreaming,\" said Midwinter, as the other looked at him\nwildly, in the first bewilderment of waking.", "of dealing with the dream next. Mr. Midwinter will probably not be\nsurprised to hear that I look at this matter from an essentially\npractical point of view.\"", "Midwinter's face brightened instantly. \"I will do anything you ask me,\"\nhe said.\n\n\"Very well. Will you let the subject of the dream drop out of our talk\naltogether from this time forth?\"", "information in return. The one absorbing interest in Midwinter's\nmind--the interest of penetrating the mystery of the dream--kept him", "matter is that Midwinter's belief in the Dream is Midwinter's only\nreason for trying to connect me with Allan Armadale, by associating", "\"Dreams?\" repeated the doctor, looking at Midwinter directly, and\naddressing him under a mistaken impression of the meaning of Allan's\nwords. \"With your constitution, you ought to be well used to dreaming by\nthis time.\"", "It had come, in the bright freshness of the morning; it had come, in the\nmystery and terror of a Dream. The face which Midwinter had last seen", "of Midwinter had leaped to its next conclusion at a bound. What if the\nsleeper had been visited by another revelation than the revelation of", "\"Tell me your dream,\" said Midwinter, with a strange tone of suspicion\nin his voice, and a strange appearance of abruptness in his manner.", "\"I have forgotten the Dream,\" said Allan.\n\nAs he made that answer, Midwinter took his hand, and led him round the\nlast turn in the path.", "Allan's eyebrows contracted impatiently; the subject of the dream, and\nMidwinter's obstinacy in returning to it, seemed to be alike distasteful", "He looked at Midwinter as he made the inquiry, but it was Allan who\ntold him the story of the night, and Allan who asked the doctor for", "\"I read these, or nearly read these words, from the Narrative of the\nDream, as Midwinter had taken it down from Armadale's own lips:", "\"I have not slept well for some time past,\" replied Midwinter, quietly.\n\"Something has been wrong with me. But I believe I have found out the", "'Mr. Midwinter,'\" he said, slowly, in a whisper. \"She speaks of 'our\nacquaintance.'\" He waited a little and looked round the room. His", "alone at the foot of one of the trees. Two steps nearer were enough\nto make the figure familiar to him. \"Midwinter!\" he exclaimed, in", "shower, Mr. Armadale, which got into your mind when you read the extract\nto your friend last night! And behold the dream, Mr. Midwinter, mixing\nup separate waking impressions just as usual!\"", "Midwinter smiled faintly. \"I am always in extremes,\" he said; \"my hand\nwas as hot as fire the first time you took it at the old west-country", "After reading the letter for the second time, Midwinter folded it up\nthoughtfully, and placed it in his pocket-book, side by side with the\nmanuscript narrative of Allan's dream.", "Midwinter's face darkened for the first time. \"I am sorry to hear it,\"\nhe said, his voice sinking low, and his eyes dropping to the ground as\nhe spoke." ], [ "\"Wait?\" repeated Allan, in the blankest astonishment at his friend's\nexcessive caution. \"What on earth does he mean? I'll be hanged if I\nwait. Where one of us goes, the other goes too!\"", "If Mr. Bashwood had been caught in the act of committing murder, he\ncould hardly have shown greater alarm than he now testified at Allan's", "foot, of which Allan is destined to be the victim, and that the prime\nmover in the conspiracy is the vile woman who helped his mother's\nmarriage and who hastened his mother's death.", "which Allan had tossed across the table to him. Before he had come to\nthe end of it, his hands dropped helplessly on his knees, and the blank", "to the after-part of the ship, spoke to Allan as he advanced. Receiving\nno answer, he approached the recumbent figure and looked closer at it.", "himself open to attack. He had positively denied on the previous evening\nthat he knew anything of Allan's movements, or that he had any interest", "embarrassing and least dangerous to pursue. Accustomed to let his\nimpulses direct him on all other occasions, Allan acted on impulse in\nthe serious emergency that now confronted him. Though his attachment", "At nightfall he had come back stealthily in the darkness, had been\ncaught on the stairs by Allan, eager to tell him of the change in the", "Allan suffered the shock, as all great shocks are suffered, in silence.\nHis first impulse would have driven him headlong for refuge to that very", "which Allan had drawn--the conclusion literally forced into his mind by\nthe facts before him--was, nevertheless, the conclusion of all others\nthat was furthest even from touching on the truth. The true story of", "Allan's room. Resigning all further effort to connect his suspicion of a\nconspiracy against his friend with the outrage which had the day before", "answered by getting Allan to sleep in the Sanitarium. Everything that\nhe had noticed above stairs associated the lurking-place in which the", "There was a sudden silence. Allan sat listlessly, with his hands in his\npockets, looking out through the open window at the falling rain. If", "In a moment Allan was at his side. He looked uselessly round the lonely\nlimits of the wreck, as he lifted Midwinter's head on his knee, for a", "\"He took a turn up and down the room, and then came and stood over me.\n\n\"'If Allan comes here to-morrow,' he began, 'and if you see him--'", "Allan made no further inquiries. He seemed to shrink from pursuing the\nsubject, after having started it himself. \"Let's be doing something to\nkill the time,\" he said. \"Let's pack up and pay the bill.\"", "The man led him away from the road, and pointed to a barely perceptible\nbreak in the outer trees of the plantation. After pausing for one more\nuseless look around him, Allan turned his back on the Mere and made for\nthe trees.", "He took Allan's hand, and wrung it hard. \"Can I help you?\" he asked,\ngrowing paler and paler as he spoke.", "\"He is impatient to get away,\" thought Allan; \"I'll try again.\" He\nhailed the land once more, and, taught by previous experience, pitched\nhis voice in its highest key.", "For a moment, Midwinter faced the messenger of evil tidings in silent\ndistress. That moment past, the sense of Allan's critical position\nroused him, now the evil was known, to seek the remedy." ], [ "foot, of which Allan is destined to be the victim, and that the prime\nmover in the conspiracy is the vile woman who helped his mother's\nmarriage and who hastened his mother's death.", "the poison of her life--wrung her to the heart. After moving a few\nsteps from the bedside, she stopped, and came back again. Armed with the", "did. Was she some such pitiable victim to the treachery of a man unknown\nas Allan had supposed? _She was no such pitiable victim_. The conclusion", "In those terms the major's wife threw off the mask, and left her victim\nto survey at his leisure the trap in which she had caught him. Allan's", "witness. \"Armadale will die this time,\" she said to herself, as she went\nslowly down the stairs. \"The doctor will kill him, by my hands.\"", "answered by getting Allan to sleep in the Sanitarium. Everything that\nhe had noticed above stairs associated the lurking-place in which the", "wasting time on my own idle fancies, when I ought to have been carefully\ngathering up facts. If this woman ever attempts to find her way to\nAllan, I must be prepared to stop her.\" He began searching restlessly", "of Allan's room fell to, but not noisily enough to wake him. She turned\nas she heard it close. For one moment she stood staring at it like a", "If Mr. Bashwood had been caught in the act of committing murder, he\ncould hardly have shown greater alarm than he now testified at Allan's", "Midwinter suddenly looked up again, his cheeks turning ashy pale, and\nhis glittering black eyes fixed full on Allan's face.\n\n\"You love her,\" he said. \"Does _she_ love _you_?\"", "So the three lives were mown down by death. So, in a clear sequence of\nevents, a woman's suicide-leap into a river had opened to Allan Armadale\nthe succession to the Thorpe Ambrose estates.", "in Allan's return to England. Having detected Mr. Bashwood in one lie\ntold to himself. Midwinter instantly suspected him of telling another\nto Allan. He seized the opportunity of sifting the statement about Miss", "In this tempting form the unscrupulous ingenuity of the major's wife\nhad set the trap. Without a moment's hesitation, Allan followed his", "In this frame of mind Miss Neelie applied herself forthwith to the\nfascination of Pedgift and the discomfiture of Allan. \"Oh, Mr. Pedgift,", "Ignorant of the report of Allan's death at sea; uninformed, at the\nterrible interview with his wife, of the purpose which her assumption of", "that she _has_ discovered me. She will find her way to Allan next; she\nwill poison my son's mind against me. Help me to get away from her! help", "Bashwood, that she had gone privately to London with Allan in the\ncharacter of Allan's future wife.", "Left by himself, Allan rang for writing materials, and took out of his\npocket-book the fatal letter of introduction to \"Mrs. Mandeville\" which\nhe had received from the major's wife.", "himself open to attack. He had positively denied on the previous evening\nthat he knew anything of Allan's movements, or that he had any interest", "forth to surprise Mrs. Oldershaw by a visit from her darling Lydia! It\nis almost needless to add that I determined to sound her carefully, and" ], [ "Allan opened the letter. The first two words in it were the echo of the\ntwo words the lawyer had just pronounced. It _was_ Miss Gwilt!\n\nOnce more, Allan looked at his legal adviser in speechless astonishment.", "\"From Lydia Gwilt to Maria Oldershaw.--Good news! He is coming back. I\nmean to have an interview with him. Everything looks well. Now I have", "For the third time Allan looked at his lawyer. And for the third time\nhis lawyer looked back at him quite unabashed.\n\n\"You seem to have a very bad opinion of Miss Gwilt,\" said Allan.", "\"With all my heart, sir! This is the point. I attach considerable\nimportance--if nothing else can be done--to having Miss Gwilt privately", "pressure of his one dominant idea of revenge, and had shown him a\npurpose to be achieved by the discovery of Miss Gwilt's secrets which\nhad never occurred to him till that moment. The marriage which he had", "\"I haven't missed a word,\" rejoined Allan. \"I tell you again, you don't\nknow what I know of Miss Gwilt. She has threatened Miss Milroy. Miss\nMilroy is in danger while her governess stops in this neighborhood.\"", "and regrets that he cannot have the pleasure of seeing her at Thorpe\nAmbrose.\" Allan had pleaded hard for a second sentence, explaining\nthat he only declined Miss Gwilt's request from a conviction that an", "\"Yes, it is!\" cried the other, infuriated by Allan's second allusion to\nMiss Gwilt. \"When I am asked to choose between the employer of a spy and\nthe victim of a spy, I side with the victim!\"", "\"How is he their instrument? How can he be the instrument of any enemy\nof yours?\" asked Midwinter. \"Pray excuse my anxiety, Miss Gwilt: Allan's\ngood name is as dear to me as my own!\"", "Bashwood, that she had gone privately to London with Allan in the\ncharacter of Allan's future wife.", "Allan's instinct had guessed, and the guiding influence stood revealed\nof Midwinter's interest in Miss Gwilt.", "In an instant the inevitable association of ideas burst on his mind. The\nopinion of Miss Gwilt, which he had heard the lawyer express to Allan at", "on Mr. Armadale as well as Miss Gwilt. I have saved you that expense.\nYou are certain that Mr. Armadale is bent on marrying her. Very good.", "Neelie looked up at her mother for the first time. The hardest part\nof the confession was over now. She had revealed the truth about Miss\nGwilt, and she had openly mentioned Allan's name.", "\"Are you sure of yourself, Allan?\" he asked, with his face bent once\nmore over the book. \"Are you really attached to this lady? Have you\nthought seriously already of asking her to be your wife?\"", "\"I have been informed of the question which you addressed to my husband,\nthe day before yesterday, on the subject of Miss Gwilt. From all I have", "foot, of which Allan is destined to be the victim, and that the prime\nmover in the conspiracy is the vile woman who helped his mother's\nmarriage and who hastened his mother's death.", "subject of Allan and Miss Gwilt. Opinions at the cottage rejected\nthat solution of the difficulty, on practical grounds. Miss Neelie had\nremained inaccessibly shut up in her own room, from the Monday afternoon", "To get rid of Miss Gwilt! At those words--at that echo from her\ndaughter's lips of the one dominant desire kept secret in her own", "_me_. Is Miss Gwilt likely to succeed?\" she asked, aloud. \"Does Mr.\nArmadale show any sort of interest in her?\"" ], [ "He went back to Allan, sat down by his side, and took his hand. \"Forgive\nme,\" he said, gently; \"I have hurt you for the last time.\" Before it", "\"I believe you love Allan,\" he said, \"and I believe you have spoken the\ntruth. A man who has produced that impression on me is a man whom I am\nbound to trust. I trust you.\"", "speaking to such an intimate friend as I am.\" He laid his hand gently\nand kindly on Allan's shoulder. \"I can't help seeing that I have made", "Once started on the subject of Ozias Midwinter, Allan rattled on about\nhis new friend in his usual easy, light-hearted way. But he had really", "\"Allan,\" he said, \"I have reasons--\" He stopped. Could the reasons be\ngiven before he had fairly realized them himself; at that time, too,", "\"It shall be as you wish,\" he said, quietly. \"I am sorry for what has\nhappened; but I am not the less obliged to you, Allan, for having done\nwhat I asked you.\"", "himself open to attack. He had positively denied on the previous evening\nthat he knew anything of Allan's movements, or that he had any interest", "\"Wait?\" repeated Allan, in the blankest astonishment at his friend's\nexcessive caution. \"What on earth does he mean? I'll be hanged if I\nwait. Where one of us goes, the other goes too!\"", "\"You have guessed right,\" he answered. \"I stand in the place of a father\nto Allan Armadale, and I am naturally unwilling to leave him, at his\nage, with a man whom I don't know.\"", "nevertheless acknowledge that I have a reason of my own for earnestly\ndesiring to see you here. Allan has innocently caused me a new anxiety\nabout my future relations with him, and I sorely need your advice to", "for Allan that was holding him back, suspended the next words on his\nlips. He turned aside his face in speechless suffering. \"Oh, my father!\"", "embarrassing and least dangerous to pursue. Accustomed to let his\nimpulses direct him on all other occasions, Allan acted on impulse in\nthe serious emergency that now confronted him. Though his attachment", "had settled his bills. Ozias Midwinter spoke of his obligations--and\nespecially of his obligation to Allan--with a fervor of thankfulness\nwhich it was not surprising only, but absolutely painful to witness. He", "Once more the conviction possessed itself of his mind that something was\nto happen to Allan or to himself before they left the wreck.", "which Allan had tossed across the table to him. Before he had come to\nthe end of it, his hands dropped helplessly on his knees, and the blank", "revealed the secret of his attraction for Allan plainly enough. But had\nall disclosures rested there? Had the man let no chance light in on his", "Conscious that his position toward his friend was altered already in\nrelation to Miss Gwilt, the first sight of Allan filled his mind with a", "\"There's something strange between us,\" reiterated Allan. \"For God's\nsake, what is it?\"", "connection, and was tending steadily to some unimaginable end. Without\nknowing why, he began to feel uneasy at Allan's absence. Without knowing", "his hand, and then, with a sudden misgiving, confusedly drew it back\nagain. \"You meant that kindly, sir,\" said Ozias Midwinter, with his own" ], [ "possibly have hoped for. After the lawyer's report to me, there cannot\nbe a moment's doubt of what you ought to do. In two words, Lydia, take", "of me, and the first words she said were--'Oh, Lydia! Lydia! why are you\nnot at church?'", "Lydia,' said the brazen old wretch, wiping her eyes. 'Nothing will\ninduce me to return to the subject of that wicked speculation of yours\non the folly of a rich young man.'", "creditable to his taste, and far more dangerous to both of us, than\nthe motive you supposed him to have. In plainer words, Lydia, I rather", "\"After solemnly announcing that she meant to sacrifice herself to her\nbeloved father's wishes (the brazen assurance of her setting up for a", "\"My dear Lydia, the object is your future security (and mine). We may\nsucceed or we may fail, in persuading the parson that you have actually", "\"Judging by my experience of women,\" remarked Bashwood the younger,\noverhearing him, \"I should say she probably tried to drown herself. But", "say. Not much, indeed! It didn't last a moment. Your darling Lydia soon\ncame to her senses again.", "\"MY DEAR LYDIA--About three hours have passed, as well as I can\nremember, since I pushed you unceremoniously inside my house in West", "manner.\" Those were her words. She never lifted her eyes from the ground\nwhile she spoke them. When she had done, the last faint vestige of color\nin her cheeks faded out.", "_had_ loved, never to love again. Does a woman not love when the man's\nhardness to her drives her to drown herself? A man drove _me_ to that", "\"MY DEAR LYDIA--I am in no state of mind to write you an amusing letter.\nYour news is very discouraging, and the recklessness of your tone quite", "forth to surprise Mrs. Oldershaw by a visit from her darling Lydia! It\nis almost needless to add that I determined to sound her carefully, and", "neglect, Lydia, stung me into writing as I did. I am so sensitive to\nill treatment, when it is inflicted on me by a person whom I love and", "So the three lives were mown down by death. So, in a clear sequence of\nevents, a woman's suicide-leap into a river had opened to Allan Armadale\nthe succession to the Thorpe Ambrose estates.", "anybody. Well, and what of all this? you will ask, with that sparkling\nimpatience which becomes you so well. My dear Lydia, don't sparkle! The", "\"I have just finished the letter. It is headed 'private and\nconfidential,' and signed 'Lydia Armadale.' There is nothing in it to", "suicide; and she might, or she might not, have been at the bottom of\nthose inquiries that I made for Mrs. Oldershaw. I dare say you'll see", "\"I can tell you why, Mr. Armadale,\" said the major's daughter, with\ngreat gravity. \"There are some unfortunate people in this world whose", "The moment she is threatened with exposure--exposure of some kind, there\ncan be no doubt, after what you discovered in London--she turns your\nhonorable silence to the best possible account, and leaves the major's" ], [ "in his eyes once more. Resolutely struggling with his failing speech,\nhe summoned the Scotchman to take the pen, and pronounced the closing\nsentences of the narrative, as his memory gave them back to him, one by", "which Allan had tossed across the table to him. Before he had come to\nthe end of it, his hands dropped helplessly on his knees, and the blank", "He looked at Midwinter as he made the inquiry, but it was Allan who\ntold him the story of the night, and Allan who asked the doctor for", "he came to the last. With his eyes fixed on the closing lines of the\nmanuscript, and with a strange mixture of recklessness and sadness in\nhis voice, he began his promised narrative in these words:", "Softly--as if he feared they might reach Allan, sleeping in the\nneighboring room--he read the last terrible words which the Scotchman's\npen had written at Wildbad, as they fell from his father's lips:", "her deathbed she had shrunk from letting the light fall clearly on the\nstory of the past. She had looked at Allan kneeling by the bedside,", "\"Read that, doctor,\" said Allan, as Mr. Hawbury opened the written\npaper. \"It's not told in my roundabout way; but there's nothing added", "After reading the narrative attentively to the last line (under\nwhich appeared Allan's signature), the doctor looked across the\nbreakfast-table at Midwinter, and tapped his fingers on the manuscript\nwith a satirical smile.", "\"The last news you had of us was news sent by Allan from the Isle of\nMan. If I am not mistaken, he wrote to tell you of the night we passed", "\"My dear fellow,\" exclaimed Allan, \"what is the matter with you? Your\nhand is as cold as ice.\"", "which Allan had drawn--the conclusion literally forced into his mind by\nthe facts before him--was, nevertheless, the conclusion of all others\nthat was furthest even from touching on the truth. The true story of", "He opened the narrative of the Dream, and held it under Allan's eyes.\nHis finger pointed to the lines which recorded the first Vision; his\nvoice, sinking lower and lower, repeated the words:", "just made to you in one way,' he said. 'I must ask you to recall what\nhappened in the next room, before Allan left us to-night.'", "Allan's manner changed the moment the governess's name passed his\nfriend's lips.\n\n\"I wish you had heard my story first,\" he said. \"Where did you meet with\nMiss Gwilt?\"", "truly.\" Never had Allan's habitual brevity as a letter-writer done him\nbetter service than it did him now. With a little more skillfulness in", "in his friend which had once been the foremost interest of his life. He\nmastered his personal misery for the first time since it had fallen on\nhim, and gently taking Allan aside, asked what had happened.", "garret, a perpendicular Scripture reader, and a horizontal expiring\nfamily--appealed to public favor, under the entirely unobjectionable\ntitle of \"The Hand of Death.\" Allan's resolution to extract amusement", "He went back to Allan, sat down by his side, and took his hand. \"Forgive\nme,\" he said, gently; \"I have hurt you for the last time.\" Before it", "So the three lives were mown down by death. So, in a clear sequence of\nevents, a woman's suicide-leap into a river had opened to Allan Armadale\nthe succession to the Thorpe Ambrose estates.", "speaking to such an intimate friend as I am.\" He laid his hand gently\nand kindly on Allan's shoulder. \"I can't help seeing that I have made" ], [ "\"Read that, doctor,\" said Allan, as Mr. Hawbury opened the written\npaper. \"It's not told in my roundabout way; but there's nothing added", "\"Read that,\" cried Allan, throwing out the lawyer's letter; \"I've\nwritten him back a smasher.\"", "himself open to attack. He had positively denied on the previous evening\nthat he knew anything of Allan's movements, or that he had any interest", "Softly--as if he feared they might reach Allan, sleeping in the\nneighboring room--he read the last terrible words which the Scotchman's\npen had written at Wildbad, as they fell from his father's lips:", "composedly for Allan's return; and here, more strangely still, he looked\non a change in the household arrangements, due in the first instance\nentirely to himself. His own lips had revealed the discovery which he", "\"You ought to be informed, I think, of the contents of this letter, for\nit has seriously influenced Allan's plans. He loses everything, sooner", "which Allan had drawn--the conclusion literally forced into his mind by\nthe facts before him--was, nevertheless, the conclusion of all others\nthat was furthest even from touching on the truth. The true story of", "Allan read these lines:", "you. It will help you in your sorest need, as it has helped me in mine.\nIt will show you another purpose in the events which brought you and\nAllan together than the purpose which your guilty father foresaw.", "But if Allan wished to hear what he ultimately decided on, his agent in\nLondon (whose direction he inclosed) would receive communications\nfor him, and would furnish Mr. Armadale at all future times with his", "which Allan had tossed across the table to him. Before he had come to\nthe end of it, his hands dropped helplessly on his knees, and the blank", "Allan's face flushed. \"Good heavens, Midwinter,\" he exclaimed, \"who\ncould suspect me of that?\"\n\n\"Nobody, Allan, who really knows you.\"", "\"I believe you love Allan,\" he said, \"and I believe you have spoken the\ntruth. A man who has produced that impression on me is a man whom I am\nbound to trust. I trust you.\"", "\"'I will answer,' he said, 'for Allan's respecting any confidence that\nI place in him. And I will undertake, when the time comes, so to use my", "revealed the secret of his attraction for Allan plainly enough. But had\nall disclosures rested there? Had the man let no chance light in on his", "Allan hesitated. \"I may as well tell you,\" he said, after a moment.\n\"It's nothing to be ashamed of; I only wonder you haven't noticed it", "Neelie looked up at her mother for the first time. The hardest part\nof the confession was over now. She had revealed the truth about Miss\nGwilt, and she had openly mentioned Allan's name.", "\"What other person?\" inquired Allan.\n\n\"A young lady who is a near neighbor of yours, sir. Shall I mention the\nname in confidence? Miss Milroy.\"", "among them is a letter from Allan, which has been lying unopened on my\ntable for ten days past. He writes to me in great distress, to say that", "in Allan's return to England. Having detected Mr. Bashwood in one lie\ntold to himself. Midwinter instantly suspected him of telling another\nto Allan. He seized the opportunity of sifting the statement about Miss" ], [ "The writer was the family lawyer at Thorpe Ambrose. After announcing to\nAllan the deaths of his cousin Arthur at the age of twenty-five, of his", "which Allan had drawn--the conclusion literally forced into his mind by\nthe facts before him--was, nevertheless, the conclusion of all others\nthat was furthest even from touching on the truth. The true story of", "So the three lives were mown down by death. So, in a clear sequence of\nevents, a woman's suicide-leap into a river had opened to Allan Armadale\nthe succession to the Thorpe Ambrose estates.", "questioned Allan, in a singularly inquisitive manner, on the subject of\nhimself and his family, but had kept his own personal history entirely", "subjects, especially if Allan led the way to them. But not a word\nescaped him about himself. Mr. Brock tried him with questions about\nhis recent inheritance, and was answered as he had been answered", "little more than one week's time death had mown down no less than three\nlives in the family at Thorpe Ambrose, and Allan Armadale was at that", "Allan made no further inquiries. He seemed to shrink from pursuing the\nsubject, after having started it himself. \"Let's be doing something to\nkill the time,\" he said. \"Let's pack up and pay the bill.\"", "instructing Allan on the subject of the domestic establishment which\nshe has left behind her. It seems that all the servants, indoors and out\n(with three exceptions), are waiting here, on the chance that Allan", "There was a sudden silence. Allan sat listlessly, with his hands in his\npockets, looking out through the open window at the falling rain. If", "foot, of which Allan is destined to be the victim, and that the prime\nmover in the conspiracy is the vile woman who helped his mother's\nmarriage and who hastened his mother's death.", "and tried to put matters in their proper light. Even at that time--even\nwhile he was still ignorant of events which were then impending--Allan's\nstrangely isolated position in the world was a subject of serious", "which Allan had tossed across the table to him. Before he had come to\nthe end of it, his hands dropped helplessly on his knees, and the blank", "associations connected with her early life. No word more on the\nforbidden topic had passed between the rector and herself; no suspicion\nhad ever been raised in Allan's mind of the existence of his namesake;", "garret, a perpendicular Scripture reader, and a horizontal expiring\nfamily--appealed to public favor, under the entirely unobjectionable\ntitle of \"The Hand of Death.\" Allan's resolution to extract amusement", "answered by getting Allan to sleep in the Sanitarium. Everything that\nhe had noticed above stairs associated the lurking-place in which the", "Ignorant of the report of Allan's death at sea; uninformed, at the\nterrible interview with his wife, of the purpose which her assumption of", "The news of Allan's sudden appearance at Thorpe Ambrose had preceded the\nservant's arrival at his destination by some hours. Wherever he went,", "\"There _are_ two,\" interposed Mrs. Armadale. \"Allan, as you know, is\nsixteen years old. If you look back at the advertisement, you will find", "\"Allan,\" he said, \"I have reasons--\" He stopped. Could the reasons be\ngiven before he had fairly realized them himself; at that time, too,", "composedly for Allan's return; and here, more strangely still, he looked\non a change in the household arrangements, due in the first instance\nentirely to himself. His own lips had revealed the discovery which he" ], [ "\"Are you sure of yourself, Allan?\" he asked, with his face bent once\nmore over the book. \"Are you really attached to this lady? Have you\nthought seriously already of asking her to be your wife?\"", "Bashwood, that she had gone privately to London with Allan in the\ncharacter of Allan's future wife.", "possibly have hoped for. After the lawyer's report to me, there cannot\nbe a moment's doubt of what you ought to do. In two words, Lydia, take", "Allan hesitated. \"I hardly know how to put it,\" he replied. \"As you\nsaid just now, I love her, and she loves me; and yet there is a sort of", "\"Well,\" resumed Allan, \"if there's no harm in her being only a\ngoverness, and no harm in her being a little older than I am, what's the\nobjection to Miss Gwilt?\"", "\"My dear Lydia, the object is your future security (and mine). We may\nsucceed or we may fail, in persuading the parson that you have actually", "subject of their own Christian names, and Allan was as near a pointblank\nproposal of marriage as it is well possible for a thoughtless young\ngentleman of two-and-twenty to be.", "\"Marry her?\"\n\n\"Yes, mamma.\"\n\nBreathlessly interested, Mrs. Milroy leaned forward, and twined her hand\ncaressingly in her daughter's hair.", "\"I am thinking seriously of it at this moment,\" said Allan. \"I can't be\nhappy--I can't live without her. Upon my soul, I worship the very ground\nshe treads on!\"", "\"Miss Milroy!\" repeated Allan. \"What are you thinking of! I'm not in\nlove with Miss Milroy.\"\n\n\"Who is it, then?\"", "She reverted to first principles, and insisted on knowing whether Allan\nwas quite sure he loved her. Allan called Heaven to witness how sure he\nwas; and got another question directly for his pains. Could he solemnly", "\"It's too late to make objections,\" proceeded Allan. \"I really mean it\nwhen I tell you I'm in love with her.\"", "Allan's proposal that he should be presented to the major's daughter,\nand judge of her for himself, as readily, nay, more readily than it", "anybody. Well, and what of all this? you will ask, with that sparkling\nimpatience which becomes you so well. My dear Lydia, don't sparkle! The", "forth to surprise Mrs. Oldershaw by a visit from her darling Lydia! It\nis almost needless to add that I determined to sound her carefully, and", "\"Certainly!\" said Allan. \"I have a very particular reason for wishing to\nsee her.\"", "nevertheless acknowledge that I have a reason of my own for earnestly\ndesiring to see you here. Allan has innocently caused me a new anxiety\nabout my future relations with him, and I sorely need your advice to", "of me, and the first words she said were--'Oh, Lydia! Lydia! why are you\nnot at church?'", "man is infatuated and the woman is determined. To the disgust of his\nfamily and friends, Mr. Waldron made a virtue of necessity, and married\nher.\"", "\"I see you don't approve of the thing,\" Allan went on. \"Do you object to\nher being only a governess? You can't do that, I'm sure. If you were" ], [ "foot, of which Allan is destined to be the victim, and that the prime\nmover in the conspiracy is the vile woman who helped his mother's\nmarriage and who hastened his mother's death.", "answered by getting Allan to sleep in the Sanitarium. Everything that\nhe had noticed above stairs associated the lurking-place in which the", "himself open to attack. He had positively denied on the previous evening\nthat he knew anything of Allan's movements, or that he had any interest", "in Allan's return to England. Having detected Mr. Bashwood in one lie\ntold to himself. Midwinter instantly suspected him of telling another\nto Allan. He seized the opportunity of sifting the statement about Miss", "which Allan had drawn--the conclusion literally forced into his mind by\nthe facts before him--was, nevertheless, the conclusion of all others\nthat was furthest even from touching on the truth. The true story of", "At nightfall he had come back stealthily in the darkness, had been\ncaught on the stairs by Allan, eager to tell him of the change in the", "Allan's face flushed. \"Good heavens, Midwinter,\" he exclaimed, \"who\ncould suspect me of that?\"\n\n\"Nobody, Allan, who really knows you.\"", "\"He took a turn up and down the room, and then came and stood over me.\n\n\"'If Allan comes here to-morrow,' he began, 'and if you see him--'", "If Mr. Bashwood had been caught in the act of committing murder, he\ncould hardly have shown greater alarm than he now testified at Allan's", "\"Wait?\" repeated Allan, in the blankest astonishment at his friend's\nexcessive caution. \"What on earth does he mean? I'll be hanged if I\nwait. Where one of us goes, the other goes too!\"", "Allan's room. Resigning all further effort to connect his suspicion of a\nconspiracy against his friend with the outrage which had the day before", "danger lay hid with Allan's room. To reach this conclusion, and to\ndecide on baffling the conspiracy, whatever it might be, by taking", "Two messages were waiting for Allan when he returned to the house. One\nhad been left by Midwinter. \"He had gone out for a long walk, and Mr.", "\"I haven't missed a word,\" rejoined Allan. \"I tell you again, you don't\nknow what I know of Miss Gwilt. She has threatened Miss Milroy. Miss\nMilroy is in danger while her governess stops in this neighborhood.\"", "In those terms the major's wife threw off the mask, and left her victim\nto survey at his leisure the trap in which she had caught him. Allan's", "For a moment, and for a moment only, Allan was surprised. \"Not know\nwho you are?\" Even as he repeated the words, his easy goodhumor got", "\"What do you think of my friend?\" whispered Allan, as he and Miss Milroy\nfollowed.\n\n\"Must I tell you the truth, Mr. Armadale?\" she whispered back.\n\n\"Of course!\"", "Allan made no further inquiries. He seemed to shrink from pursuing the\nsubject, after having started it himself. \"Let's be doing something to\nkill the time,\" he said. \"Let's pack up and pay the bill.\"", "Mr. Brock wisely destroyed the second letter on the spot, and, after\nshowing Allan his cousin's invitation, suggested that he should go to\nThorpe Ambrose as soon as he felt fit to present himself to strangers.", "He looked at Midwinter as he made the inquiry, but it was Allan who\ntold him the story of the night, and Allan who asked the doctor for" ], [ "\"After solemnly announcing that she meant to sacrifice herself to her\nbeloved father's wishes (the brazen assurance of her setting up for a", "Lydia,' said the brazen old wretch, wiping her eyes. 'Nothing will\ninduce me to return to the subject of that wicked speculation of yours\non the folly of a rich young man.'", "possibly have hoped for. After the lawyer's report to me, there cannot\nbe a moment's doubt of what you ought to do. In two words, Lydia, take", "of me, and the first words she said were--'Oh, Lydia! Lydia! why are you\nnot at church?'", "So the three lives were mown down by death. So, in a clear sequence of\nevents, a woman's suicide-leap into a river had opened to Allan Armadale\nthe succession to the Thorpe Ambrose estates.", "the poison of her life--wrung her to the heart. After moving a few\nsteps from the bedside, she stopped, and came back again. Armed with the", "\"Judging by my experience of women,\" remarked Bashwood the younger,\noverhearing him, \"I should say she probably tried to drown herself. But", "_had_ loved, never to love again. Does a woman not love when the man's\nhardness to her drives her to drown herself? A man drove _me_ to that", "helpless. He dropped, as the dead drop. He lay as the dead lie, in the\narms of the wife who had denied him.", "She rose when the door closed on him. A change came over her the instant\nshe was alone. The color faded out of her cheeks; the beauty died out of", "She looked at the child, established comfortably on the bed, and an ashy\npaleness spread slowly over her face. She looked at the fatal", "Mrs. Milroy leaned back on her pillow in dead silence. The plain\nbetrayal of her daughter's first love, by her daughter's own lips, which", "The instant she was alone she raised him from her knee. With both arms\nclasped round him, the miserable woman lifted his lifeless face to hers", "One moment more of silence, one moment more of inaction, might have been\nthe salvation of her. But the fatal force of her character triumphed", "come by her death) was found dead--that a coroner's inquest inquired\ninto the circumstances--that the evidence showed her to have entered\nthe house as a patient--and that the medical investigation ended in", "say. Not much, indeed! It didn't last a moment. Your darling Lydia soon\ncame to her senses again.", "forth to surprise Mrs. Oldershaw by a visit from her darling Lydia! It\nis almost needless to add that I determined to sound her carefully, and", "from her husband by making herself a widow, the captain must have been\nthe man. And unless she contrived, guarded and watched as she was, to", "\"I have just finished the letter. It is headed 'private and\nconfidential,' and signed 'Lydia Armadale.' There is nothing in it to", "manner.\" Those were her words. She never lifted her eyes from the ground\nwhile she spoke them. When she had done, the last faint vestige of color\nin her cheeks faded out." ], [ "\"He shows the most unaccountable interest,\" she said. \"It's impossible\nto understand it. It's downright infatuation. I haven't patience to talk\nabout it!\"", "man is infatuated and the woman is determined. To the disgust of his\nfamily and friends, Mr. Waldron made a virtue of necessity, and married\nher.\"", "creditable to his taste, and far more dangerous to both of us, than\nthe motive you supposed him to have. In plainer words, Lydia, I rather", "anybody. Well, and what of all this? you will ask, with that sparkling\nimpatience which becomes you so well. My dear Lydia, don't sparkle! The", "of me, and the first words she said were--'Oh, Lydia! Lydia! why are you\nnot at church?'", "possibly have hoped for. After the lawyer's report to me, there cannot\nbe a moment's doubt of what you ought to do. In two words, Lydia, take", "fanatic. You will understand the sort of interest he took in the girl,\nand the way in which he worked on her feelings, when I tell you that she\nannounced it as her decision, after having been nearly two years at the", "forth to surprise Mrs. Oldershaw by a visit from her darling Lydia! It\nis almost needless to add that I determined to sound her carefully, and", "\"MY DEAR LYDIA--About three hours have passed, as well as I can\nremember, since I pushed you unceremoniously inside my house in West", "\"Did she like the captain?\" suggested Bashwood the younger, with another\nlaugh. \"According to her own account of it, she adored him. At the same", "Lydia,' said the brazen old wretch, wiping her eyes. 'Nothing will\ninduce me to return to the subject of that wicked speculation of yours\non the folly of a rich young man.'", "touched, on his side, by her devotion, and had felt, in his turn, the\nattraction of her beauty, her freshness, and her youth. Up to the time", "\"My dear Lydia, the object is your future security (and mine). We may\nsucceed or we may fail, in persuading the parson that you have actually", "say. Not much, indeed! It didn't last a moment. Your darling Lydia soon\ncame to her senses again.", "seems to have put certain questions, and to have become convinced (as I\nwas convinced myself) that his daughter's heart, or fancy, or whatever\nshe calls it, was really and truly set on Armadale. The discovery", "coaxing me now. I am her darling Lydia again! She is quite shocked that\nI could imagine she ever really intended to arrest her bosom friend; and", "believe he has seen some woman whom he likes at Turin. Well, let\nhim follow his new fancy, if he pleases! I shall be the widow of Mr.", "\"Ever, my dear Lydia, affectionately yours,\n\n\"MARIA OLDERSHAW.\"", "from her; she looked at him with a furtive interest and surprise. \"How\nthat man loves me!\" she thought. \"I wonder whether there was a time when\nI might have loved _him_?\"", "happened at the school which I find mildly described in these papers\nas 'something unpleasant.' The plain fact was that the music-master\nattached to the establishment fell in love with Miss Gwilt. He was a" ], [ "It was only when the last trace of her had disappeared that Midwinter\nroused himself, and attempted to realize the position in which he", "\"He has gone,\" replied Midwinter, \"after telling me a very sad story,\nand leaving me a little ashamed of myself for having doubted him without", "\"I say no more. When he walked away from me down that lane, he walked to\nhis death. I have written to Midwinter to expect me in London nest week,\nand to be ready for our marriage soon afterward.\"", "doctors to be at an end. By the dying man's own desire, Midwinter was\nsummoned to take leave of him, and was entreated by Armadale not to lose", "Midwinter's face darkened for the first time. \"I am sorry to hear it,\"\nhe said, his voice sinking low, and his eyes dropping to the ground as\nhe spoke.", "A moment of silence followed those closing words. Midwinter rose from\nthe window-seat, and came back to the table with the letter from Wildbad\nin his hand.", "Midwinter's face darkened when the last trace of the carriage had\ndisappeared from view. \"I have done my best,\" he said, as he turned back", "Midwinter made no reply. The struggle between the hereditary\nsuperstition that was driving him on, and the unconquerable affection", "The parted leaves of the manuscript dropped from Midwinter's hands. Mr.\nBrock took them up, and sorted them carefully until he found the last\npage.", "Midwinter appeared on the threshold. He took one step into the room, and\nmechanically pushed the door to behind him. He stood in dead silence,", "which Mr. Brock had died. It was in the rector's handwriting throughout;\nand the person to whom it was addressed was Midwinter himself.", "\"Is he dead?\" she asked.\n\nThe surgeon carried Midwinter to the sofa, and ordered the windows to be\nopened. \"It is a fainting fit,\" he said; \"nothing more.\"", "He had discovered Midwinter's lodgings, but he had failed to find\nMidwinter himself. The only account his landlady could give of him was", "deserted him. For the first time, since he had told his story to\nMidwinter, at their introductory interview in the great house, his mind\nreverted once more to the bitter disappointment and disaster of the", "\"Was that you, Midwinter?\" he asked.\n\nThere was no answer. After hesitating a moment more, Allan returned to\nthe plantation. Midwinter was gone.", "already, Midwinter. Nobody but you can comfort me, and help me to bear\nit.\" His voice faltered over those last words, and he said no more.", "Another interval passed, and Midwinter made a new effort to rouse\nhimself. This time he kindled the light without hesitation, and took the\npen in hand.", "Midwinter assented with a weary sigh. Always shyly unwilling to make new\nacquaintances, fatigue increased the reluctance he now felt to become", "Left by himself, Midwinter paused, and looked up at the heavens in\nsilence. The night had cleared, and the stars were out--the stars which", "and passing over another attempt of Midwinter's to seize on the talk, as\nif no such attempt had been made. \"But as there does happen to be this" ], [ "connection, and was tending steadily to some unimaginable end. Without\nknowing why, he began to feel uneasy at Allan's absence. Without knowing", "Once started on the subject of Ozias Midwinter, Allan rattled on about\nhis new friend in his usual easy, light-hearted way. But he had really", "speaking to such an intimate friend as I am.\" He laid his hand gently\nand kindly on Allan's shoulder. \"I can't help seeing that I have made", "had settled his bills. Ozias Midwinter spoke of his obligations--and\nespecially of his obligation to Allan--with a fervor of thankfulness\nwhich it was not surprising only, but absolutely painful to witness. He", "revealed the secret of his attraction for Allan plainly enough. But had\nall disclosures rested there? Had the man let no chance light in on his", "At nightfall he had come back stealthily in the darkness, had been\ncaught on the stairs by Allan, eager to tell him of the change in the", "He stopped, and shrank away, under the anxious scrutiny of Allan's eyes.\n\"If you _will_ have it,\" he burst out, abruptly, \"the horror of that", "\"He took a turn up and down the room, and then came and stood over me.\n\n\"'If Allan comes here to-morrow,' he began, 'and if you see him--'", "\"There's something strange between us,\" reiterated Allan. \"For God's\nsake, what is it?\"", "in perfect repose was now the distorted face of a suffering man. The\nperspiration stood thick on Allan's forehead, and matted his curling\nhair. His partially opened eyes showed nothing but the white of the", "of the dream. Here, strangely unmoved by the scene around him, so lately\nthe object of his superstitious distrust, Allan's friend now waited", "\"What did I tell you?\" said Allan, laughing, a little uneasily. \"That\nnight on the Wreck is hanging on your mind as heavily as ever.\"", "Conscious that his position toward his friend was altered already in\nrelation to Miss Gwilt, the first sight of Allan filled his mind with a", "composedly for Allan's return; and here, more strangely still, he looked\non a change in the household arrangements, due in the first instance\nentirely to himself. His own lips had revealed the discovery which he", "silent throughout. Heedless of all that was said or done about him, he\nwatched Allan, and followed Allan, like a dog, until the time came for", "the moment when Allan left the room, the hidden Influence that works\nin darkness began slowly to draw the two men together, across the great\nsocial desert which had lain between them up to this day.", "taken place. Free from all mental disquietude on this score, Allan\nhad stoutly preserved his perverse interest in his new friend. He had", "\"I believe you love Allan,\" he said, \"and I believe you have spoken the\ntruth. A man who has produced that impression on me is a man whom I am\nbound to trust. I trust you.\"", "which Allan had tossed across the table to him. Before he had come to\nthe end of it, his hands dropped helplessly on his knees, and the blank", "Allan took his friend's hand and wrung it hard. \"If you were as fond of\nher as I am,\" he whispered, \"you would take no rest, you could get no" ], [ "Once started on the subject of Ozias Midwinter, Allan rattled on about\nhis new friend in his usual easy, light-hearted way. But he had really", "arrangements off his hands, and that, in deference to their convenience,\nhe meant to defer establishing himself at Thorpe Ambrose till that\nday two months. The lawyers stared at Allan, and Allan, returning the", "\"It shall be as you wish,\" he said, quietly. \"I am sorry for what has\nhappened; but I am not the less obliged to you, Allan, for having done\nwhat I asked you.\"", "exactly fitted for his friend, for the simple reason that it would\nnecessarily oblige his friend to live with him on the estate. He\nhad accordingly written to decline the proposal made to him without", "\"I have merely given a few simple directions,\" pursued Allan. \"Our\nfriend the usher is to have everything he requires, and is to be treated\nlike a prince; and when the doctor and the landlord want their money\nthey are to come to me.\"", "instructing Allan on the subject of the domestic establishment which\nshe has left behind her. It seems that all the servants, indoors and out\n(with three exceptions), are waiting here, on the chance that Allan", "\"You have guessed right,\" he answered. \"I stand in the place of a father\nto Allan Armadale, and I am naturally unwilling to leave him, at his\nage, with a man whom I don't know.\"", "speaking to such an intimate friend as I am.\" He laid his hand gently\nand kindly on Allan's shoulder. \"I can't help seeing that I have made", "Ambrose estate now appeared before him. He had never, in his relations\nwith Allan, so entirely forgotten his business interests as he forgot\nthem now.", "had settled his bills. Ozias Midwinter spoke of his obligations--and\nespecially of his obligation to Allan--with a fervor of thankfulness\nwhich it was not surprising only, but absolutely painful to witness. He", "composedly for Allan's return; and here, more strangely still, he looked\non a change in the household arrangements, due in the first instance\nentirely to himself. His own lips had revealed the discovery which he", "The news of Allan's sudden appearance at Thorpe Ambrose had preceded the\nservant's arrival at his destination by some hours. Wherever he went,", "This was the man whom the march of events at Thorpe Ambrose had now\nthrust capriciously into a foremost place. This was the one friend at\nhand to whom Allan in his social isolation could turn for counsel in the\nhour of need.", "master's movements than the servants indoors. He had seen Allan pass the\nstables more than an hour since, going out by the back way into the park\nwith a nosegay in his hand.", "But if Allan wished to hear what he ultimately decided on, his agent in\nLondon (whose direction he inclosed) would receive communications\nfor him, and would furnish Mr. Armadale at all future times with his", "thing,\" Allan added, after a moment's painful consideration, \"which\nought to be understood between us at once. The advice you offered me\njust now was very kindly meant, and it was the best advice that could be", "As soon as the doctor's back was turned, Allan left his place at the\ntable, and appealed to his friend, with that irresistible heartiness of", "\"Allan,\" he said, \"I have reasons--\" He stopped. Could the reasons be\ngiven before he had fairly realized them himself; at that time, too,", "\"I believe you love Allan,\" he said, \"and I believe you have spoken the\ntruth. A man who has produced that impression on me is a man whom I am\nbound to trust. I trust you.\"", "This letter did wonders in raising Allan's spirits. It gave him a\nnew interest to look to, entirely disassociated from his past life in" ] ]

[ "What is Ozias Midwinter's real name?", "Who is Ozias Midwinter's stepfather?", "What does Ozias believe Allan's dreams are?", "What estate does Allan inherit?", "Who was Allan's mother's maid?", "How does Allan escape the murder attempt from Lydia's ex-husband?", "After taking matters into her own hands, how does Lydia plan to kill Allan?", "How does Lydia kill herself?", "Who does Allan marry at the end of the story?", "How many separate characters are named \"Allan Armadale\"?", "Why did Lydia wish to marry Allan?", "How do we learn of the initial murder?", "Why does the elder Armadale warn his son that he (the son) may become a murderer?", "How does Midwinter interpret the dream?", "How does the desperado attempt to murder Allan?", "By what method does Lydia attempt to murder Allan?", "Why does Lydia Gwilt want to marry Allan?", "Why does Ozias feel that he will harm Allan?", "Why does Lydia commit suicide?", "Who is transcribing Allan's deathbed story?", "Who is supposed to read Allan's confession?", "How many members of Allan's family died under mysterious circumstances?", "Why does Lydia want to marry Allan?", "Who plans to murder Allan?", "How does Lydia kill herself?", "Who is infatuated with Lydia?", "What does Midwinter do after Lydia's passing?", "Why does Ozias feel haunted by becoming close to Allan?", "What position does Allan intend to give Ozias at his estate?" ]

[ [ "Allan Armadale", "Allan Armadale" ], [ "Mr. Neal", "Mr Neal" ], [ "Prophesies of the future", "A prophesy of the future. " ], [ "Thorpe-Ambrose", "Thorpe-Ambrose in Norfolk." ], [ "Lydia Gwilt", "Lydia" ], [ "He pretends to have drowned in a shipwreck.", "he was supposed to have drowned in a shipwreck, but he manages to escape and returns to England" ], [ "Poisonous gas", "by having her Cuban desperado ex husband murder him" ], [ "She goes into the poisonous gas-filled room.", "She walks into an air-poisoned room." ], [ "Eleanor Milroy", "Miss Milroy" ], [ "There are three.", "There are three characters named Allan Armadale in the novel." ], [ "She married him for money.", "to achieve retribution for wrongdoings of Allan's family. " ], [ "Through a deathbed confession.", "A confession from Allen Armdale on his deathbed." ], [ "Because the elder Armadale murdered a man that he had disinherited.", "because he had murdered someone" ], [ "He interpreted it superstitiously.", "As a portent of things that might come true in the future." ], [ "By drowning him in a shipwreck.", "The desperado attempts to kill Allan by drowning him in a shipwreck." ], [ "By using poison gas.", "Poison gas. " ], [ "Retribution for supposed family wrongdoings", "To get retribution for his family's wrongdoings. " ], [ "His father's letter warns him that he may kill him.", "because he is close to Allan" ], [ "She cannot kill the man she really loves.", "She feels guilt for trying to murder Allen and almost murdering her own husband instead. " ], [ "Mr. Neal", "Mr. Neal" ], [ "his son", "his son" ], [ "3", "Three" ], [ "as a means of achieving retribution for his family's wrongdoings", "for his fortune" ], [ "Lydia", "Lydia" ], [ "by going into a room filled with poison gas", "She walks into a room full of poison gas." ], [ "Mr. Bashwood", "Ozias Midwinter" ], [ "becomes a writer", "he becomes a writer" ], [ "he fears he will hurt him", "He fears he will harm him. " ], [ "steward", "steward" ] ]

[ [ "HENRY\n (pleading)\n Marty. Please. You know Jimmy. \n You borrowed his money. Pay 'em.", "HENRY (V.O.)\n Jimmy had never asked me to whack \n somebody before, but now he's asking \n me to go down to Florida and do a \n hit with Anthony.", "HENRY\n Done.\n\n MARTY\n And Jimmy's in it, right?\n\n HENRY\n Will you stop.", "JIMMY\n (to the bartender)\n Give'm a drink.\n\n HENRY\n (agitated, to Jimmy)\n I gotta talk to you.", "HENRY\n I know that. I know Jimmy. You \n think I'd take chances like Jimmy?", "HENRY\n Yeah.\n\n JIMMY\n He's hiding, thE son of a bitch, \n in Florida.", "HENRY\n Jimmy, come on. Fuck 'em. Don't \n give them the satisfaction.", "JIMMY\n (to Henry)\n Bring the car round back. I know a \n place Upstate they'll never find \n him.", "JIMMY\n (to Henry)\n Say hello to Tommy. You'll do good \n together.\n\n CUT TO:", "HENRY (V.O.)\n It took the jury six hours to bring \n us in guilty. The judge gave Jimmy \n and me ten years like he was giving \n away candy.", "HENRY is walking out of the court. HENRY sees JIMMY BURKE \n smiling and waiting for him in the rear of the courtroom.", "HENRY\n I still gotta talk to you.\n\n WE SEE JIMMY grab HENRY around the neck and head toward \n the rear men's room.", "HENRY\n (surprised)\n Paulie was just talking about him.\n\n JIMMY\n Well, we gotta dig him up again.", "JIMMY\n (to Henry, as they \n walk toward the \n bar)", "HENRY (V.O.)\n Still, I never saw Jimmy so happy. \n He was like a kid. We had money", "HENRY (V.O.)\n Fuck Jimmy and the money. Didn't I \n tell you I gotta get out of here", "HENRY (V.O.)\n He was jumpy. He hadn't touched a \n thing. In the old days, Jimmy would", "JIMMY puts his arm around HENRY like a father, and tacks a \n one-hundred dollar bill into HENRY's chest pocket. They", "HENRY\n Don't worry about it. You listening \n to me? Now, come on. We gotta go \n see Paulie.\n\n CUT TO:", "HENRY (V.O.)\n Jimmy was one of the most feared \n gays in the city. He was first" ], [ "Tommy had killed a made man. Billy \n was a part of the Bambino crew and \n untouchable.", "HENRY (V.O.)\n And there was nothing we could do. \n Batts was a made man and Tommy", "JIMMY\n (whispering to Tommy)\n You going to take that shit from", "JIMMY, TOMMY and OTHER WISEGUYS are playing cards. TOMMY \n is a little drunk. SPIDER, a 22-year-old apprentice hood,", "TOMMY suddenly smashes the shovel into the moving, bloody \n mattress cover. He smashes it again and again and again. \n Cursing BATTS with every swing.", "TOMMY, followed by HENRY, walks over to the bar where JIMMY \n and BILLY BATTS are talking. TOMMY drops the package on \n the floor.", "TOMMY\n (raising the shovel)\n Can you believe this no-good fuck? \n The prick! He's still alive.", "HENRY\n (surprised)\n Paulie was just talking about him.\n\n JIMMY\n Well, we gotta dig him up again.", "TOMMY\n Rat bastard.\n (he swings shovel)\n No-good, low-life fuck.\n\n TOMMY swings shovel again and again.", "TOMMY\n (trying to wrestle \n past Henry)\n He's insulting me. Rat bastard. \n He's never been any fuckin' good.", "CUT TO:\n\n SILHOUETTE OF TOMMY, HENRY AND JIMMY\n\n Stuffing BILLY'S body into the trunk.", "with laughter)\n Can you believe this shit?\n (To Tommy, almost \n whispering)\n Tommy! You gonna take that shit", "Soon the mattress cover stops squirming and TOMMY stops \n swinging the shovel. He is exhausted. TOMMY and JIMMY get \n back in the car. HENRY is facing the open trunk.", "JIMMY\n It's that rat bastard from \n Pittsburgh. He ratted you all out. \n He's been a rat since he got busted \n in Pittsburgh.", "BILLY\n (smiling broadly at \n Tommy and the girl)\n Son of a bitch. Get over here.", "WE SEE TOMMY is all dressed. He kisses his MOTHER. TOMMY \n walks down the stairs toward TWO WISEGUYS and into a waiting \n car.", "BILLY BATTS looks up.\n\n JIMMY turns around and sees that TOMMY has a gun in his \n hand.", "SONNY\n But it isn't right, Paulie. \n That Tommy, he's making trouble", "filled with twenty-dollar bills.\n\n JIMMY (O.S.)\n Nice.\n\n TOMMY\n Who's buying?", "TOMMY\n There's a shovel at my mother's.\n\n INT. TOMMY'S MOTHER'S HOUSE - KITCHEN - NIGHT" ], [ "Whenever we needed money, we'd rob \n the airport. To us, it was better \n than Citibank.", "HENRY (V.O.)\n Air France made me. We walked out \n with four hundred and twenty \n thousand dollars without a gun. \n And we did the right thing.", "HENRY\n Lufthansa should have been our \n ultimate score. The heist of a \n lifetime. Six million in cash. \n More than enough to go around.", "pre-dawn raid at the Lufthansa \n cargo terminal at Kennedy Airport. \n The FBI says two million dollars. \n Port Authority police say four", "BE A PART OF THE LUFTHANSA ROBBERY. MARTY, HENRY, TOMMY, \n AND JIMMY ARE WATCHING A BASKETBALL GAME.", "coming in through my Pittsburgh \n people and after a while even the \n Lufthansa thing began to calm down. \n But the thing that made Jimmy so", "live from the scene of the heist \n at JFK when they do. It looks like \n a big one. Maybe the biggest this", "Private Christmas party. As they arrive, HENRY and KAREN \n are hugged by JIMMY in the doorway. It is a Lufthansa \n victory party, but no one mentions the robbery.", "the package for Judy to take to \n Atlanta latex that night. I kept \n looking out the window and the \n helicopter was gone. I asked Michael", "A cavernous room within earshot of the airport that looks \n like a movie nightclub. No matter when you walk into the \n Bamboo Lounge it's always the middle of the night.", "the kind of guy who rooted for the \n bad guys in the movies. He was \n one of the city's biggest hijackers.", "It was business. But what he really \n loved to do was steal. I mean, he \n actually enjoyed it. Jimmy was", "Ex-airport clerk. (ROBIN is described earlier in SCENE #75 \n page 58, where she flirts with HENRY.) The apartment is a", "moving through Idlewild Airport \n and we tried to steal every bit of \n it.", "was making nice money with me \n through my Pittsburgh connections. \n But still, for months after the \n robbery, they were finding bodies", "HENRY (V.O.)\n You've got to understand, we grew \n up near the airport.. It belonged", "WE SEE JUDY WICKS take out an airline ticket.", "The trailer truck is stopped at a light in a deserted area \n near JFK Airport. WE SEE the DRIVER being quietly led to a", "to tip him off about the really \n good loads. Of course, everybody \n got a piece. And when the cops \n assigned a whole army to stop him,", "LAST FREEZE.\n\n TITLE UP - IDLEWILD AIRPORT: 1955\n\n EXT. WIDE SHOT - IDLEWILD CARGO AREA" ], [ "HENRY (V.O.)\n It took the jury six hours to bring \n us in guilty. The judge gave Jimmy \n and me ten years like he was giving \n away candy.", "CUT TO:\n\n NEWSPAPER PICTURE\n\n of HENRY and JIMMY getting arrested.", "JIMMY\n (embracing Henry)\n We did it. We did it.\n\n He hear a knock on the door.", "HENRY\n Done.\n\n MARTY\n And Jimmy's in it, right?\n\n HENRY\n Will you stop.", "When JIMMY turns around, WE SEE that he is crying. WE SEE \n HENRY hurrying toward JIMMY to console him.", "HENRY is walking out of the court. HENRY sees JIMMY BURKE \n smiling and waiting for him in the rear of the courtroom.", "HENRY\n (horrified)\n It's been six months.\n\n JIMMY\n It's still better than letting \n somebody find him.", "HENRY\n I still gotta talk to you.\n\n WE SEE JIMMY grab HENRY around the neck and head toward \n the rear men's room.", "HENRY\n Yeah.\n\n JIMMY\n He's hiding, thE son of a bitch, \n in Florida.", "HENRY watches JIMMY tiptoe up to the AGENTS' car and rap \n on the window. The startled AGENTS look up and see JIMMY \n staring at them.", "Finally on their way, HENRY is driving. JIMMY, in the \n passenger's seat, and TOMMY, in the rear seat, embracing", "JIMMY\n (to Henry)\n Say hello to Tommy. You'll do good \n together.\n\n CUT TO:", "JIMMY stands to embrace HENRY. WE SEE a table with melon, \n eggs, sausage, toasted English muffins, etc. HENRY notices", "HENRY\n\n In grey prison garb, carrying a heavy canvas mail sack \n marked \"LEWISBURG PRISON.\" He dumps the sacks on one of \n the beds.", "HENRY\n (gently wrestling \n Tommy away from \n the bar)\n Come on, relax. He's drunk. He's \n been locked up for six years.", "JIMMY\n (to the bartender)\n Give'm a drink.\n\n HENRY\n (agitated, to Jimmy)\n I gotta talk to you.", "JIMMY\n (smiling)\n Don't worry about it.\n\n HENRY\n There are cops all over the place.", "HENRY (V.O.)\n Everybody else in the joint was \n doing real time, all mixed together, \n living like pigs.\n\n CUT TO:", "JIMMY puts his arm around HENRY like a father, and tacks a \n one-hundred dollar bill into HENRY's chest pocket. They", "HENRY thinks he has a flat, but the thumping is too \n irregular. JIMMY awakens. His eyes are on HENRY. TOMMY" ], [ "HENRY\n\n In grey prison garb, carrying a heavy canvas mail sack \n marked \"LEWISBURG PRISON.\" He dumps the sacks on one of \n the beds.", "crimes. It was more that Henry was \n enterprising. That he and the guys \n were making a few bucks hustling,", "HENRY\n (astounded)\n What am I doing? I'm in here! I'm \n in jail. I can't stop people from \n coming to see me.", "INMATE enter. While the GUARD watches, the INMATE gives \n HENRY some cash and HENRY gives him one of the plastic", "HENRY (V.O.)\n It took the jury six hours to bring \n us in guilty. The judge gave Jimmy \n and me ten years like he was giving \n away candy.", "HENRY\n It was easy money. I did it in the \n can. Shit! I learned the junk \n business in the can, Paulie.", "HENRY (V.O.)\n Everybody else in the joint was \n doing real time, all mixed together, \n living like pigs.\n\n CUT TO:", "HENRY (V.O.)\n So now my plan was to stay alive \n long enough to sell off the dope", "EXT. PRISON BAIL RELEASE GATE - MIDNIGHT\n\n WE SEE HENRY hurry out of the prison. He looks nervous \n over his shoulder.", "HENRY\n (gently wrestling \n Tommy away from \n the bar)\n Come on, relax. He's drunk. He's \n been locked up for six years.", "HENRY\n Listen, we're beginning to make \n real money for the first time. \n It's business. Do you think I'm \n going to walk away from that?", "WE SEE HENRY hit her. He is about to hit her again, but \n stops. He turns his back on her and opens the door of his \n closet roughly grabbing some clothes as if getting ready \n to pack.", "sees that no one is watching him, he pulls a black plastic \n garbage bag out of the sack. HENRY opens the bag and \n quickly counts the clear plastic bags of marijuana, glassine", "WE SEE HENRY reach in the sack and pull out cheeses, dried \n sausages, a large jar of vinegar peppers and dried \n mushrooms.", "INT. HENRY'S HOUSE - EVENING\n\n HENRY is working in the kitchen.", "HENRY (V.O.)\n Who could believe it? Of all the \n fucking people. She gave up \n everybody. Jimmy. Me. Even her \n brother.", "McMAHON, etc., are all having drinks with HENRY before he \n goes off to prison.", "HENRY and the contraband on the table. Pause. WE SEE the \n GUARD turn his head away.", "WE SEE HENRY busily selling cartons to WORKERS. TOMMY is \n getting cartons out. of the trunk of a car parked nearby.", "HENRY\n (watching the dope \n being mixed while \n stroking Robin's" ], [ "pre-dawn raid at the Lufthansa \n cargo terminal at Kennedy Airport. \n The FBI says two million dollars. \n Port Authority police say four", "HENRY\n Lufthansa should have been our \n ultimate score. The heist of a \n lifetime. Six million in cash. \n More than enough to go around.", "HENRY (V.O.)\n Air France made me. We walked out \n with four hundred and twenty \n thousand dollars without a gun. \n And we did the right thing.", "It was business. But what he really \n loved to do was steal. I mean, he \n actually enjoyed it. Jimmy was", "million dollars, the city cops say \n five. How much maximum? That they \n won't say. So far, Lufthansa has", "live from the scene of the heist \n at JFK when they do. It looks like \n a big one. Maybe the biggest this", "BE A PART OF THE LUFTHANSA ROBBERY. MARTY, HENRY, TOMMY, \n AND JIMMY ARE WATCHING A BASKETBALL GAME.", "Whenever we needed money, we'd rob \n the airport. To us, it was better \n than Citibank.", "HENRY (V.O.)\n Thirty-two hundred bucks. That's \n what he gave me. Thirty-two hundred", "kept my mouth shut. I knew Jimmy. \n He had the cash. It was his. I \n know he kicked some money upstairs", "to Paulie, but that was it. It \n made him sick to have to turn money \n over to the guys who stole it.", "HENRY counts up $420,000 and slides ten packages of $l00-\n bills in front of VARIO who stands up and proudly kisses", "HENRY (V.O.)\n Even Stacks got in on it. He was \n supposed to steal the panel truck \n and afterwards compact it by a \n friend of ours in Jersey.", "to tip him off about the really \n good loads. Of course, everybody \n got a piece. And when the cops \n assigned a whole army to stop him,", "was making nice money with me \n through my Pittsburgh connections. \n But still, for months after the \n robbery, they were finding bodies", "coming in through my Pittsburgh \n people and after a while even the \n Lufthansa thing began to calm down. \n But the thing that made Jimmy so", "Private Christmas party. As they arrive, HENRY and KAREN \n are hugged by JIMMY in the doorway. It is a Lufthansa \n victory party, but no one mentions the robbery.", "WE SEE HENRY take about an inch and a half of money from \n his inside jacket pocket, slap it on the table and go out \n the door.\n\n INT. THE SUITE - NIGHT", "HEHRY\n Marty. Relax. You saw some money.", "car where JIMMY BURKE is standing. WE SEE JIMMY routinely \n take the DRIVER'S wallet. There is absolutely no resistance." ], [ "WE SEE KAREN hurriedly flushing heroin down the toilet \n upstairs while we hear FBI MEN at the door downstairs. We \n hear MICHAEL and CHILDREN'S VOICES downstairs.", "WE SEE KAREN boldly wave a Baggie filled with marijuana \n and some plastic medicine containers with pills.", "CUT TO:\n\n HENRY\n\n nodding to KAREN that the heroin is in the kitchen.", "WE SEE HENRY take the drugs from KAREN's hand and slip it \n into his shirt.\n\n HENRY\n We've got to help each other.", "HENRY grabs the narcotics out of KAREN's hand and grabs \n her. WE SEE HENRY hug KAREN to him and WE SEE her drop \n her arms and hug him.", "WE SEE KAREN open her coat revealing large inside pockets \n where she has stowed salamis, wine, cigarettes, cartons, \n etc.", "WE SEE HENRY barely listening while putting the drugs in a \n paper bag.\n\n CUT TO:\n\n INT. ROBIN'S HOUSE", "KAREN\n (crying)\n They had a warrant. They went \n through everything. They would \n have found it. I swear.", "WE SEE KAREN look around to make sure no one else has seen \n her. She then leans over and hides the gun in the milk box \n at her feet.", "CUT TO:\n\n KAREN", "INT. KAREN'S MOTHER'S HOUSE - LIVING ROOM - DAWN", "WE SEE KAREN go to the bureau drawer and grab a small \n caliber gun, lift her dress and, grimacing, shove the cold \n metal into her underpants.", "INT. KAREN'S PARENTS' HOUSE", "envelopes of heroin and bottles of pills. HENRY quickly \n repacks the drugs and slips them under his covers.", "WE SEE KAREN looking at a search warrant being shown to \n her by DETECTIVES who are being very polite. The CHILDREN \n are looking on.", "KAREN\n You want her? Good! Let her sneak \n this stuff in for you!", "WE SEE KAREN standing at the side door as HENRY races up \n and puts something in her hand.\n\n HENRY\n (panting)\n Here, hold this.", "bag and takes out some Pampers and then he takes out several \n plastic bags with cocaine and heroin.", "INT. BEDROOM - KAREN'S MOTHER'S HOUSE - NIGHT\n\n WE SEE they are getting ready for bed.", "WE SEE KAREN slam down cigarettes and wine with a thud, \n this time WE SEE a GUARD turn around and look at KAREN and" ], [ "HENRY (V.O.)\n Hundreds of guys depended on Paulie \n and he got a piece of everything", "to Paulie, but that was it. It \n made him sick to have to turn money \n over to the guys who stole it.", "HENRY (V.O.)\n Thirty-two hundred bucks. That's \n what he gave me. Thirty-two hundred", "HENRY\n Don't worry about it. You listening \n to me? Now, come on. We gotta go \n see Paulie.\n\n CUT TO:", "HENRY counts up $420,000 and slides ten packages of $l00-\n bills in front of VARIO who stands up and proudly kisses", "HENRY (V.O.)\n But now the guy has got to come up \n with Paulie 's money every week,", "HENRY\n Paulie. Why would I? I swear.", "HENRY\n (nodding in agreement \n and concerned)\n If Paulie finds out, we got \n problems.", "WE SEE HENRY take about an inch and a half of money from \n his inside jacket pocket, slap it on the table and go out \n the door.\n\n INT. THE SUITE - NIGHT", "HENRY\n (surprised)\n Paulie was just talking about him.\n\n JIMMY\n Well, we gotta dig him up again.", "HENRY (V.O.)\n Now the guy's got Paulie for a \n partner. Any problems, he goes to", "HENRY (V.O.)\n Paulie might have moved slow, but \n it was only because he didn't have \n to move for anybody.", "HENRY\n Don't worry about Paulie. Is he \n helping you? Is he putting food on", "WE SEE JIMMY take a thick stack of bills from inside his \n jacket pocket and press than into HENRY's chest.", "HENRY\n But, Paulie, I'm sorry. Believe \n me. I was fucking crazy. But I'm", "HENRY\n (pleading)\n Marty. Please. You know Jimmy. \n You borrowed his money. Pay 'em.", "HENRY\n (angry)\n Will you shut your fucking mouth. \n You're gonna get your money, just", "HENRY\n Paulie, I couldn't come to you. I \n didn't want to put you in this", "JIMMY puts his arm around HENRY like a father, and tacks a \n one-hundred dollar bill into HENRY's chest pocket. They", "HENRY\n (incredulous)\n Paulie's gonna make him?" ], [ "WE SEE HENRY hit her. He is about to hit her again, but \n stops. He turns his back on her and opens the door of his \n closet roughly grabbing some clothes as if getting ready \n to pack.", "HENRY\n No.\n (pause)\n There. That's him. That's the guy.", "WE SEE HENRY very gently pull her from behind the wheel. \n He has cradled her in his arms as, after a wary look around \n the street, HENRY walks her toward the house.", "HENRY\n (hugging her to him)\n Never.\n\n DISSOLVE TO:", "JIMMY\n (embracing Henry)\n We did it. We did it.\n\n He hear a knock on the door.", "HENRY\n Shit You know they would have never \n found it. Why did you do it? Why \n did you do it? My God, why did you \n have to do it?", "HENRY looks up and sees the red helicopter. When he looks \n back at the road he is suddenly confronted with a huge \n traffic jam spread out before him.", "HENRY\n What could happen? He got drunk. \n He passed out somewhere. I'll go \n looking for him in the morning.", "Soon the mattress cover stops squirming and TOMMY stops \n swinging the shovel. He is exhausted. TOMMY and JIMMY get \n back in the car. HENRY is facing the open trunk.", "When JIMMY turns around, WE SEE that he is crying. WE SEE \n HENRY hurrying toward JIMMY to console him.", "CUT TO:\n\n FREEZE OF HENRY HEAD ON\n\n Looking at JIMMY.", "HENRY opens the trunk and steps back. In the trunk light \n WE SEE the mattress cover squirming around. We hear muffled \n groans.", "The MAS collapses in the seat and HENRY immediately starts \n wrapping the MAN'S shredded and bleeding hand in his apron. \n The MAN is turning white and praying.", "HENRY\n (soothing the man)\n It's okay. It's okay. They're \n getting an ambulance.", "HENRY (V.O.)\n Who could believe it? Of all the \n fucking people. She gave up \n everybody. Jimmy. Me. Even her \n brother.", "HENRY\n (shocked)\n What?", "CUT TO:\n\n HENRY'S FACE", "HENRY\n (angry)\n Will you shut your fucking mouth. \n You're gonna get your money, just", "HENRY\n (suddenly calm and \n walking out)\n I need some air. I need a little \n peace. At least at home.", "HENRY (V.O.)\n They killed him. It was revenge \n for Billy Batts." ], [ "HENRY (V.O.)\n My father was always pissed off. \n He was pissed that he had to work", "HENRY (V.O.)\n As far back as I can remember, I \n always wanted to be a gangster.\n\n MAIN TITLE:", "HENRY\n (always deny)\n What's the matter with you? You're \n crazy.", "HENRY (V.O.)\n Jimmy was so excited, you'd think \n he was being made. He must have", "CUT TO:\n\n FREEZE OF HENRY HEAD ON\n\n Looking at JIMMY.", "WE SEE HENRY hit her. He is about to hit her again, but \n stops. He turns his back on her and opens the door of his \n closet roughly grabbing some clothes as if getting ready \n to pack.", "HENRY (V.O.)\n I knew my Pittsburgh guys always \n wanted guns, and since I was going", "HENRY looks up and sees the red helicopter. When he looks \n back at the road he is suddenly confronted with a huge \n traffic jam spread out before him.", "HENRY (V.O.)\n Right away I knew he didn't want \n them. I knew I was going to get", "HENRY\n (laughing)\n Will you get the fuck out of here.", "HENRY\n Shit.", "HENRY\n No.\n (pause)\n There. That's him. That's the guy.", "HENRY (V.O.)\n To me it meant being somebody in a \n neighborhood full of nobodies.", "HENRY\n (a little annoyed \n at Karen)\n What did he say, exactly?\n\n INT. HENRY'S HOUSE - DAY", "HENRY (V.O.)\n Still, I never saw Jimmy so happy. \n He was like a kid. We had money", "crimes. It was more that Henry was \n enterprising. That he and the guys \n were making a few bucks hustling,", "INT. HENRY'S HOUSE - EVENING\n\n HENRY is working in the kitchen.", "HENRY\n He heard.", "HENRY (VO CONTD)\n I remember I had this feeling I \n was going to get killed right", "HENRY\n (hugging her to him)\n Never.\n\n DISSOLVE TO:" ], [ "crimes. It was more that Henry was \n enterprising. That he and the guys \n were making a few bucks hustling,", "HENRY\n\n In grey prison garb, carrying a heavy canvas mail sack \n marked \"LEWISBURG PRISON.\" He dumps the sacks on one of \n the beds.", "HENRY (V.O.)\n It took the jury six hours to bring \n us in guilty. The judge gave Jimmy \n and me ten years like he was giving \n away candy.", "HENRY\n He heard.", "HENRY (V.O.)\n He was jumpy. He hadn't touched a \n thing. In the old days, Jimmy would", "CUT TO:\n\n FREEZE OF HENRY HEAD ON\n\n Looking at JIMMY.", "HENRY\n No.\n (pause)\n There. That's him. That's the guy.", "HENRY (V.O.)\n He couldn't have been more than \n twenty-four or twenty-five at the", "Without acknowledging HENRY, the LAWYER nods and smiles at \n the JUDGE, who smiles and nods back.\n\n JUDGE\n Councilor, proceed.", "HENRY\n (gently wrestling \n Tommy away from \n the bar)\n Come on, relax. He's drunk. He's \n been locked up for six years.", "HENRY\n It was easy money. I did it in the \n can. Shit! I learned the junk \n business in the can, Paulie.", "HENRY\n (a little annoyed \n at Karen)\n What did he say, exactly?\n\n INT. HENRY'S HOUSE - DAY", "HENRY\n Nods again.\n\n VARIO\n (gently slappinq \n Henry on the cheek)\n Anybody! You understand?", "HENRY is walking out of the court. HENRY sees JIMMY BURKE \n smiling and waiting for him in the rear of the courtroom.", "HENRY\n (shocked)\n Me? Why would I get into that shit?", "WE SEE HENRY hit her. He is about to hit her again, but \n stops. He turns his back on her and opens the door of his \n closet roughly grabbing some clothes as if getting ready \n to pack.", "HENRY\n Oh I Him.\n\n VASIO\n You know the one I mean?", "HENRY\n (shocked)\n What?", "HENRY\n (carefully moving \n his head away from \n the gun)", "HENRY (O.S.)\n Fifteen, sixteen, eighteen, twenty-\n one-five.\n\n CUT TO:\n\n HENRY" ], [ "WE SEE HENRY very gently pull her from behind the wheel. \n He has cradled her in his arms as, after a wary look around \n the street, HENRY walks her toward the house.", "HENRY\n Nods again.\n\n VARIO\n (gently slappinq \n Henry on the cheek)\n Anybody! You understand?", "HENRY\n No.\n (pause)\n There. That's him. That's the guy.", "INT. HENRY'S CAR - DAY\n\n WE SEE HENRY driving MICHAEL. HENRY looks up and sees the \n red helicopter.", "JIMMY puts his arm around HENRY like a father, and tacks a \n one-hundred dollar bill into HENRY's chest pocket. They", "WE SEE HENRY hit her. He is about to hit her again, but \n stops. He turns his back on her and opens the door of his \n closet roughly grabbing some clothes as if getting ready \n to pack.", "WE SEE HENRY getting undressed. He neatly hangs his jacket \n and then lifts the front of his sport shirt to his neck,", "WE SEE HENRY get up and go over to greet him.\n\n CUT TO:\n\n THE BAR", "INT. HENRY'S HOUSE - EVENING\n\n HENRY is working in the kitchen.", "HENRY and walks toward him. BRUCE'S TWO BROTHERS are \n smirking.", "When JIMMY turns around, WE SEE that he is crying. WE SEE \n HENRY hurrying toward JIMMY to console him.", "HENRY looks up and sees the red helicopter. When he looks \n back at the road he is suddenly confronted with a huge \n traffic jam spread out before him.", "HENRY (V.O.)\n He took mercy on me. He gave me \n ten milligrams of Valium and sent", "The MAS collapses in the seat and HENRY immediately starts \n wrapping the MAN'S shredded and bleeding hand in his apron. \n The MAN is turning white and praying.", "DEALER puts his arm around HENRY and motions him toward \n the bedroom where they snort some coke and laugh. After", "HENRY\n Oh yeah. Sure. That guy. I know \n him.", "HENRY opens the trunk and steps back. In the trunk light \n WE SEE the mattress cover squirming around. We hear muffled \n groans.", "HENRY sees VARIO give BURKE a hug around the shoulder. \n HENRY sees JIMMY handing money to the DOORMAN. HENRY", "HENRY on the cheek. JIMMY and TOMMY, both aglow with the \n moment, look on. It is clear that HENRY has come of age.", "HENRY\n Oh I Him.\n\n VASIO\n You know the one I mean?" ], [ "A hot night. The HOODS have moved to the sidewalk where WE \n SEE them sitting in sleeveless underwear, watching the \n street.", "A hot summer night. The car trunk is open. HENRY, JIMMY \n and TOMMY are struggling with shovels. HENRY, sickened by", "WE SEE JIMMY and TOMMY leaving the bar after a long night. \n WE SEE MARTY outside waiting for them.", "A cavernous room within earshot of the airport that looks \n like a movie nightclub. No matter when you walk into the \n Bamboo Lounge it's always the middle of the night.", "dozen hideouts flats all over the \n city. I'd bet twenty, thirty grand \n over a weekend ...", "HENRY (V.O.)\n To me, being a gangster was better \n than being President of the United \n States.\n\n EXT. CABSTAND - NIGHT", "HENRY (V.O.)\n We lived alone, we owned the joint. \n Even those hacks who we couldn't \n bribe would never rat on the guys \n who did.", "WE SEE HENRY running out the cabstand door carrying the \n paper bag. He runs past HALF A DOZEN HOODS, lounging outside \n on wooden chairs, wearing orange and blue sweaters.", "That way I was able to stay over a \n couple of nights a week. Karen was \n home with the kids anyway and she \n never asked any questions anyway.", "DEALER puts his arm around HENRY and motions him toward \n the bedroom where they snort some coke and laugh. After", "underwear sunning themselves in front of the club. WE SEE \n A COUPLE OF MENACING HOODS smile and nod hello at HENRY.", "The street is empty. HENRY and TOMMY are seated in HENRY'S \n car. They are watching the Bamboo Lounge.", "WE SEE HENRY take about an inch and a half of money from \n his inside jacket pocket, slap it on the table and go out \n the door.\n\n INT. THE SUITE - NIGHT", "with faded \"Pitkin Avenue Cabs\" sign above the door. Its \n after midnight. WE SEE A HALF-DOZEN, immaculately-dressed", "The PLAYERS are all laughing loudly. SPIDER is proudly \n standing near the bar. And, before anyone has any idea of", "in a tiny house. But after a while, \n he was mostly pissed that I hung \n around the cabstand. He said they", "HENRY is waiting along with DOZENS OF HOOKERS, nodding \n JUNKIES, MUGGERS and SHOPLIFTERS. When HENRY'S case is", "The gun explodes and WE SEE SPIDER shot in the foot.\n\n EXT. HENRY'S HOUSE - EVENING", "HENRY (V.O.)\n Saturday night was for wives, but \n Friday night at the Copa was always \n for the girlfriends.\n\n CUT BACK TO:", "their bills, were dead. They were \n suckers. They had no balls. If we \n wanted something, we just took it." ], [ "CUT TO:\n\n KAREN", "KAREN\n (a primal scream)\n Oh no! No! Noooo!\n\n HEHRY\n (screaming)\n Why? Why?", "KAREN\n (quietly sobbing)\n Nobody's helping me. Tommy got", "WE SEE KAREN is frozen to the wheel in fear. She is visibly \n shaking, crying.", "WE SEE KAREN go to the bureau drawer and grab a small \n caliber gun, lift her dress and, grimacing, shove the cold \n metal into her underpants.", "KAREN (V.O.)\n She wouldn't open the door. I \n rang her bell. Still, she wouldn't", "KAREN\n (screaming)\n Open up! I know you're there! You \n stay away from my husband.", "INT. KAREN'S MOTHER'S HOUSE - LIVING ROOM - DAWN", "CUT TO:\n\n KAREN \n\n Her face drops, but she's not sure.", "KAREN\n (looking in his \n face)\n I don't want to hear about her \n anymore.", "WE SEE KAREN and HENRY seated at a table in a visiting \n area. HENRY is nervously looking around at the GUARDS and \n whispering to KAREN.", "CUT TO:\n\n KAREN\n\n sweating.", "KAREN (V.O.)\n After a while, it all got to be \n normal. None of it seemed like", "KAREN\n (still in shock)\n I got scared.\n\n INT. SHERWOOD DINER - LATE MORNING", "HENRY\n (a little annoyed \n at Karen)\n What did he say, exactly?\n\n INT. HENRY'S HOUSE - DAY", "KAREN\n (enthused)\n She's beautiful. Look at her. \n Henry, look at her.", "KAREN\n Jimmy. I don't know. I got so \n much else on my mind. I got the \n kids. We got no money.", "coming through. She is wearing such a large, oversized \n coat that KAREN looks twice as big as she was when we last", "KAREN'S FATHER sleepily comes to the door.\n\n KAREN'S MOTHER\n (as Henry drives \n away)\n Normal people don't live this way.", "WE SEE KAREN open her coat revealing large inside pockets \n where she has stowed salamis, wine, cigarettes, cartons, \n etc." ], [ "JIMMY\n (whispering to Tommy)\n You going to take that shit from", "TOMMY\n (trying to wrestle \n past Henry)\n He's insulting me. Rat bastard. \n He's never been any fuckin' good.", "TOMMY is beginning to relax, he contemptuously turns his \n back on TOMMY.", "with laughter)\n Can you believe this shit?\n (To Tommy, almost \n whispering)\n Tommy! You gonna take that shit", "BILLY\n (smiling broadly at \n Tommy and the girl)\n Son of a bitch. Get over here.", "TOMMY, followed by HENRY, walks over to the bar where JIMMY \n and BILLY BATTS are talking. TOMMY drops the package on \n the floor.", "TOMMY'S smile turns to a glare as he realizes BILLY is \n making fun of him. The Men at the bar are roaring with \n laughter. His GIRL is looking glumly at her shoes.", "TOMMY\n Rat bastard.\n (he swings shovel)\n No-good, low-life fuck.\n\n TOMMY swings shovel again and again.", "TOMMY walks over and BILLY, too aggressively, grabs TOMMY \n around the neck. TOMMY doesn't like it.", "TOMMY\n (leaping from the \n table in a rage)\n You Sonofabitch fuck. Are you", "Batts. I'm sorry. Tommy gets \n loaded. He doesn't mean any \n disrespect.", "BILLY\n Hey, look at him. Tommy. You grew \n up.\n\n TOMMY\n (preening a little)\n Billy, how are you?", "TOMMY\n Jesus Christ! Miserable bastard!", "TOMMY\n I don't give a shit. That guy's \n got no right.", "TOMMY\n (raising the shovel)\n Can you believe this no-good fuck? \n The prick! He's still alive.", "TOMMY suddenly smashes the shovel into the moving, bloody \n mattress cover. He smashes it again and again and again. \n Cursing BATTS with every swing.", "BILLY BATTS looks up.\n\n JIMMY turns around and sees that TOMMY has a gun in his \n hand.", "in salute. TOMMY DESIMONE and ANOTHER BEEHIVE BLONDE enter. \n BILLY BATTS looks up and sees TOMMY.", "JIMMY\n Tommy's gonna be made.\n\n HENRY is momentarily impressed.", "TOMMY\n (forcing a laugh)\n Hey, Billy. Watch the suit." ], [ "CUT TO:\n\n SILHOUETTE OF TOMMY, HENRY AND JIMMY\n\n Stuffing BILLY'S body into the trunk.", "Soon the mattress cover stops squirming and TOMMY stops \n swinging the shovel. He is exhausted. TOMMY and JIMMY get \n back in the car. HENRY is facing the open trunk.", "WE SEE TUDDY in his car, hand HENRY a hammer, some rags, - \n and a five-gallon can of gasoline.", "JIMMY\n (to Henry)\n Bring the car round back. I know a \n place Upstate they'll never find \n him.", "Darkness. The open trunk of HENRY 's car. The mattress \n cover is being shoved into the trunk by the THREE MEN. It \n is heavy work.", "INT. AUTOMOBILE\n\n THREE HOODS and HENRY in parked car outside the post office.", "Car pulls off the road onto the grass. HENRY, JIMMY and \n TOMMY, still holding the shovel, get out of the car.", "The street is empty. HENRY and TOMMY are seated in HENRY'S \n car. They are watching the Bamboo Lounge.", "WE SEE HENRY look up. WE SEE a red helicopter. HENRY slams \n the trunk closed. We hear the helicopter.", "While HENRY walks to his own car, WE SEE JIMMY roar off \n and we hear the squeal of tires and brakes as JIMMY and \n still sleepy AGENTS in pursuit speed away from the club.", "WINDOW\n\n where WE SEE HENRY 's car with the body in the trunk, still \n parked at the curb.", "HENRY\n Get inside!\n\n When KAREN gets out of the car, WE SEE HENRY reach under \n the seat for a snub-nose .38 revolver.", "HENRY (V.O.)\n They killed him. It was revenge \n for Billy Batts.", "A hot summer night. The car trunk is open. HENRY, JIMMY \n and TOMMY are struggling with shovels. HENRY, sickened by", "Suddenly JIMMY spots TWO FBI MEN who had been tailing him, \n dozing in their unmarked car. Be starts toward their car.\n\n JIMMY\n Watch this.", "WE SEE HENRY and JUDY get into his car. As they start to \n move out of the driveway, HENRY notices that there is a", "Finally on their way, HENRY is driving. JIMMY, in the \n passenger's seat, and TOMMY, in the rear seat, embracing", "WE SEE the bodies of FAT LOUIE CAFORA and his wife, DOLORES, \n slumped against each other on the front seat. Blood has", "WE SEE SOME YOUNGSTERS walk over to peek in the car. The \n YOUNGSTERS are giggling. ONE BOY sneaks up alongside the \n ear door and peeks inside. We hear a yell.", "BILLY\n (smiling broadly at \n Tommy and the girl)\n Son of a bitch. Get over here." ], [ "HENRY (V.O.)\n Who could believe it? Of all the \n fucking people. She gave up \n everybody. Jimmy. Me. Even her \n brother.", "HENRY watches JIMMY tiptoe up to the AGENTS' car and rap \n on the window. The startled AGENTS look up and see JIMMY \n staring at them.", "HENRY (V.O.)\n It took the jury six hours to bring \n us in guilty. The judge gave Jimmy \n and me ten years like he was giving \n away candy.", "When JIMMY turns around, WE SEE that he is crying. WE SEE \n HENRY hurrying toward JIMMY to console him.", "CUT TO:\n\n NEWSPAPER PICTURE\n\n of HENRY and JIMMY getting arrested.", "HENRY\n Done.\n\n MARTY\n And Jimmy's in it, right?\n\n HENRY\n Will you stop.", "HENRY\n Yeah.\n\n JIMMY\n He's hiding, thE son of a bitch, \n in Florida.", "While HENRY walks to his own car, WE SEE JIMMY roar off \n and we hear the squeal of tires and brakes as JIMMY and \n still sleepy AGENTS in pursuit speed away from the club.", "JIMMY\n (embracing Henry)\n We did it. We did it.\n\n He hear a knock on the door.", "JIMMY\n It's that rat bastard from \n Pittsburgh. He ratted you all out. \n He's been a rat since he got busted \n in Pittsburgh.", "HENRY\n I still gotta talk to you.\n\n WE SEE JIMMY grab HENRY around the neck and head toward \n the rear men's room.", "HENRY\n (pleading)\n Marty. Please. You know Jimmy. \n You borrowed his money. Pay 'em.", "HENRY is walking out of the court. HENRY sees JIMMY BURKE \n smiling and waiting for him in the rear of the courtroom.", "JIMMY\n (to Henry)\n Bring the car round back. I know a \n place Upstate they'll never find \n him.", "HENRY\n I know that. I know Jimmy. You \n think I'd take chances like Jimmy?", "JIMMY\n (smiling)\n Don't worry about it.\n\n HENRY\n There are cops all over the place.", "HENRY\n They called him Jimmy the Gent. \n The drivers loved him. They used", "Soon the mattress cover stops squirming and TOMMY stops \n swinging the shovel. He is exhausted. TOMMY and JIMMY get \n back in the car. HENRY is facing the open trunk.", "JIMMY puts his arm around HENRY like a father, and tacks a \n one-hundred dollar bill into HENRY's chest pocket. They", "HENRY\n (horrified)\n It's been six months.\n\n JIMMY\n It's still better than letting \n somebody find him." ], [ "crimes. It was more that Henry was \n enterprising. That he and the guys \n were making a few bucks hustling,", "HENRY\n\n In grey prison garb, carrying a heavy canvas mail sack \n marked \"LEWISBURG PRISON.\" He dumps the sacks on one of \n the beds.", "INMATE enter. While the GUARD watches, the INMATE gives \n HENRY some cash and HENRY gives him one of the plastic", "HENRY\n (astounded)\n What am I doing? I'm in here! I'm \n in jail. I can't stop people from \n coming to see me.", "HENRY (V.O.)\n It took the jury six hours to bring \n us in guilty. The judge gave Jimmy \n and me ten years like he was giving \n away candy.", "HENRY\n It was easy money. I did it in the \n can. Shit! I learned the junk \n business in the can, Paulie.", "HENRY (V.O.)\n So now my plan was to stay alive \n long enough to sell off the dope", "HENRY (V.O.)\n Everybody else in the joint was \n doing real time, all mixed together, \n living like pigs.\n\n CUT TO:", "EXT. PRISON BAIL RELEASE GATE - MIDNIGHT\n\n WE SEE HENRY hurry out of the prison. He looks nervous \n over his shoulder.", "HENRY\n (downing a plan \n full of valium)\n Okay, now you can take me to jail.\n\n CUT TO:", "HENRY and the contraband on the table. Pause. WE SEE the \n GUARD turn his head away.", "DEALER puts his arm around HENRY and motions him toward \n the bedroom where they snort some coke and laugh. After", "HENRY\n (gently wrestling \n Tommy away from \n the bar)\n Come on, relax. He's drunk. He's \n been locked up for six years.", "WE SEE HENRY busily selling cartons to WORKERS. TOMMY is \n getting cartons out. of the trunk of a car parked nearby.", "McMAHON, etc., are all having drinks with HENRY before he \n goes off to prison.", "HENRY\n No.\n (pause)\n There. That's him. That's the guy.", "WE SEE HENRY reach in the sack and pull out cheeses, dried \n sausages, a large jar of vinegar peppers and dried \n mushrooms.", "HENRY counts up $420,000 and slides ten packages of $l00-\n bills in front of VARIO who stands up and proudly kisses", "HENRY\n Listen, we're beginning to make \n real money for the first time. \n It's business. Do you think I'm \n going to walk away from that?", "sees that no one is watching him, he pulls a black plastic \n garbage bag out of the sack. HENRY opens the bag and \n quickly counts the clear plastic bags of marijuana, glassine" ], [ "HENRY (V.O.)\n It took the jury six hours to bring \n us in guilty. The judge gave Jimmy \n and me ten years like he was giving \n away candy.", "HENRY\n No.\n (pause)\n There. That's him. That's the guy.", "HENRY (V.O.)\n Who could believe it? Of all the \n fucking people. She gave up \n everybody. Jimmy. Me. Even her \n brother.", "HENRY is walking out of the court. HENRY sees JIMMY BURKE \n smiling and waiting for him in the rear of the courtroom.", "HENRY is seated and surrounded by FBI MEN and PROSECUTOR \n EDWARD MCDONALD. WE SEE JUDY WICKS brought in past HENRY", "crimes. It was more that Henry was \n enterprising. That he and the guys \n were making a few bucks hustling,", "Without acknowledging HENRY, the LAWYER nods and smiles at \n the JUDGE, who smiles and nods back.\n\n JUDGE\n Councilor, proceed.", "CUT TO:\n\n FREEZE OF HENRY HEAD ON\n\n Looking at JIMMY.", "WE SEE HENRY hit her. He is about to hit her again, but \n stops. He turns his back on her and opens the door of his \n closet roughly grabbing some clothes as if getting ready \n to pack.", "HENRY (V.O.)\n They killed him. It was revenge \n for Billy Batts.", "HENRY\n Yeah.\n\n JIMMY\n He's hiding, thE son of a bitch, \n in Florida.", "SONNY looks up at HENRY for support.\n\n HENRY\n (to Sonny)\n Tell him. It's okay.", "HENRY\n (downing a plan \n full of valium)\n Okay, now you can take me to jail.\n\n CUT TO:", "HENRY\n\n In grey prison garb, carrying a heavy canvas mail sack \n marked \"LEWISBURG PRISON.\" He dumps the sacks on one of \n the beds.", "HENRY\n (a little annoyed \n at Karen)\n What did he say, exactly?\n\n INT. HENRY'S HOUSE - DAY", "HENRY opens the trunk and steps back. In the trunk light \n WE SEE the mattress cover squirming around. We hear muffled \n groans.", "HENRY\n Nods again.\n\n VARIO\n (gently slappinq \n Henry on the cheek)\n Anybody! You understand?", "HENRY\n Done.\n\n MARTY\n And Jimmy's in it, right?\n\n HENRY\n Will you stop.", "HENRY\n Nods.\n\n VARIO\n And, if you hear about anybody \n else fucking around with that shit, \n you tell me.", "CUT TO:\n\n HENRY'S FACE" ], [ "WE SEE KAREN hurriedly flushing heroin down the toilet \n upstairs while we hear FBI MEN at the door downstairs. We \n hear MICHAEL and CHILDREN'S VOICES downstairs.", "HENRY\n You know. The stuff I left.\n\n KAREN\n (beginning to cry)\n I flushed it down the toilet.", "KAREN\n (crying)\n They had a warrant. They went \n through everything. They would \n have found it. I swear.", "WE SEE KAREN go to the bureau drawer and grab a small \n caliber gun, lift her dress and, grimacing, shove the cold \n metal into her underpants.", "WE SEE KAREN look around to make sure no one else has seen \n her. She then leans over and hides the gun in the milk box \n at her feet.", "WE SEE KAREN look down.\n\n CUT TO:\n\n KAREN'S HAND\n\n holding gun.", "CUT TO:\n\n KAREN", "WE SEE KAREN open her coat revealing large inside pockets \n where she has stowed salamis, wine, cigarettes, cartons, \n etc.", "CUT TO:\n\n KAREN \n\n Her face drops, but she's not sure.", "KAREN\n (crying anguish)\n What did you want me to do with \n it? They were all over the house.", "WE SEE KAREN boldly wave a Baggie filled with marijuana \n and some plastic medicine containers with pills.", "WE SEE KAREN slam down cigarettes and wine with a thud, \n this time WE SEE a GUARD turn around and look at KAREN and", "KAREN\n (screaming)\n Open up! I know you're there! You \n stay away from my husband.", "KAREN\n (still in shock)\n I got scared.\n\n INT. SHERWOOD DINER - LATE MORNING", "HENRY\n (to Karen)\n Go inside. Tell her not to touch \n anything outside the house. \n Nothing.\n\n CUT TO:", "CUT TO:\n\n KAREN\n\n sweating.", "CUT TO:\n\n INT. FBI OFFICE", "KAREN\n (straddling Henry \n in bed, holding a \n gun)\n Henry.\n (she pulls back the \n hammer)\n Wake up.", "KAREN\n I'm not going to run. Live the \n rest of our lives like rats. Is", "INT. FBI OFFICE - DAY\n\n ANGLE ON HENRY AND MCDONALD\n\n arguing. KAREN and SOME FBI AGENTS are standing nearby." ], [ "crimes. It was more that Henry was \n enterprising. That he and the guys \n were making a few bucks hustling,", "WE SEE HENRY hit her. He is about to hit her again, but \n stops. He turns his back on her and opens the door of his \n closet roughly grabbing some clothes as if getting ready \n to pack.", "HENRY\n (shocked)\n Me? Why would I get into that shit?", "HENRY (V.O.)\n They killed him. It was revenge \n for Billy Batts.", "HENRY\n Yeah.\n\n JIMMY\n He's hiding, thE son of a bitch, \n in Florida.", "WE SEE HENRY leave the cabstand when suddenly a car \n screeches up on the sidewalk directly in front of him. The \n HOODS scatter and WE SEE that HENRY is terrified.", "WE SEE HENRY very gently pull her from behind the wheel. \n He has cradled her in his arms as, after a wary look around \n the street, HENRY walks her toward the house.", "WE SEE HENRY putting a paper bag filled with guns into the \n trunk of his car. We hear the loud noise of a helicopter.", "HENRY looks up and sees the red helicopter. When he looks \n back at the road he is suddenly confronted with a huge \n traffic jam spread out before him.", "HE SEE HENRY shove the gas-soaked rags through the broken \n car windows. HENRY looks up the block where TODDY has", "HENRY\n (exasperated)\n Safe? Here? They'll kill me here.", "HENRY (V.O.)\n As far back as I can remember, I \n always wanted to be a gangster.\n\n MAIN TITLE:", "HENRY (V.O.)\n Who could believe it? Of all the \n fucking people. She gave up \n everybody. Jimmy. Me. Even her \n brother.", "HENRY (V.O.)\n We lived alone, we owned the joint. \n Even those hacks who we couldn't \n bribe would never rat on the guys \n who did.", "HENRY\n Shit You know they would have never \n found it. Why did you do it? Why \n did you do it? My God, why did you \n have to do it?", "While HENRY walks to his own car, WE SEE JIMMY roar off \n and we hear the squeal of tires and brakes as JIMMY and \n still sleepy AGENTS in pursuit speed away from the club.", "HENRY comes out in civilian clothes. WE SEE his face drop. \n PAN over to the beat-up old car. KAREN is behind the wheel. \n HENRY gets in.", "INT. HENRY'S CAR - DAY\n\n WE SEE HENRY driving MICHAEL. HENRY looks up and sees the \n red helicopter.", "HENRY\n No.\n (pause)\n There. That's him. That's the guy.", "WE SEE HENRY look up. WE SEE a red helicopter. HENRY slams \n the trunk closed. We hear the helicopter." ], [ "for his brother, Paul, who was the \n boss over everybody in the \n neighborhood.", "to Paulie, but that was it. It \n made him sick to have to turn money \n over to the guys who stole it.", "HENRY\n (surprised)\n Paulie was just talking about him.\n\n JIMMY\n Well, we gotta dig him up again.", "CUT TO:\n\n CLOSE UP - PAUL VARIO\n\n looking older and grey. VARIO is looking down.", "or fish. Paulie did the prep work. \n He was doing a year for contempt \n and he had a system for doing", "them all at once, it was crazy. \n Paulie and his brothers had lots \n of sons and nephews and almost all", "outside the jail. I knew Paulie \n was still pissed at me and he's \n such a hothead I was afraid he", "maybe Tuddy was right. I knew \n Paulie didn't want anybody dying \n in the building.", "and kissing him)\n Who else? Paulie got the okay. \n This little guinea fuck. Someday", "HENRY (V.O.)\n Hundreds of guys depended on Paulie \n and he got a piece of everything", "HENRY (V.O.)\n Paulie might have moved slow, but \n it was only because he didn't have \n to move for anybody.", "HENRY\n But, Paulie, I'm sorry. Believe \n me. I was fucking crazy. But I'm", "might have me whacked before he \n calmed down. And I was also worried \n about Jimmy. Jimmy knew if Paulie", "to Paulie. We had friends and \n relatives who worked all over the \n place and they tipped as off about \n what was coming in and what was", "HENRY\n Don't worry about it. You listening \n to me? Now, come on. We gotta go \n see Paulie.\n\n CUT TO:", "was making nice money with me \n through my Pittsburgh connections. \n But still, for months after the \n robbery, they were finding bodies", "Tommy had killed a made man. Billy \n was a part of the Bambino crew and \n untouchable.", "our own. Forget everybody. Forget \n Paulie. As long as he's on parole \n he doesn't want anybody doing", "found out he was in the drug deals \n with me, Paulie would have Jimmy \n killed even before me. This is the", "Pittsburgh stuff without Paulie \n finding out. But when I did, it \n was a real score. I started using" ], [ "HENRY\n Lufthansa should have been our \n ultimate score. The heist of a \n lifetime. Six million in cash. \n More than enough to go around.", "HENRY (V.O.)\n Air France made me. We walked out \n with four hundred and twenty \n thousand dollars without a gun. \n And we did the right thing.", "HENRY counts up $420,000 and slides ten packages of $l00-\n bills in front of VARIO who stands up and proudly kisses", "crimes. It was more that Henry was \n enterprising. That he and the guys \n were making a few bucks hustling,", "HENRY (V.O.)\n Thirty-two hundred bucks. That's \n what he gave me. Thirty-two hundred", "It was business. But what he really \n loved to do was steal. I mean, he \n actually enjoyed it. Jimmy was", "HENRY\n It was easy money. I did it in the \n can. Shit! I learned the junk \n business in the can, Paulie.", "HENRY (V.O.)\n It took the jury six hours to bring \n us in guilty. The judge gave Jimmy \n and me ten years like he was giving \n away candy.", "HENRY (V.O.)\n Even Stacks got in on it. He was \n supposed to steal the panel truck \n and afterwards compact it by a \n friend of ours in Jersey.", "HENRY\n Only Marty was driving us nuts. He \n was busting Jimmy's balls for an \n advance on the money we were going \n to steal.", "With absolutely no warning, HENRY reaches out and grabs \n BRUCE's hair with one hand and pulls his gun out of his \n waistband with the other. In almost one motion, HENRY", "WE SEE HENRY take about an inch and a half of money from \n his inside jacket pocket, slap it on the table and go out \n the door.\n\n INT. THE SUITE - NIGHT", "HENRY\n\n In grey prison garb, carrying a heavy canvas mail sack \n marked \"LEWISBURG PRISON.\" He dumps the sacks on one of \n the beds.", "HENRY (V.O.)\n We lived alone, we owned the joint. \n Even those hacks who we couldn't \n bribe would never rat on the guys \n who did.", "WE SEE HENRY putting a paper bag filled with guns into the \n trunk of his car. We hear the loud noise of a helicopter.", "While HENRY walks to his own car, WE SEE JIMMY roar off \n and we hear the squeal of tires and brakes as JIMMY and \n still sleepy AGENTS in pursuit speed away from the club.", "HENRY (V.O.)\n Fat Louis had to keep than tied up \n and away from alarms.\n\n CUT TO:\n\n MARTY", "HENRY is walking out of the court. HENRY sees JIMMY BURKE \n smiling and waiting for him in the rear of the courtroom.", "sees that no one is watching him, he pulls a black plastic \n garbage bag out of the sack. HENRY opens the bag and \n quickly counts the clear plastic bags of marijuana, glassine", "HENRY (V.O.)\n Jimmy was cutting every link between \n himself and the robbery, but it" ], [ "WE SEE HENRY'S MOTHER shove him out the door with his school \n books.\n\n EXT. STREET SIDE OF DOOR - DAY", "WE SEE HENRY hit her. He is about to hit her again, but \n stops. He turns his back on her and opens the door of his \n closet roughly grabbing some clothes as if getting ready \n to pack.", "HENRY races out the door, leaving MARTY and JIMMY docilely \n looking after him as he runs out the door.", "HENRY\n My father got a letter from the \n school. He said the next time he'll \n kill me.\n\n CUT TO:", "FATHER\n (in mock concern)\n Did you study hard in school today? \n Did you learn a lot? Huh?\n\n HENRY is silent and begins backing away.", "WE SEE HENRY running out the cabstand door carrying the \n paper bag. He runs past HALF A DOZEN HOODS, lounging outside \n on wooden chairs, wearing orange and blue sweaters.", "HENRY\n (laughing)\n Will you get the fuck out of here.", "HENRY\n (shocked)\n Me? Why would I get into that shit?", "HENRY (V.O.)\n Even before I first wandered into \n the cabstand for an after-school", "crimes. It was more that Henry was \n enterprising. That he and the guys \n were making a few bucks hustling,", "HENRY\n (angrily getting \n out of bed and \n packing his clothes)", "HENRY (V.O.)\n My father was always pissed off. \n He was pissed that he had to work", "HENRY\n No.\n (pause)\n There. That's him. That's the guy.", "CUT TO:\n\n FREEZE OF HENRY HEAD ON\n\n Looking at JIMMY.", "HENRY\n Now this is important. Make sure \n you leave the house when you make", "HENRY\n Shit.", "HENRY\n (quickly moving his \n head away and \n grabbing the gun)\n Son of a bitch.", "HENRY\n (to Linda)\n Honey. Go get me some cigarettes.\n\n LINDA leaves without saying a word.", "INT. HENRY'S CAR - DAY\n\n WE SEE HENRY driving MICHAEL. HENRY looks up and sees the \n red helicopter.", "WE SEE HENRY leave the cabstand when suddenly a car \n screeches up on the sidewalk directly in front of him. The \n HOODS scatter and WE SEE that HENRY is terrified." ], [ "JIMMY\n (whispering to Tommy)\n You going to take that shit from", "Tommy had killed a made man. Billy \n was a part of the Bambino crew and \n untouchable.", "HENRY (V.O.)\n As far as Jimmy was concerned, \n with Tommy being made, it was like", "CUT TO:\n\n SILHOUETTE OF TOMMY, HENRY AND JIMMY\n\n Stuffing BILLY'S body into the trunk.", "TOMMY, followed by HENRY, walks over to the bar where JIMMY \n and BILLY BATTS are talking. TOMMY drops the package on \n the floor.", "JIMMY, TOMMY and OTHER WISEGUYS are playing cards. TOMMY \n is a little drunk. SPIDER, a 22-year-old apprentice hood,", "JIMMY\n (smiling)\n So what? Where are they gonna go?\n\n CUT TO:\n\n A SMILING TOMMY", "BILLY BATTS looks up.\n\n JIMMY turns around and sees that TOMMY has a gun in his \n hand.", "HENRY (V.O.)\n They killed him. It was revenge \n for Billy Batts.", "JIMMY\n (to Henry)\n Say hello to Tommy. You'll do good \n together.\n\n CUT TO:", "with laughter)\n Can you believe this shit?\n (To Tommy, almost \n whispering)\n Tommy! You gonna take that shit", "TOMMY suddenly smashes the shovel into the moving, bloody \n mattress cover. He smashes it again and again and again. \n Cursing BATTS with every swing.", "TOMMY\n (trying to wrestle \n past Henry)\n He's insulting me. Rat bastard. \n He's never been any fuckin' good.", "Soon the mattress cover stops squirming and TOMMY stops \n swinging the shovel. He is exhausted. TOMMY and JIMMY get \n back in the car. HENRY is facing the open trunk.", "TOMMY\n Say hello to Jimmy.\n\n HENRY gets in the rear seat of the limo.", "might have me whacked before he \n calmed down. And I was also worried \n about Jimmy. Jimmy knew if Paulie", "JIMMY\n I want you and Anthony to go down \n there and take care of that bastard. \n Without him, they've got no case.", "BILLY\n (smiling broadly at \n Tommy and the girl)\n Son of a bitch. Get over here.", "While JIMMY is dressed like a truck driver, TOMMY is - \n very nattily dressed in a sharply-cut suit and highly buffed \n shoes.", "JIMMY\n Tommy's gonna be made.\n\n HENRY is momentarily impressed." ], [ "WE SEE HENRY hit her. He is about to hit her again, but \n stops. He turns his back on her and opens the door of his \n closet roughly grabbing some clothes as if getting ready \n to pack.", "INT. HENRY'S HOUSE - EVENING\n\n HENRY is working in the kitchen.", "WE SEE HENRY very gently pull her from behind the wheel. \n He has cradled her in his arms as, after a wary look around \n the street, HENRY walks her toward the house.", "HENRY\n (hugging her to him)\n Never.\n\n DISSOLVE TO:", "HENRY\n (watching the dope \n being mixed while \n stroking Robin's", "HENRY\n (stroking her head \n and soothing her)\n It'll be okay.", "HENRY\n No.\n (pause)\n There. That's him. That's the guy.", "HENRY\n (to Linda)\n Honey. Go get me some cigarettes.\n\n LINDA leaves without saying a word.", "HENRY\n I thought you were going to stand \n me up. You looked bored. You didn't \n say anything. What did you expect. \n Tommy was all over me. Right?", "HENRY sprinkles in a bottle of perfume and slams the trunk \n shut.\n\n INT. LINDA'S APARTMENT - BEDROOM - NIGHT", "HENRY\n (a little annoyed \n at Karen)\n What did he say, exactly?\n\n INT. HENRY'S HOUSE - DAY", "HENRY opens the trunk and steps back. In the trunk light \n WE SEE the mattress cover squirming around. We hear muffled \n groans.", "HENRY\n (to Karen)\n Where's the stuff?\n\n KAREN\n What are you talking about?", "HENRY (V.O.)\n Who could believe it? Of all the \n fucking people. She gave up \n everybody. Jimmy. Me. Even her \n brother.", "HENRY\n (shocked)\n What?", "KAREN\n (enthused)\n She's beautiful. Look at her. \n Henry, look at her.", "HENRY\n (always deny)\n What's the matter with you? You're \n crazy.", "JIMMY\n (embracing Henry)\n We did it. We did it.\n\n He hear a knock on the door.", "HENRY\n Shit.", "HENRY\n Nods.\n\n VARIO\n And, if you hear about anybody \n else fucking around with that shit, \n you tell me." ], [ "HENRY\n (surprised)\n Paulie was just talking about him.\n\n JIMMY\n Well, we gotta dig him up again.", "JIMMY\n The guy just sold the property. \n They're gonna build condominiums \n and I don't want anybody digging \n up the little bastard.", "HENRY (V.O.)\n But we had a problem with Billy \n Batts. This was a touchy thing.", "HENRY (V.O.)\n They killed him. It was revenge \n for Billy Batts.", "HENRY\n (horrified)\n It's been six months.\n\n JIMMY\n It's still better than letting \n somebody find him.", "BILLY\n (smiling broadly at \n Tommy and the girl)\n Son of a bitch. Get over here.", "CUT TO:\n\n SILHOUETTE OF TOMMY, HENRY AND JIMMY\n\n Stuffing BILLY'S body into the trunk.", "BILLY\n Hey, look at him. Tommy. You grew \n up.\n\n TOMMY\n (preening a little)\n Billy, how are you?", "even shot Tommy in the face so his \n mother couldn't give him an open \n coffin at the funeral.", "Soon the mattress cover stops squirming and TOMMY stops \n swinging the shovel. He is exhausted. TOMMY and JIMMY get \n back in the car. HENRY is facing the open trunk.", "BILLY\n Come ooonnn. Tommeeee. We're only \n kidding. You can't take a joke? \n Come ooonn.", "Tommy had killed a made man. Billy \n was a part of the Bambino crew and \n untouchable.", "HENRY (V.O.)\n When they found Sepe in the meat \n truck, he was frozen so stiff it \n took them two days to thaw him out \n for the autopsy.", "TOMMY suddenly smashes the shovel into the moving, bloody \n mattress cover. He smashes it again and again and again. \n Cursing BATTS with every swing.", "BILLY\n (facing the bar)\n Now get the hell home and get your \n shine box.", "TOMMY\n (forcing a laugh)\n Hey, Billy. Watch the suit.", "HENRY\n Shit You know they would have never \n found it. Why did you do it? Why \n did you do it? My God, why did you \n have to do it?", "WE SEE a frowning TOMMY get up from table and slowly begin \n moving chairs around to get ready to dig the hole.", "A hot summer night. The car trunk is open. HENRY, JIMMY \n and TOMMY are struggling with shovels. HENRY, sickened by", "TOMMY walks over and BILLY, too aggressively, grabs TOMMY \n around the neck. TOMMY doesn't like it." ], [ "HENRY\n\n In grey prison garb, carrying a heavy canvas mail sack \n marked \"LEWISBURG PRISON.\" He dumps the sacks on one of \n the beds.", "crimes. It was more that Henry was \n enterprising. That he and the guys \n were making a few bucks hustling,", "HENRY (V.O.)\n It took the jury six hours to bring \n us in guilty. The judge gave Jimmy \n and me ten years like he was giving \n away candy.", "HENRY (V.O.)\n Everybody else in the joint was \n doing real time, all mixed together, \n living like pigs.\n\n CUT TO:", "HENRY\n (astounded)\n What am I doing? I'm in here! I'm \n in jail. I can't stop people from \n coming to see me.", "INMATE enter. While the GUARD watches, the INMATE gives \n HENRY some cash and HENRY gives him one of the plastic", "EXT. PRISON BAIL RELEASE GATE - MIDNIGHT\n\n WE SEE HENRY hurry out of the prison. He looks nervous \n over his shoulder.", "HENRY\n (gently wrestling \n Tommy away from \n the bar)\n Come on, relax. He's drunk. He's \n been locked up for six years.", "HENRY\n It was easy money. I did it in the \n can. Shit! I learned the junk \n business in the can, Paulie.", "McMAHON, etc., are all having drinks with HENRY before he \n goes off to prison.", "WE SEE KAREN and HENRY seated at a table in a visiting \n area. HENRY is nervously looking around at the GUARDS and \n whispering to KAREN.", "WE SEE HENRY hit her. He is about to hit her again, but \n stops. He turns his back on her and opens the door of his \n closet roughly grabbing some clothes as if getting ready \n to pack.", "INT. HENRY'S HOUSE - EVENING\n\n HENRY is working in the kitchen.", "HENRY\n (downing a plan \n full of valium)\n Okay, now you can take me to jail.\n\n CUT TO:", "HENRY (V.O.)\n So now my plan was to stay alive \n long enough to sell off the dope", "HENRY\n It didn't matter. When I was broke \n I just went out and robbed some", "WE SEE HENRY very gently pull her from behind the wheel. \n He has cradled her in his arms as, after a wary look around \n the street, HENRY walks her toward the house.", "HENRY (V.O.)\n My father was always pissed off. \n He was pissed that he had to work", "HENRY\n (watching the dope \n being mixed while \n stroking Robin's", "INT. HENRY'S CAR" ], [ "to Paulie, but that was it. It \n made him sick to have to turn money \n over to the guys who stole it.", "It was business. But what he really \n loved to do was steal. I mean, he \n actually enjoyed it. Jimmy was", "was making nice money with me \n through my Pittsburgh connections. \n But still, for months after the \n robbery, they were finding bodies", "about. That's what the FBI can \n never understand -- that what Paulie \n and the organization does is offer \n protection for people who can't go", "kept my mouth shut. I knew Jimmy. \n He had the cash. It was his. I \n know he kicked some money upstairs", "crimes. It was more that Henry was \n enterprising. That he and the guys \n were making a few bucks hustling,", "our own. Forget everybody. Forget \n Paulie. As long as he's on parole \n he doesn't want anybody doing", "or fish. Paulie did the prep work. \n He was doing a year for contempt \n and he had a system for doing", "they got from Paulie was protection \n from other guys looking to rip \n them off. That's what it's all", "HENRY (V.O.)\n Hundreds of guys depended on Paulie \n and he got a piece of everything", "and kissing him)\n Who else? Paulie got the okay. \n This little guinea fuck. Someday", "them all at once, it was crazy. \n Paulie and his brothers had lots \n of sons and nephews and almost all", "HENRY (V.O.)\n Air France made me. We walked out \n with four hundred and twenty \n thousand dollars without a gun. \n And we did the right thing.", "BE A PART OF THE LUFTHANSA ROBBERY. MARTY, HENRY, TOMMY, \n AND JIMMY ARE WATCHING A BASKETBALL GAME.", "HENRY (V.O.)\n Paulie might have moved slow, but \n it was only because he didn't have \n to move for anybody.", "car where JIMMY BURKE is standing. WE SEE JIMMY routinely \n take the DRIVER'S wallet. There is absolutely no resistance.", "HENRY\n (surprised)\n Paulie was just talking about him.\n\n JIMMY\n Well, we gotta dig him up again.", "Angelo Sepe, Fat Andy, Frankie the \n Wop, Freddy No Nose, Pete the \n Killer, Nicky Blanda, Mikey", "HENRY\n Lufthansa should have been our \n ultimate score. The heist of a \n lifetime. Six million in cash. \n More than enough to go around.", "Paulie. Trouble with the bill? He \n can go to Paulie. Trouble with the \n cops? Deliveries? Tommy? He can" ] ]

[ "What did Jimmy Conway tell Henry are the two most important lessons in life?", "Who is the mobster whom insults Tommy, resulting in him getting buried upstate?", "Which airline was robbed in late 1967?", "How long are Jimmy and Henry's prison sentences?", "What does Henry sell in prison in order to support his family?", "How much money was stolen during the Lufthansa heist?", "Where does Karen put the drugs during the raid on their house?", "How much money does Paulie give Henry before turning his back on him?", "What happens to Henry at the end?", "What did Henry always want to be?", "What was Henry acquitted of early in his career?", "Who takes Henry under his wing?", "Where do the gang spend most of their nights?", "What initially troubles Karen?", "Who insults Tommy?", "Whose car do they use to hide Billy's Boddy?", "Who turns in Henry and Jimmy?", "What does Henry sell in prison?", "Who does Henry testify against?", "What does Karen flush down the toilet to hide from the FBI?", "What motivates Henry to enter the Witness Protection Program?", "Where did Paul Cicero die?", "At what heist did Henry and his associates $6 million?", "What does Henry quit school to do?", "Who does Tommy and Jimmy kill because Tommy was insulted?", "Who is Henry's mistress?", "Why does Billy's body need to be exhumed?", "What does Henry do to support his family while in prison?", "What robbery did Paul Cicero and his associates commit in 1967?" ]

[ [ "Never rat on your friends and always keep your mouth shut.", "Never rat on your friends and keep your mouth shut." ], [ "Billy Batts.", "Billy Batts." ], [ "Air France.", "Air France" ], [ "10 years. ", "ten years" ], [ "Drugs. ", "he sells drugs" ], [ "$6 million. ", "$6 million." ], [ "She flushes them down the toilet. ", "She flushes them down the toilet " ], [ "$3200. ", "$3,200.00" ], [ "He enrolls in the Witness Protection Program, having given testimony to ensure Jimmy and Paulie's convictions.", "Gets arrested in Seattle on drug charges but remains clean, separates from Karen" ], [ "A gangster", "a Gangster" ], [ "His criminal charges", "Criminal charges." ], [ "Paul Cicero and his associates", "Paul Cicero" ], [ "Copacabana", "The Copacabana." ], [ "Henry's criminal activities.", "Henry's criminal activities." ], [ "Billy Batts", "Billy Batts" ], [ "Henry", "Henry's." ], [ "the gambler's sister", "The gambler's sister" ], [ "Smuggled drugs", "Drugs." ], [ "Paulie and Jimmy", "Paulie and Jimmy " ], [ "Cocaine", "Cocaine " ], [ "He finds out Jimmy plans to have him killed.", "Jimmy plans to hive him killed" ], [ "Fort Worth Federal Prison", "Fort Worth Federal Prison" ], [ "The Lufthansa heist", "Lufthansa heist." ], [ "He quit school to work for gangsters.", "To be a gangster." ], [ "Billy Batts", "Billy Batts" ], [ "Janice Rossi", "Janice Rossi" ], [ "The burial site is going to be developed.", "The site where his body was buried was going to be developed." ], [ "He sells drugs.", "Sells drugs." ], [ "The Air France Robbery", "The Air France Robbery" ] ]

[ [ "Malcolm lies on his bed, and for the first time WE SEE the strain in \n\this face, it has begun to take its toll, he's a haunted man. A doomed \n\tman.", "CAMERA HAS GONE IN for a TIGHT CLOSE SHOT of Malcolm's face: a hardened", "MALCOLM (contd) \n\t\tWhat can I do for you?\n \n\t\t\t\tBENJAMIN", "he has come to the essence of a hustle.\n \n\t\t\t\tMALCOLM \n\t\tCome on, daddy, pull my coat. What happens if", "Young Malcolm stares at his father while the house still burns behind \n\thim, no doubt drawing on the great courage displayed by his father.\n \n\t\t\t\tEARL", "The crowd is listening, caught up in Malcolm's intensity.\n \n\t\t\t\tMALCOLM (contd)", "Malcolm just about makes it. The guard is in half-focus.", "MALCOLM \n\t\tWhere is he?\n \n\tThe police respond with a squeeze play intended to intimidate Malcolm:", "MALCOLM \n\t\tWho is he, man?\n \n\t\t\t\tBARTENDER", "Malcolm has stopped in his tracks, like some unseen force has overcome \n\thim which prevents him from moving. Malcolm is paralyzed.\n\n\tCLOSER - MALCOLM'S FACE", "His hands full, Cholly opens the door with his feet and MALCOLM comes \n\tout, a big, gawky, bright-faced country boy, wearing downhome clothes", "MALCOLM (contd) \n\t\tShorty!\n \n\tThe crowd turns to Shorty, sitting embarrassedly in the audience.", "Malcolm holds a letter in his hand. He reads it carefully. He has read \n\tit several times before.", "MALCOLM \n\t\tWhat's your story, baby?\n \n\tHe doesn't want to hear her; he wants to talk. He goes right on:", "Malcolm drives by. \n\n\tANGLE - STREET \n\n\tMalcolm parks his car, it's four blocks away. He turns off the ignition \n\tand sits there.", "Malcolm is studying the dictionary, the last of the \"a's\": the words\n\tazimuth, Azores, Aztec, azure, etc. He reads a word, then holds his", "MALCOLM \n\t\tLong day. Long night. Long year. Long ten years.\n \n\tHe smiles. She doesn't.", "Malcolm was our manhood, our living black \n\t\tmanhood. That was his meaning to his people and \n\t\tin honoring him we honor the best in ourselves.", "The old man is asleep.\n \n\t\t\t\tMALCOLM (contd) \n\t\tYou know all the angles except how to live.", "Malcolm finally gets out of the car, locks the door and walks a couple \n\tof steps, then stops. \n\n\tCLOSE - MALCOLM" ], [ "Young Malcolm stares at his father while the house still burns behind \n\thim, no doubt drawing on the great courage displayed by his father.\n \n\t\t\t\tEARL", "Malcolm lies on his bed, and for the first time WE SEE the strain in \n\this face, it has begun to take its toll, he's a haunted man. A doomed \n\tman.", "Malcolm mumbles something. He then kisses Sophia as if his black life \n\tdepended on it and he commences to kill it.", "Malcolm has stopped in his tracks, like some unseen force has overcome \n\thim which prevents him from moving. Malcolm is paralyzed.\n\n\tCLOSER - MALCOLM'S FACE", "CAMERA HAS GONE IN for a TIGHT CLOSE SHOT of Malcolm's face: a hardened", "He stares at her.\n \n\t\t\t\tMALCOLM \n\t\tNothing!\n \n\tCLOSE - COED\n\n\tShe is absolutely crushed and runs away in tears.", "The old man is asleep.\n \n\t\t\t\tMALCOLM (contd) \n\t\tYou know all the angles except how to live.", "waiting to see Malcolm's body, where it lies before burial.\n \n\t\t\t\tOSSIE DAVIS'S VOICE: (contd)", "Malcolm just about makes it. The guard is in half-focus.", "VOICE OF MALCOLM X (contd) \n\t\tMy father dedicated his life to his beliefs \n\t\tbecause he had seen four of his six brothers", "an insane asylum or dead.\n \n\tANGLE - The audience carefully listening.\n \n\t\t\t\tMALCOLM", "MALCOLM \n\t\tThat ain't bad.\n \n\t\t\t\tSHORTY \n\t\tTell him about Baldy.", "is another fix. I thought you were smart.\n \n\tAnd he is gone. Malcolm stands looking after him, a long thoughtful", "The father-son thing is back, but Malcolm will never again be the \n\tstudent.\n \n\t\t\t\tMALCOLM", "The crowd is listening, caught up in Malcolm's intensity.\n \n\t\t\t\tMALCOLM (contd)", "MALCOLM \n\t\tWhere is he?\n \n\tThe police respond with a squeeze play intended to intimidate Malcolm:", "CLOSE - MALCOLM\n \n\tStoned, his nose running, Malcolm stares out of the window at the", "MALCOLM (contd) \n\t\tShorty!\n \n\tThe crowd turns to Shorty, sitting embarrassedly in the audience.", "The contrast is shocking: Malcolm tall and straight; Archie ruined.\n \n\t\t\t\tMALCOLM", "brings it crashing down on Fox's head. As he lays on the floor with \n\thead bleeding, Malcolm kicks him in the stomach _two times_. It's done," ], [ "Malcolm opens his eyes, she has brought him out of it. He looks at her \n\tbut doesn't answer.\n \n\t\t\t\tOLD WOMAN (contd)", "Malcolm knocks on the door of Evelyn Williams, one of the two \n\tsecretaries/wives. She opens the door and has child in her arms.", "His hands full, Cholly opens the door with his feet and MALCOLM comes \n\tout, a big, gawky, bright-faced country boy, wearing downhome clothes", "Are you okay?\n \n\tMalcolm looks at this old woman, who slightly resembles his own mother.\n \n\t\t\t\tMALCOLM", "Malcolm is sweating and flushed and enormously elated. He sees that \n\tpeople are watching him, goading him on. He notices that Sophia, in", "MALCOLM \n\t\tYeah, she's alive.\n \n31 \tOMIT", "MALCOLM \n\t\tAin't gonna be this mother.\n \n\tSammy goes.", "She is a pretty, mature woman and white-looking.\n \n\t\t\t\tVOICE OF MALCOLM X (contd)", "She is unaware of Malcolm.\n \n\t\t\t\tHONEY\n\t\tAin't that him now?", "The crowd is listening, caught up in Malcolm's intensity.\n \n\t\t\t\tMALCOLM (contd)", "MALCOLM \n\t\tNo, my mama. She's from Grenada.\n \n\t\t\t\tARCHIE", "MALCOLM \n\t\tWhere is he?\n \n\tThe police respond with a squeeze play intended to intimidate Malcolm:", "MALCOLM (contd) \n\t\tI said now.\n \n\tShe leaves. He leans his head back against the booth --", "Malcolm has stopped in his tracks, like some unseen force has overcome \n\thim which prevents him from moving. Malcolm is paralyzed.\n\n\tCLOSER - MALCOLM'S FACE", "Only the faintest light comes into the hideous room, which consists of \n\ta mattress and a slop bucket. If Malcolm were to stretch out his arms,", "Malcolm mumbles something. He then kisses Sophia as if his black life \n\tdepended on it and he commences to kill it.", "SEVERAL ARE SEEN. A WHITE WOMEN comes up to one to interview her \n\t(bargain with her). Malcolm's voice is heard before he is seen,", "Malcolm lies on his bed, and for the first time WE SEE the strain in \n\this face, it has begun to take its toll, he's a haunted man. A doomed \n\tman.", "Oh, Malcolm, I love you. Please, there's no one \n\t\taround. Now?\n \n\tMalcolm turns his head from her, he gets up.", "Malcolm is talking before an all-black audience. It is the largest \n\trally yet; the hall is packed to the rafters." ], [ "Now say it.\n \n\t\t\t\tMALCOLM \n\t\tI'm Malcolm Little, not no goddam number.", "Malcolm is listening to him now.\n \n\t\t\t\tBEMBRY (contd) \n\t\tWhat's your name, boy?", "ANGLE ON MALCOLM\n \n\t\t\t\tMALCOLM \n\t\tI'm not Malcolm Little and I'm not Satan.", "Malcolm was our manhood, our living black \n\t\tmanhood. That was his meaning to his people and \n\t\tin honoring him we honor the best in ourselves.", "MALCOLM \n\t\t\t(quoting Bembry back to himself)", "MALCOLM \n\t\tFor the white man to ask the black man if he \n\t\thates him is just like the rapist asking the", "The crowd is listening, caught up in Malcolm's intensity.\n \n\t\t\t\tMALCOLM (contd)", "he describes:\n \n\t\t\t\tMALCOLM'S VOICE\n\t\tToday, with thousands of others, I proclaimed", "Malcolm is addressing a HUGE AUDIENCE. His tone is more intense, more \n\tpersonal than before, because of his recent encounters. In the", "that's what the white man wants you to do. Look \n\t\tat you.\n \n\tThese last words are spoken sharply with disgust. Malcolm turns his", "Malcolm is studying the dictionary, the last of the \"a's\": the words\n\tazimuth, Azores, Aztec, azure, etc. He reads a word, then holds his", "over the reading, giving it ironic emphasis.\n \n\t\t\t\tMALCOLM \n\t\tThat's bullshit. That's a white man's book.", "MALCOLM (contd) \n\t\tCome on up here, man, and give us some skin. \n\t\tHere's a man, brothers and sisters, who shot", "God. I'm telling you, boy, that God is black.\n \n\t\t\t\tMALCOLM \n\t\tWhat? Everybody knows God is White.", "Malcolm laughs. He likes and admires the man. Then caught by a passage \n\the does not understand:\n \n\t\t\t\tMALCOLM", "Malcolm is drying his hair, finishing his conk. But some of what Bembry \n\thas said disturbs him.\n \n\t\t\t\tMALCOLM", "Many stand, some walk toward the podium speaking his name: \"I'm with \n\tyou, Brother Malcolm,\" \"Praise Allah,\" \"Me, Brother Malcolm.\"", "MALCOLM \n\t\tWhat's your story, baby?\n \n\tHe doesn't want to hear her; he wants to talk. He goes right on:", "are. You're nothing. Less than nothing. A zero. \n\t\tWho are you?\n \n\tCLOSE SHOT - MALCOLM", "Malcolm holds a letter in his hand. He reads it carefully. He has read \n\tit several times before." ], [ "Malcolm is listening to him now.\n \n\t\t\t\tBEMBRY (contd) \n\t\tWhat's your name, boy?", "Malcolm is listening closely. Bembry puts an arm around him, man-to-man.\n \n\t\t\t\tBEMBRY (contd)", "His hands full, Cholly opens the door with his feet and MALCOLM comes \n\tout, a big, gawky, bright-faced country boy, wearing downhome clothes", "Malcolm is sweating and flushed and enormously elated. He sees that \n\tpeople are watching him, goading him on. He notices that Sophia, in", "Malcolm scanning the faces of his audience as they react. He sees \n\tsomeone he knows and blurts out boyishly (and winningly):", "Malcolm was our manhood, our living black \n\t\tmanhood. That was his meaning to his people and \n\t\tin honoring him we honor the best in ourselves.", "Malcolm is studying the dictionary, the last of the \"a's\": the words\n\tazimuth, Azores, Aztec, azure, etc. He reads a word, then holds his", "Malcolm, trying to touch him. He is the hero of the hour. Sidney, Earl, \n\tand Benjamin with him, enjoying the accolades and trying to help", "Malcolm has stopped in his tracks, like some unseen force has overcome \n\thim which prevents him from moving. Malcolm is paralyzed.\n\n\tCLOSER - MALCOLM'S FACE", "Malcolm just about makes it. The guard is in half-focus.", "Malcolm is walking the streets of Harlem like he is campaigning for \n\toffice. He has Brothers Sidney, Earl, and Benjamin at his side, a CROWD", "Malcolm is looking at himself in a mirror in Archie's room. He has on \n\tthe full outfit now, together with a new white on white shirt and a \n\tSulka tie. Looks great.", "Malcolm, newly conked and sharp as a tack (zoot suit, trouser crease \n\tlike a knife's edge, orange knob-toed shoes) walks toward his goal:", "A BOY in extreme zoot-suit flips him; a WHITE GIRL in long blond\n\thair wigs him. Malcolm is a little open-mouthed.", "CLOSE - MALCOLM\n \n\tStoned, his nose running, Malcolm stares out of the window at the", "Malcolm is drying his hair, finishing his conk. But some of what Bembry \n\thas said disturbs him.\n \n\t\t\t\tMALCOLM", "Malcolm acknowledges the greetings, strolls down in the bar. It's \n\timmediately clear that a subtle change has come over him. He is no", "Bembry standing nearby. Malcolm turns away, trying to find solace in \n\tthe water. He wants no part of the world or anyone, just to be left \n\talone.", "The crowd is listening, caught up in Malcolm's intensity.\n \n\t\t\t\tMALCOLM (contd)", "Malcolm lies on his bed, and for the first time WE SEE the strain in \n\this face, it has begun to take its toll, he's a haunted man. A doomed \n\tman." ], [ "VOICE OF MALCOLM X \n\t\tFourteen counts of 8 to 10 years.\n \n\t\t\t\tJUDGE", "The sentences to run concurrently.\n \n\t\t\t\tVOICE OF MALCOLM X \n\t\tShorty thought he hit us with 114 years till I", "Malcolm is alone at the bars: the hope of freedom filling his mind.\n \n\tMalcolm pulls at the bars, tries to shake them in impotent fury. He", "8 to 10 years; count three, 8 to 10 years...\n \n\tHe continues giving them 8 to 10 years, behind Malcolm's comment:", "explained what concurrently meant. It meant a \n\t\tminimum sentence of 10 years hard labor at the \n\t\tCharlestown State Prison. The date was February", "still in prison.\n \n\tMalcolm is putting the conk into his hair now.\n \n\t\t\t\tMALCOLM", "MALCOLM \n\t\tLong day. Long night. Long year. Long ten years.\n \n\tHe smiles. She doesn't.", "A whistle sounds, ending the work shift. The inmates quickly file out \n\tinto the yard. Bembry stays. Malcolm is half decided.", "that's what the white man wants you to do. Look \n\t\tat you.\n \n\tThese last words are spoken sharply with disgust. Malcolm turns his", "Malcolm sits, toweling himself as the spice hits him. For the first, he \n\tsmiles; this is the first relief he has tasted in prison. He at Bembry", "Now say it.\n \n\t\t\t\tMALCOLM \n\t\tI'm Malcolm Little, not no goddam number.", "MALCOLM \n\t\tI've been clean for twelve years, Shorty.\n \n\t\t\t\tSHORTY", "104\tINT. SOLITARY - NIGHT\n \n\tIt is almost pitch black. We can almost smell the stench of the room. \n\tMalcolm sits stony-faced, his back against a wall.", "MALCOLM \n\t\tWhere is he?\n \n\tThe police respond with a squeeze play intended to intimidate Malcolm:", "He sees a black convict, CHUCK, nearby and calls over:\n \n\t\t\t\tMALCOLM (contd) \n\t\tHey, whatsa score?", "PRISONERS who have been watching Malcolm during the scene. They whisper \n\tsurreptitiously without moving their bodies, and barely moving their", "MALCOLM \n\t\tMan, you been locked up too long, everybody \n\t\tconks. All the cats.", "The crowd is listening, caught up in Malcolm's intensity.\n \n\t\t\t\tMALCOLM (contd)", "Malcolm holds a letter in his hand. He reads it carefully. He has read \n\tit several times before.", "SIMMONS. A BLACK BARBER - SLIM sits by. Both are convicts. NOTE: \n\tMalcolm now wears glasses, all that reading in his badly lit cell has" ], [ "The machines are idle; no one is in the room but Malcolm. He starts \n\tto reach inside his jacket when Barnes sticks his head in.", "Malcolm is listening to him now.\n \n\t\t\t\tBEMBRY (contd) \n\t\tWhat's your name, boy?", "Malcolm is listening closely. Bembry puts an arm around him, man-to-man.\n \n\t\t\t\tBEMBRY (contd)", "Malcolm acknowledges the greetings, strolls down in the bar. It's \n\timmediately clear that a subtle change has come over him. He is no", "MALCOLM \n\t\t0h, yes, there is. I know a lot about you.\n\t\tBrother Bembry briefed me.", "Malcolm shows no flicker of interest or understanding.\n \n\t\t\t\tBEMBRY (contd) \n\t\tI brought you something.", "Malcolm and Bembry standing close together. The feeling is of someone \n\ttaking communion: with Bembry the minister and Malcolm the communicant.", "to the other prisoners. Malcolm is painting the plates, a little \n\tremoved from Bembry, but listening with interest. Barnes, with rifle, \n\tidles by a window.", "Malcolm doesn't understand, but he senses something -- and becomes \n\texcited. Archie has walked over to him.\n \n\t\t\t\tARCHIE (contd)", "The crowd is listening, caught up in Malcolm's intensity.\n \n\t\t\t\tMALCOLM (contd)", "Malcolm is drying his hair, finishing his conk. But some of what Bembry \n\thas said disturbs him.\n \n\t\t\t\tMALCOLM", "Malcolm lies on his bed, and for the first time WE SEE the strain in \n\this face, it has begun to take its toll, he's a haunted man. A doomed \n\tman.", "He smacks the small of his back. Then, reaching under his coat, he \n\ttakes a revolver out from the middle of his back. And hands it to \n\tMalcolm.", "Malcolm sits, toweling himself as the spice hits him. For the first, he \n\tsmiles; this is the first relief he has tasted in prison. He at Bembry", "MALCOLM \n\t\tWhat in the hell are you talking about?\n \n\tHe begins to conk his hair, but is paying attention to what Bembry is", "Bembry smiles at Malcolm. He is a remarkable man who always takes \n\tcareful measure of his listener. He never talks down to his audience;", "MALCOLM (contd) \n\t\tWhat can I do for you?\n \n\t\t\t\tBENJAMIN", "Malcolm holds a letter in his hand. He reads it carefully. He has read \n\tit several times before.", "Malcolm opens his eyes, she has brought him out of it. He looks at her \n\tbut doesn't answer.\n \n\t\t\t\tOLD WOMAN (contd)", "Malcolm is listening to Bembry's intent statement.\n \n\t\t\t\tBEMBRY (contd) \n\t\tWe were a race of kings when the white men went" ], [ "Malcolm was our manhood, our living black \n\t\tmanhood. That was his meaning to his people and \n\t\tin honoring him we honor the best in ourselves.", "assassination?\n \n\tCLOSE - MALCOLM\n \n\t\t\t\tMALCOLM", "On his desk is the black headlines: MALCOLM X CALLS ASSASSINATION \n\t\"CHICKENS COMING HOME TO ROOST.\" Elijah's health is getting worse, his", "Malcolm is talking before an all-black audience. It is the largest \n\trally yet; the hall is packed to the rafters.", "had intimacies with Elijah Muhammad since \n\t\t1957...\"\n \n\t\t\t\tMALCOLM", "Malcolm is addressing a HUGE AUDIENCE. His tone is more intense, more \n\tpersonal than before, because of his recent encounters. In the", "VOICE OF MALCOLM X (contd) \n\t\t...three killed by white men and one lynched.", "MALCOLM (contd) \n\t\tNow they have strangled one of the gardeners. \n\t\tThis is the justice of Allah. Wa-Salaam Alaikum.", "The crowd is listening, caught up in Malcolm's intensity.\n \n\t\t\t\tMALCOLM (contd)", "Malcolm mumbles something. He then kisses Sophia as if his black life \n\tdepended on it and he commences to kill it.", "Malcolm sits in front of a television screen and watches the evening \n\tnews. The following speech will be INTERCUT with \n\n\tA SERIES OF OLD NEWSREEL FOOTAGE - BLACK & WHITE", "around, involved in the ritual. For Malcolm it is closer to being a \n\tkind of execution.\n \n\t\t\t\tCHOLLY", "Malcolm looks out the living room window, he has a rifle in hand. \n\t(NOTE: This is the same pose as the famous photograph of him.) He", "MALCOLM (contd) \n\t\tBefore there were any such things as Democrats \n\t\tor Republicans, we were black. Before there", "Malcolm is studying the dictionary, the last of the \"a's\": the words\n\tazimuth, Azores, Aztec, azure, etc. He reads a word, then holds his", "196 \tEXT. STREET - DAY\n \n\tMalcolm drives past the Audubon Ballroom, people are going in but no \n\tcops are present.", "MALCOLM (contd) \n\t\tShorty!\n \n\tThe crowd turns to Shorty, sitting embarrassedly in the audience.", "waiting to see Malcolm's body, where it lies before burial.\n \n\t\t\t\tOSSIE DAVIS'S VOICE: (contd)", "Malcolm is listening to Bembry's intent statement.\n \n\t\t\t\tBEMBRY (contd) \n\t\tWe were a race of kings when the white men went", "Malcolm lies on his bed, and for the first time WE SEE the strain in \n\this face, it has begun to take its toll, he's a haunted man. A doomed \n\tman." ], [ "Malcolm is talking before an all-black audience. It is the largest \n\trally yet; the hall is packed to the rafters.", "Malcolm was our manhood, our living black \n\t\tmanhood. That was his meaning to his people and \n\t\tin honoring him we honor the best in ourselves.", "assassination?\n \n\tCLOSE - MALCOLM\n \n\t\t\t\tMALCOLM", "(from the church and from the maids' market) are scattered in Malcolm's \n\taudience.\n \n\tThe headquarters itself shows the progress Malcolm has made. It is", "waiting to see Malcolm's body, where it lies before burial.\n \n\t\t\t\tOSSIE DAVIS'S VOICE: (contd)", "The crowd is listening, caught up in Malcolm's intensity.\n \n\t\t\t\tMALCOLM (contd)", "Malcolm, where are you? We've been calling all \n\t\tover the city.\n \n\tINTERCUT between Malcolm and Brother Earl.", "196 \tEXT. STREET - DAY\n \n\tMalcolm drives past the Audubon Ballroom, people are going in but no \n\tcops are present.", "On his desk is the black headlines: MALCOLM X CALLS ASSASSINATION \n\t\"CHICKENS COMING HOME TO ROOST.\" Elijah's health is getting worse, his", "Malcolm mumbles something. He then kisses Sophia as if his black life \n\tdepended on it and he commences to kill it.", "190A \tEXT. STREET - DAY\n \n\tMalcolm drives to the Audubon Ballroom.", "MALCOLM (contd) \n\t\tNow they have strangled one of the gardeners. \n\t\tThis is the justice of Allah. Wa-Salaam Alaikum.", "Malcolm is in deep thought as he drives.\n \n194A \tINT. AUDUBON BALLROOM - DAY", "Malcolm lies on his bed, and for the first time WE SEE the strain in \n\this face, it has begun to take its toll, he's a haunted man. A doomed \n\tman.", "Malcolm is addressing a HUGE AUDIENCE. His tone is more intense, more \n\tpersonal than before, because of his recent encounters. In the", "Malcolm sits in front of a television screen and watches the evening \n\tnews. The following speech will be INTERCUT with \n\n\tA SERIES OF OLD NEWSREEL FOOTAGE - BLACK & WHITE", "Many stand, some walk toward the podium speaking his name: \"I'm with \n\tyou, Brother Malcolm,\" \"Praise Allah,\" \"Me, Brother Malcolm.\"", "Malcolm acknowledges the greetings, strolls down in the bar. It's \n\timmediately clear that a subtle change has come over him. He is no", "Malcolm is sweating and flushed and enormously elated. He sees that \n\tpeople are watching him, goading him on. He notices that Sophia, in", "Malcolm slips it carefully into the small of his back, behind his \n\ttrouser belt. His first gun: the feeling shines in his eyes, Bogart has \n\tbecome a black man." ], [ "Malcolm is listening to him now.\n \n\t\t\t\tBEMBRY (contd) \n\t\tWhat's your name, boy?", "Malcolm is studying the dictionary, the last of the \"a's\": the words\n\tazimuth, Azores, Aztec, azure, etc. He reads a word, then holds his", "Malcolm is sweating and flushed and enormously elated. He sees that \n\tpeople are watching him, goading him on. He notices that Sophia, in", "Malcolm acknowledges the greetings, strolls down in the bar. It's \n\timmediately clear that a subtle change has come over him. He is no", "MALCOLM (contd) \n\t\tWe need more young warriors like yourself, \n\t\tstick around and we shall see if your heart is \n\t\ttrue.", "around him kept him pure, the devil said remove \n\t\tthe hedge and he will curse his maker. \n\t\tMalcolm, your hedge has been removed and I", "Malcolm laughs. He likes and admires the man. Then caught by a passage \n\the does not understand:\n \n\t\t\t\tMALCOLM", "The crowd is listening, caught up in Malcolm's intensity.\n \n\t\t\t\tMALCOLM (contd)", "MALCOLM \n\t\t0h, yes, there is. I know a lot about you.\n\t\tBrother Bembry briefed me.", "Malcolm is listening closely. Bembry puts an arm around him, man-to-man.\n \n\t\t\t\tBEMBRY (contd)", "MALCOLM (contd) \n\t\tShorty!\n \n\tThe crowd turns to Shorty, sitting embarrassedly in the audience.", "that's what the white man wants you to do. Look \n\t\tat you.\n \n\tThese last words are spoken sharply with disgust. Malcolm turns his", "Malcolm lies on his bed, and for the first time WE SEE the strain in \n\this face, it has begun to take its toll, he's a haunted man. A doomed \n\tman.", "MALCOLM \n\t\tWho is he, man?\n \n\t\t\t\tBARTENDER", "is another fix. I thought you were smart.\n \n\tAnd he is gone. Malcolm stands looking after him, a long thoughtful", "CAMERA HAS GONE IN for a TIGHT CLOSE SHOT of Malcolm's face: a hardened", "MALCOLM (contd) \n\t\tDo you?\n \n\t\t\t\tBENJAMIN", "Malcolm slips it carefully into the small of his back, behind his \n\ttrouser belt. His first gun: the feeling shines in his eyes, Bogart has \n\tbecome a black man.", "MALCOLM (contd) \n\t\tNow kiss my feet. Kiss 'em!\n \n\tCLOSE - SOPHIA", "Malcolm is addressing a HUGE AUDIENCE. His tone is more intense, more \n\tpersonal than before, because of his recent encounters. In the" ], [ "MALCOLM \n\t\tShorty, this is Laura.\n \nLaura is flushed and out of breath and joyous.", "Malcolm is sweating and flushed and enormously elated. He sees that \n\tpeople are watching him, goading him on. He notices that Sophia, in", "Malcolm opens his eyes, she has brought him out of it. He looks at her \n\tbut doesn't answer.\n \n\t\t\t\tOLD WOMAN (contd)", "audience, sitting with Bembry, is BETTY, a lovely dark-skinned woman. \n\tHer interest in Malcolm (true, also, for most of the other unmarried", "MALCOLM \n\t\tLong day. Long night. Long year. Long ten years.\n \n\tHe smiles. She doesn't.", "MALCOLM \n\t\tYou better believe it. \n\n\tShe starts to sit down on the bed next to him.", "BETTY\n\t\tYes.\n \n\t\t\t\tMALCOLM \n\t\tDid you hear what I said?", "MALCOLM (contd) \n\t\tSit over there.\n\n\tHe points to a nearby chair. Sophia makes an amiable hand-shrug and \n\tcomplacently goes.", "Malcolm mumbles something. He then kisses Sophia as if his black life \n\tdepended on it and he commences to kill it.", "MALCOLM (contd) \n\t\tNow kiss my feet. Kiss 'em!\n \n\tCLOSE - SOPHIA", "He stares at her.\n \n\t\t\t\tMALCOLM \n\t\tNothing!\n \n\tCLOSE - COED\n\n\tShe is absolutely crushed and runs away in tears.", "Malcolm knocks on the door of Evelyn Williams, one of the two \n\tsecretaries/wives. She opens the door and has child in her arms.", "MALCOLM \n\t\tYeah, she's alive.\n \n31 \tOMIT", "She is unaware of Malcolm.\n \n\t\t\t\tHONEY\n\t\tAin't that him now?", "MALCOLM (contd) \n\t\tTake it off.\n \n\tShe takes off the apron.", "CUT BACK TO:\n \n138B \tBETTY AND MALCOLM", "Oh, Malcolm, I love you. Please, there's no one \n\t\taround. Now?\n \n\tMalcolm turns his head from her, he gets up.", "MALCOLM \n\t\tWhat's your story, baby?\n \n\tHe doesn't want to hear her; he wants to talk. He goes right on:", "MALCOLM \n\t\tOh yes.", "Malcolm lies on his bed, and for the first time WE SEE the strain in \n\this face, it has begun to take its toll, he's a haunted man. A doomed \n\tman." ], [ "MALCOLM \n\t\tAs I recall, I pointed out that while I was in \n\t\tMecca making the pilgrimage, I spoke about the", "--Malcolm, wearing the garb of a pilgrim, walks with a VAST THRONG OF \n\tOTHERS, similarly clad, around the Great Temple. He wears two white", "175A\tMECCA - THE PILGRIMAGE\n \n\tMALCOLM GREETED AS HE DESCENDS FROM THE PLANE IN EGYPT", "177C\t--Malcolm and OTHERS walking around the Great Kaaba, a black stone set \n\tin the middle of the Great Mosque. He falls to his knees. WE SEE what", "Malcolm acknowledges the greetings, strolls down in the bar. It's \n\timmediately clear that a subtle change has come over him. He is no", "He continues to pray.\n \n\t\t\t\tVOICE OF MALCOLM X \n\t\tWe are told that Saul, on the road to Damascus,", "Malcolm is sweating and flushed and enormously elated. He sees that \n\tpeople are watching him, goading him on. He notices that Sophia, in", "Malcolm is studying the dictionary, the last of the \"a's\": the words\n\tazimuth, Azores, Aztec, azure, etc. He reads a word, then holds his", "Benjamin weakly walks toward Malcolm and gives him his letter, which he \n\ttakes. The fast is wearing him out.", "(from the church and from the maids' market) are scattered in Malcolm's \n\taudience.\n \n\tThe headquarters itself shows the progress Malcolm has made. It is", "around him kept him pure, the devil said remove \n\t\tthe hedge and he will curse his maker. \n\t\tMalcolm, your hedge has been removed and I", "MALCOLM (contd) \n\t\tTo the hospital.\n \n\tThe Fruit of Islam fall in behind him, marching slowly. It takes on the", "around, involved in the ritual. For Malcolm it is closer to being a \n\tkind of execution.\n \n\t\t\t\tCHOLLY", "Malcolm goes down on his knees. There are tears in his eyes as he \n\tbegins praying:\n \n\tCLOSE - MALCOLM", "Malcolm lies on his bed, and for the first time WE SEE the strain in \n\this face, it has begun to take its toll, he's a haunted man. A doomed \n\tman.", "is another fix. I thought you were smart.\n \n\tAnd he is gone. Malcolm stands looking after him, a long thoughtful", "Malcolm, newly conked and sharp as a tack (zoot suit, trouser crease \n\tlike a knife's edge, orange knob-toed shoes) walks toward his goal:", "177A \t--Malcolm and OTHER PILGRIMS kneeling together on a praying rug.", "excuses himself from a group of MUSLIMS, making his way toward Bembry.\n \n\t\t\t\tMALCOLM \n\t\t\t(little out of breath)", "Malcolm holds a letter in his hand. He reads it carefully. He has read \n\tit several times before." ], [ "Young Malcolm stares at his father while the house still burns behind \n\thim, no doubt drawing on the great courage displayed by his father.\n \n\t\t\t\tEARL", "CAMERA HAS GONE IN for a TIGHT CLOSE SHOT of Malcolm's face: a hardened", "Malcolm lies on his bed, and for the first time WE SEE the strain in \n\this face, it has begun to take its toll, he's a haunted man. A doomed \n\tman.", "Malcolm holds a letter in his hand. He reads it carefully. He has read \n\tit several times before.", "VOICE OF MALCOLM X (contd) \n\t\tMy father dedicated his life to his beliefs \n\t\tbecause he had seen four of his six brothers", "His hands full, Cholly opens the door with his feet and MALCOLM comes \n\tout, a big, gawky, bright-faced country boy, wearing downhome clothes", "The crowd is listening, caught up in Malcolm's intensity.\n \n\t\t\t\tMALCOLM (contd)", "Malcolm has stopped in his tracks, like some unseen force has overcome \n\thim which prevents him from moving. Malcolm is paralyzed.\n\n\tCLOSER - MALCOLM'S FACE", "lighter-skinned, the more dominant. They walk imperiously past, fully \n\taware of their impact.\n \n\tCLOSE SHOT - MALCOLM", "The old man is asleep.\n \n\t\t\t\tMALCOLM (contd) \n\t\tYou know all the angles except how to live.", "Malcolm was our manhood, our living black \n\t\tmanhood. That was his meaning to his people and \n\t\tin honoring him we honor the best in ourselves.", "VOICE OF MALCOLM X (contd)\n \t\tMy father was not a frightened Negro as most \n\t\twere then and as many still are today. He was", "MALCOLM (contd) \n\t\tShorty!\n \n\tThe crowd turns to Shorty, sitting embarrassedly in the audience.", "MALCOLM \n\t\tWhere is he?\n \n\tThe police respond with a squeeze play intended to intimidate Malcolm:", "Malcolm is studying the dictionary, the last of the \"a's\": the words\n\tazimuth, Azores, Aztec, azure, etc. He reads a word, then holds his", "MALCOLM \n\t\tWho is he, man?\n \n\t\t\t\tBARTENDER", "Malcolm sits in front of a television screen and watches the evening \n\tnews. The following speech will be INTERCUT with \n\n\tA SERIES OF OLD NEWSREEL FOOTAGE - BLACK & WHITE", "Malcolm just about makes it. The guard is in half-focus.", "MALCOLM (contd) \n\t\tWhat can I do for you?\n \n\t\t\t\tBENJAMIN", "around, involved in the ritual. For Malcolm it is closer to being a \n\tkind of execution.\n \n\t\t\t\tCHOLLY" ], [ "Malcolm mumbles something. He then kisses Sophia as if his black life \n\tdepended on it and he commences to kill it.", "assassination?\n \n\tCLOSE - MALCOLM\n \n\t\t\t\tMALCOLM", "Malcolm is talking before an all-black audience. It is the largest \n\trally yet; the hall is packed to the rafters.", "Malcolm sits in front of a television screen and watches the evening \n\tnews. The following speech will be INTERCUT with \n\n\tA SERIES OF OLD NEWSREEL FOOTAGE - BLACK & WHITE", "(from the church and from the maids' market) are scattered in Malcolm's \n\taudience.\n \n\tThe headquarters itself shows the progress Malcolm has made. It is", "waiting to see Malcolm's body, where it lies before burial.\n \n\t\t\t\tOSSIE DAVIS'S VOICE: (contd)", "Malcolm is in deep thought as he drives.\n \n194A \tINT. AUDUBON BALLROOM - DAY", "Malcolm is addressing a HUGE AUDIENCE. His tone is more intense, more \n\tpersonal than before, because of his recent encounters. In the", "Malcolm was our manhood, our living black \n\t\tmanhood. That was his meaning to his people and \n\t\tin honoring him we honor the best in ourselves.", "MALCOLM (contd) \n\t\tNow they have strangled one of the gardeners. \n\t\tThis is the justice of Allah. Wa-Salaam Alaikum.", "Malcolm lies on his bed, and for the first time WE SEE the strain in \n\this face, it has begun to take its toll, he's a haunted man. A doomed \n\tman.", "190A \tEXT. STREET - DAY\n \n\tMalcolm drives to the Audubon Ballroom.", "The crowd is listening, caught up in Malcolm's intensity.\n \n\t\t\t\tMALCOLM (contd)", "Malcolm acknowledges the greetings, strolls down in the bar. It's \n\timmediately clear that a subtle change has come over him. He is no", "Malcolm has stopped in his tracks, like some unseen force has overcome \n\thim which prevents him from moving. Malcolm is paralyzed.\n\n\tCLOSER - MALCOLM'S FACE", "196 \tEXT. STREET - DAY\n \n\tMalcolm drives past the Audubon Ballroom, people are going in but no \n\tcops are present.", "Malcolm is studying the dictionary, the last of the \"a's\": the words\n\tazimuth, Azores, Aztec, azure, etc. He reads a word, then holds his", "MALCOLM (contd) \n\t\tShorty!\n \n\tThe crowd turns to Shorty, sitting embarrassedly in the audience.", "MALCOLM (contd) \n\t\tTo the hospital.\n \n\tThe Fruit of Islam fall in behind him, marching slowly. It takes on the", "Malcolm drives by. \n\n\tANGLE - STREET \n\n\tMalcolm parks his car, it's four blocks away. He turns off the ignition \n\tand sits there." ], [ "explained what concurrently meant. It meant a \n\t\tminimum sentence of 10 years hard labor at the \n\t\tCharlestown State Prison. The date was February", "The sentences to run concurrently.\n \n\t\t\t\tVOICE OF MALCOLM X \n\t\tShorty thought he hit us with 114 years till I", "Malcolm is alone at the bars: the hope of freedom filling his mind.\n \n\tMalcolm pulls at the bars, tries to shake them in impotent fury. He", "VOICE OF MALCOLM X \n\t\tFourteen counts of 8 to 10 years.\n \n\t\t\t\tJUDGE", "still in prison.\n \n\tMalcolm is putting the conk into his hair now.\n \n\t\t\t\tMALCOLM", "SIMMONS. A BLACK BARBER - SLIM sits by. Both are convicts. NOTE: \n\tMalcolm now wears glasses, all that reading in his badly lit cell has", "The average first offender gets two years for \n\t\tburglary. We were all first offenders. That's \n\t\twhat Sophia and Peg drew--", "Malcolm lies on his bed, and for the first time WE SEE the strain in \n\this face, it has begun to take its toll, he's a haunted man. A doomed \n\tman.", "He sees a black convict, CHUCK, nearby and calls over:\n \n\t\t\t\tMALCOLM (contd) \n\t\tHey, whatsa score?", "A whistle sounds, ending the work shift. The inmates quickly file out \n\tinto the yard. Bembry stays. Malcolm is half decided.", "VOICE OF MALCOLM X \n\t\tBut our crime wasn't burglary. It was balling \n\t\twhite girls. They gave us the book.", "PRISONERS who have been watching Malcolm during the scene. They whisper \n\tsurreptitiously without moving their bodies, and barely moving their", "to the other prisoners. Malcolm is painting the plates, a little \n\tremoved from Bembry, but listening with interest. Barnes, with rifle, \n\tidles by a window.", "JUDGE\n\t\tBurglary, count one -- 8 to 10 years; count two,", "Malcolm slips it carefully into the small of his back, behind his \n\ttrouser belt. His first gun: the feeling shines in his eyes, Bogart has \n\tbecome a black man.", "Malcolm sits, toweling himself as the spice hits him. For the first, he \n\tsmiles; this is the first relief he has tasted in prison. He at Bembry", "He is reading on his bunk as Barnes walks by. The lights in the cell go \n\tout. Malcolm looks up, annoyed at being interrupted. He shifts his", "104\tINT. SOLITARY - NIGHT\n \n\tIt is almost pitch black. We can almost smell the stench of the room. \n\tMalcolm sits stony-faced, his back against a wall.", "MALCOLM \n\t\tMan, you been locked up too long, everybody \n\t\tconks. All the cats.", "MALCOLM \n\t\tI've been clean for twelve years, Shorty.\n \n\t\t\t\tSHORTY" ], [ "That's a fact. What you do, boy?\n \n\t\t\t\tMALCOLM \n\t\tI'm working trains. Selling.", "back to that train job.\n \n\t\t\t\tMALCOLM \n\t\tI done told the man what he could do with his \n\t\ttrain.", "VOICE OF MALCOLM X \n\t\tMy father's skull, on one side was crushed in, \n\t\tand then laid across some tracks, for a", "Malcolm lies on his bed, and for the first time WE SEE the strain in \n\this face, it has begun to take its toll, he's a haunted man. A doomed \n\tman.", "His hands full, Cholly opens the door with his feet and MALCOLM comes \n\tout, a big, gawky, bright-faced country boy, wearing downhome clothes", "Malcolm holds a letter in his hand. He reads it carefully. He has read \n\tit several times before.", "Earl Little's face is in the same exact position as Malcolm's from the \n\tprevious scene. His mouth opens in terror as the moving trolley comes", "Malcolm just about makes it. The guard is in half-focus.", "47\tEXT. 125TH STREET STATION - P.M.\n \n\tMalcolm, out of uniform and dressed in his zoot suit, comes down from", "CLOSE: - MALCOLM\n \n\tMalcolm quickly looks at his watch, he's running late for his train, as", "The crowd is listening, caught up in Malcolm's intensity.\n \n\t\t\t\tMALCOLM (contd)", "Malcolm, newly conked and sharp as a tack (zoot suit, trouser crease \n\tlike a knife's edge, orange knob-toed shoes) walks toward his goal:", "carpenter? That's a good profession for a \n\t\tnigra. Wasn't your pa a carpenter?\n \n\tMalcolm is silent.", "CAMERA HAS GONE IN for a TIGHT CLOSE SHOT of Malcolm's face: a hardened", "Malcolm was our manhood, our living black \n\t\tmanhood. That was his meaning to his people and \n\t\tin honoring him we honor the best in ourselves.", "CLOSE - MALCOLM\n \n\tStoned, his nose running, Malcolm stares out of the window at the", "MALCOLM \n\t\tWhat's your story, baby?\n \n\tHe doesn't want to hear her; he wants to talk. He goes right on:", "Malcolm is talking before an all-black audience. It is the largest \n\trally yet; the hall is packed to the rafters.", "MALCOLM (contd) \n\t\tPoor education, you only work on poor paying \n\t\tjobs and that enables you to live again in a", "MALCOLM \n\t\tOn my way, Mr. Charlie.\n \n\tCooper eyes him narrowly." ], [ "CAMERA PANS slowly to head of class where the teacher stands, it's \n\tNELSON MANDELA.\n \n\tCLOSE - MANDELA", "MANDELA \n\t\tAs Brother Malcolm said, \"We declare our right \n\t\ton this earth to be a man, to be a human being,", "explained what concurrently meant. It meant a \n\t\tminimum sentence of 10 years hard labor at the \n\t\tCharlestown State Prison. The date was February", "still in prison.\n \n\tMalcolm is putting the conk into his hair now.\n \n\t\t\t\tMALCOLM", "...and had a glass eye. He believed, as did \n\t\tMarcus Garvey, that freedom, independence and \n\t\tself-respect could never be achieved by the", "Malcolm is alone at the bars: the hope of freedom filling his mind.\n \n\tMalcolm pulls at the bars, tries to shake them in impotent fury. He", "201 \tINT. CLASSROOM - SOWETO, SOUTH AFRICA - DAY\n \n\tCLOSE - STUDENT", "Brother Minister, I did nothing wrong. I did \n\t\tnothing to be put in isolation. I believed in \n\t\thim. I believed in the Honorable Elijah", "again, takes out a book. WE SEE its title: Mahatma Gandhi's _My \n\tStruggle_. He sits next to the license press to read.", "A whistle sounds, ending the work shift. The inmates quickly file out \n\tinto the yard. Bembry stays. Malcolm is half decided.", "Malcolm sits, toweling himself as the spice hits him. For the first, he \n\tsmiles; this is the first relief he has tasted in prison. He at Bembry", "hell all day long. He was beaten by the master; \n\t\the lived in a shack, wore castoff clothes and \n\t\thated his master. If the house caught fire,", "BEMBRY \n\t\tElijah Muhammad can get you out of prison. Out \n\t\tof the prison of your mind. Maybe all you want", "PRISONERS are working on a beltline that stamps out and finishes \n\tlicense plates. Bembry is on the stamping machines, working as he talks", "away and escape. Let's separate.\" He'd say, \n\t\t\"Man, are you crazy? What's better than what I \n\t\tgot here?\" That was the House Negro. In those", "PRISONERS who have been watching Malcolm during the scene. They whisper \n\tsurreptitiously without moving their bodies, and barely moving their", "He continues to pray.\n \n\t\t\t\tVOICE OF MALCOLM X \n\t\tWe are told that Saul, on the road to Damascus,", "to the other prisoners. Malcolm is painting the plates, a little \n\tremoved from Bembry, but listening with interest. Barnes, with rifle, \n\tidles by a window.", "today would not exist. So I stand here as what \n\t\tI was when I was born: A BLACK MAN!\n \n\tCROWD REACTIONS", "ANGLE - The ball is hit over the fence for a home run. There is a big \n\tcheer from the black prisoners. Pete, the batter, trots proudly around" ], [ "CAMERA PANS slowly to head of class where the teacher stands, it's \n\tNELSON MANDELA.\n \n\tCLOSE - MANDELA", "MANDELA \n\t\tAs Brother Malcolm said, \"We declare our right \n\t\ton this earth to be a man, to be a human being,", "201 \tINT. CLASSROOM - SOWETO, SOUTH AFRICA - DAY\n \n\tCLOSE - STUDENT", "BEMBRY \n\t\tI knew you'd hear me. The white man is the \n\t\tdevil. All white men are devils.", "...and had a glass eye. He believed, as did \n\t\tMarcus Garvey, that freedom, independence and \n\t\tself-respect could never be achieved by the", "again, takes out a book. WE SEE its title: Mahatma Gandhi's _My \n\tStruggle_. He sits next to the license press to read.", "BEMBRY (contd) \n\t\tBut everything the white man taught you, you \n\t\tlearned. He told you you were a black heathen", "away and escape. Let's separate.\" He'd say, \n\t\t\"Man, are you crazy? What's better than what I \n\t\tgot here?\" That was the House Negro. In those", "Negroes. The house Negro lived in the big \n\t\thouse; he dressed pretty good; he ate pretty \n\t\tgood and he loved the master. Yeah, he loved", "hell all day long. He was beaten by the master; \n\t\the lived in a shack, wore castoff clothes and \n\t\thated his master. If the house caught fire,", "It is dominantly black, but there are some whites in the audience, \n\tmostly women. One is SOPHIA, a spectacular blonde with a degree of", "while there's still time. And if the black man \n\t\tis allowed to separate and go on onto some land \n\t\tof his own, where he can solve his problems,", "today would not exist. So I stand here as what \n\t\tI was when I was born: A BLACK MAN!\n \n\tCROWD REACTIONS", "He continues to pray.\n \n\t\t\t\tVOICE OF MALCOLM X \n\t\tWe are told that Saul, on the road to Damascus,", "Malcolm was our manhood, our living black \n\t\tmanhood. That was his meaning to his people and \n\t\tin honoring him we honor the best in ourselves.", "Malcolm stands at a podium.\n \n\t\t\t\tMALCOLM \n\t\tWe're not American, we're Africans who happen", "hypocritical when they stand up in the UN \n\t\tcondemning South Africa and saying nothing \n\t\tabout the racist practices that are manifested", "BEMBRY \n\t\tI told you to go behind the words and dig out \n\t\tthe truth. They let us sing and dance and", "MALCOLM'S VOICE (contd) \n\t\tOur fight is known and respected worldwide. \n\t\tIncidentally, there's a little white man who", "him. But everything Mr. Muhammad has been \n\t\tsaying is going to come to pass is now coming \n\t\tto pass and now the Negro leaders are standing" ], [ "Malcolm is talking before an all-black audience. It is the largest \n\trally yet; the hall is packed to the rafters.", "Nation. It was you who made Malcolm the man he\n\t\tis. You lifted him out of the darkness.\n \n\tCLOSE - ELIJAH", "MALCOLM (contd) \n\t\tTo the hospital.\n \n\tThe Fruit of Islam fall in behind him, marching slowly. It takes on the", "Malcolm is addressing a HUGE AUDIENCE. His tone is more intense, more \n\tpersonal than before, because of his recent encounters. In the", "SIDNEY \n\t\tBrother Malcolm, I want you to meet Brother \n\t\tEarl. He just joined the Nation.", "had intimacies with Elijah Muhammad since \n\t\t1957...\"\n \n\t\t\t\tMALCOLM", "you Malcolm is getting too much press. The \n\t\tbrothers think he thinks _he_ is the Nation of \n\t\tIslam, that he has aspirations to lead the", "MALCOLM \n\t\t...My high school was the black ghetto of \n\t\tRoxbury. My college was the streets of Harlem,", "The Honorable Elijah Muhammad sits on the stage to the right of Malcolm.\n\tThis is a larger audience.\n \n\t\t\t\tMALCOLM", "MALCOLM (contd) \n\t\tThe Honorable Elijah Muhammad is the only man \n\t\tthe white people can deal with in the solving", "138A \tEXT. ELIJAH'S GARDEN - DAY\n \n\tMalcolm sits next to the Honorable Elijah Muhammad. The student and the", "Many stand, some walk toward the podium speaking his name: \"I'm with \n\tyou, Brother Malcolm,\" \"Praise Allah,\" \"Me, Brother Malcolm.\"", "VOICE OF MALCOLM X\n\t\tI received a letter that day from the Honorable \n\t\tElijah Muhammad. The Messenger of Allah wrote", "Muhammad, speaks before a HUGE CROWD.\n \n\t\t\t\tMALCOLM \n\t\tAnd what do I say of this so-called national", "MALCOLM/HIS VOICE \n\t\tThe Honorable Elijah Muhammad teaches us that \n\t\tGod is now about to establish a kingdom on this \n\t\tearth based on brotherhood and", "Malcolm was our manhood, our living black \n\t\tmanhood. That was his meaning to his people and \n\t\tin honoring him we honor the best in ourselves.", "MALCOLM \n\t\tBembry saved my Life. The Honorable Elijah \n\t\tMuhammad saved my life.", "The crowd is listening, caught up in Malcolm's intensity.\n \n\t\t\t\tMALCOLM (contd)", "He continues to pray.\n \n\t\t\t\tVOICE OF MALCOLM X \n\t\tWe are told that Saul, on the road to Damascus,", "Malcolm slips it carefully into the small of his back, behind his \n\ttrouser belt. His first gun: the feeling shines in his eyes, Bogart has \n\tbecome a black man." ], [ "VOICE OF MALCOLM X (contd) \n\t\t...three killed by white men and one lynched.", "VOICE OF MALCOLM X (contd)\n \t\tMy father was not a frightened Negro as most \n\t\twere then and as many still are today. He was", "VOICE OF MALCOLM X \n\t\tMy father's skull, on one side was crushed in, \n\t\tand then laid across some tracks, for a", "VOICE OF MALCOLM X (contd) \n\t\tMy father dedicated his life to his beliefs \n\t\tbecause he had seen four of his six brothers", "streetcar to run him over. His body was cut \n\t\talmost in half. My father, Earl Little lived \n\t\ttwo and a half hours in that condition. Negroes", "ANGLE. A pregnant Louise Little on porch.\n \n\t\t\t\tVOICE OF MALCOLM X (contd) \n\t\t...and told them my father was in Milwaukee, \n\t\tpreaching.", "VOICE OF MALCOLM X \n\t\tBut our crime wasn't burglary. It was balling \n\t\twhite girls. They gave us the book.", "that's what the white man wants you to do. Look \n\t\tat you.\n \n\tThese last words are spoken sharply with disgust. Malcolm turns his", "MALCOLM \n\t\tFor the white man to ask the black man if he \n\t\thates him is just like the rapist asking the", "Malcolm was our manhood, our living black \n\t\tmanhood. That was his meaning to his people and \n\t\tin honoring him we honor the best in ourselves.", "VOICE OF MALCOLM X (contd)\n\t\tThey broke every window with their rifle butts \n\t\tbefore riding off into the night, their torches", "Now say it.\n \n\t\t\t\tMALCOLM \n\t\tI'm Malcolm Little, not no goddam number.", "his dope, his liquor, his white woman, his \n\t\tpork.\n \n\t\t\t\tMALCOLM", "VOICE OF MALCOLM X\n\t\tI received a letter that day from the Honorable \n\t\tElijah Muhammad. The Messenger of Allah wrote", "On his desk is the black headlines: MALCOLM X CALLS ASSASSINATION \n\t\"CHICKENS COMING HOME TO ROOST.\" Elijah's health is getting worse, his", "God. I'm telling you, boy, that God is black.\n \n\t\t\t\tMALCOLM \n\t\tWhat? Everybody knows God is White.", "Mr. X, I was out there tonight. I saw what you \n\t\tdid. I want to be a Muslim. I ain't never seen \n\t\ta Negro stand up to the police like that.", "He looks directly into the camera, wearing a Baptist Minister's robe.\n \n \t\t\t\tVOICE OF MALCOLM X (contd)", "Malcolm slips it carefully into the small of his back, behind his \n\ttrouser belt. His first gun: the feeling shines in his eyes, Bogart has \n\tbecome a black man.", "VOICE OF MALCOLM X (contd) \n\t\tAnd then I could do it." ], [ "that's what the white man wants you to do. Look \n\t\tat you.\n \n\tThese last words are spoken sharply with disgust. Malcolm turns his", "VOICE OF MALCOLM X (contd) \n\t\tAnd then I could do it.", "MALCOLM \n\t\t...My high school was the black ghetto of \n\t\tRoxbury. My college was the streets of Harlem,", "He continues to pray.\n \n\t\t\t\tVOICE OF MALCOLM X \n\t\tWe are told that Saul, on the road to Damascus,", "Malcolm, newly conked and sharp as a tack (zoot suit, trouser crease \n\tlike a knife's edge, orange knob-toed shoes) walks toward his goal:", "Malcolm is talking before an all-black audience. It is the largest \n\trally yet; the hall is packed to the rafters.", "159G\tBRIEF MONTAGE. THE RISE OF MALCOLM X\n \n\tEXT. STREET - HARLEM - DAY", "Malcolm slips it carefully into the small of his back, behind his \n\ttrouser belt. His first gun: the feeling shines in his eyes, Bogart has \n\tbecome a black man.", "Now say it.\n \n\t\t\t\tMALCOLM \n\t\tI'm Malcolm Little, not no goddam number.", "He wears a Garvey hat, ornate with gold braid.\n \n\t\t\t\tVOICE OF MALCOLM X (contd)", "MALCOLM (contd) \n\t\tTo the hospital.\n \n\tThe Fruit of Islam fall in behind him, marching slowly. It takes on the", "Malcolm looks out the living room window, he has a rifle in hand. \n\t(NOTE: This is the same pose as the famous photograph of him.) He", "Malcolm was our manhood, our living black \n\t\tmanhood. That was his meaning to his people and \n\t\tin honoring him we honor the best in ourselves.", "VOICE OF MALCOLM X\n\t\tI received a letter that day from the Honorable \n\t\tElijah Muhammad. The Messenger of Allah wrote", "FREEZE FRAME. He becomes a STILL.\n \n\t\t\t\tVOICE OF MALCOLM X", "He looks directly into the camera, wearing a Baptist Minister's robe.\n \n \t\t\t\tVOICE OF MALCOLM X (contd)", "VOICE OF MALCOLM X \n\t\tThis sweet, gentle man gave me the truth from", "The crowd is listening, caught up in Malcolm's intensity.\n \n\t\t\t\tMALCOLM (contd)", "MALCOLM (contd) \n\t\tPoor education, you only work on poor paying \n\t\tjobs and that enables you to live again in a", "Mr. X, I was out there tonight. I saw what you \n\t\tdid. I want to be a Muslim. I ain't never seen \n\t\ta Negro stand up to the police like that." ], [ "Malcolm, newly conked and sharp as a tack (zoot suit, trouser crease \n\tlike a knife's edge, orange knob-toed shoes) walks toward his goal:", "Malcolm was our manhood, our living black \n\t\tmanhood. That was his meaning to his people and \n\t\tin honoring him we honor the best in ourselves.", "MALCOLM \n\t\t...My high school was the black ghetto of \n\t\tRoxbury. My college was the streets of Harlem,", "Malcolm slips it carefully into the small of his back, behind his \n\ttrouser belt. His first gun: the feeling shines in his eyes, Bogart has \n\tbecome a black man.", "Malcolm acknowledges the greetings, strolls down in the bar. It's \n\timmediately clear that a subtle change has come over him. He is no", "Malcolm is talking before an all-black audience. It is the largest \n\trally yet; the hall is packed to the rafters.", "The immediate impression is of subdued well-being, of decorum, of easy \n\taffluence. This is the world Malcolm wants into. He digs it, drinking \n\tin its details.", "His hands full, Cholly opens the door with his feet and MALCOLM comes \n\tout, a big, gawky, bright-faced country boy, wearing downhome clothes", "Malcolm is alone at the bars: the hope of freedom filling his mind.\n \n\tMalcolm pulls at the bars, tries to shake them in impotent fury. He", "The crowd is listening, caught up in Malcolm's intensity.\n \n\t\t\t\tMALCOLM (contd)", "MALCOLM (contd) \n\t\tPoor education, you only work on poor paying \n\t\tjobs and that enables you to live again in a", "MALCOLM \n\t\tWhere I come from. Boston.\n \n\tSammy and Cadillac are watching a little skeptically. Archie is", "that's what the white man wants you to do. Look \n\t\tat you.\n \n\tThese last words are spoken sharply with disgust. Malcolm turns his", "That's a fact. What you do, boy?\n \n\t\t\t\tMALCOLM \n\t\tI'm working trains. Selling.", "Malcolm holds a letter in his hand. He reads it carefully. He has read \n\tit several times before.", "Malcolm is listening closely. Bembry puts an arm around him, man-to-man.\n \n\t\t\t\tBEMBRY (contd)", "Malcolm lies on his bed, and for the first time WE SEE the strain in \n\this face, it has begun to take its toll, he's a haunted man. A doomed \n\tman.", "Malcolm is studying the dictionary, the last of the \"a's\": the words\n\tazimuth, Azores, Aztec, azure, etc. He reads a word, then holds his", "Malcolm is addressing a HUGE AUDIENCE. His tone is more intense, more \n\tpersonal than before, because of his recent encounters. In the", "Malcolm is drying his hair, finishing his conk. But some of what Bembry \n\thas said disturbs him.\n \n\t\t\t\tMALCOLM" ], [ "The machines are idle; no one is in the room but Malcolm. He starts \n\tto reach inside his jacket when Barnes sticks his head in.", "Malcolm lies on his bed, and for the first time WE SEE the strain in \n\this face, it has begun to take its toll, he's a haunted man. A doomed \n\tman.", "144\tINT. A LOCKUP - SAME\n \n\tThe back of Malcolm's head, as he examines Brother Johnson. As he comes", "Malcolm and Bembry standing close together. The feeling is of someone \n\ttaking communion: with Bembry the minister and Malcolm the communicant.", "Malcolm holds a letter in his hand. He reads it carefully. He has read \n\tit several times before.", "CAMERA HAS GONE IN for a TIGHT CLOSE SHOT of Malcolm's face: a hardened", "Malcolm shows no flicker of interest or understanding.\n \n\t\t\t\tBEMBRY (contd) \n\t\tI brought you something.", "to the other prisoners. Malcolm is painting the plates, a little \n\tremoved from Bembry, but listening with interest. Barnes, with rifle, \n\tidles by a window.", "Malcolm is listening closely. Bembry puts an arm around him, man-to-man.\n \n\t\t\t\tBEMBRY (contd)", "He smacks the small of his back. Then, reaching under his coat, he \n\ttakes a revolver out from the middle of his back. And hands it to \n\tMalcolm.", "Malcolm is reading Bembry's letter as he waits his turn. There is a \n\tWHITE CONVICT in the chair, just being finished by a WHITE BARBER -", "Malcolm has stopped in his tracks, like some unseen force has overcome \n\thim which prevents him from moving. Malcolm is paralyzed.\n\n\tCLOSER - MALCOLM'S FACE", "for you.\n \n\t\t\t\tMALCOLM \n\t\tOkay, okay. Show me, man.", "He is reading on his bunk as Barnes walks by. The lights in the cell go \n\tout. Malcolm looks up, annoyed at being interrupted. He shifts his", "Malcolm opens his eyes, she has brought him out of it. He looks at her \n\tbut doesn't answer.\n \n\t\t\t\tOLD WOMAN (contd)", "Malcolm is drying his hair, finishing his conk. But some of what Bembry \n\thas said disturbs him.\n \n\t\t\t\tMALCOLM", "(from the church and from the maids' market) are scattered in Malcolm's \n\taudience.\n \n\tThe headquarters itself shows the progress Malcolm has made. It is", "MALCOLM \n\t\t0h, yes, there is. I know a lot about you.\n\t\tBrother Bembry briefed me.", "Benjamin weakly walks toward Malcolm and gives him his letter, which he \n\ttakes. The fast is wearing him out.", "Malcolm doesn't understand, but he senses something -- and becomes \n\texcited. Archie has walked over to him.\n \n\t\t\t\tARCHIE (contd)" ], [ "MALCOLM (contd) \n\t\tThe Honorable Elijah Muhammad is the only man \n\t\tthe white people can deal with in the solving", "Muhammad can bring you into the light.\n \n\t\t\t\tMALCOLM \n\t\tElijah who?", "had intimacies with Elijah Muhammad since \n\t\t1957...\"\n \n\t\t\t\tMALCOLM", "Elijah Muhammad. For if God is black, Malcolm--\n \n\t\t\t\tMALCOLM \n\t\tThen the devil is white.", "138A \tEXT. ELIJAH'S GARDEN - DAY\n \n\tMalcolm sits next to the Honorable Elijah Muhammad. The student and the", "The Honorable Elijah Muhammad sits on the stage to the right of Malcolm.\n\tThis is a larger audience.\n \n\t\t\t\tMALCOLM", "On his desk is the black headlines: MALCOLM X CALLS ASSASSINATION \n\t\"CHICKENS COMING HOME TO ROOST.\" Elijah's health is getting worse, his", "MALCOLM (contd) \n\t\t...as Elijah Muhammad knows his problems. \n\n158 \tINT. BETTY'S BEDROOM - NIGHT", "MALCOLM \n\t\tBembry saved my Life. The Honorable Elijah \n\t\tMuhammad saved my life.", "MALCOLM/HIS VOICE \n\t\tThe Honorable Elijah Muhammad teaches us that \n\t\tGod is now about to establish a kingdom on this \n\t\tearth based on brotherhood and", "Nation. It was you who made Malcolm the man he\n\t\tis. You lifted him out of the darkness.\n \n\tCLOSE - ELIJAH", "MALCOLM \n\t\tThe Honorable Elijah Muhammad says you should \n\t\tpay it all your mind. If you got a mind.", "VOICE OF MALCOLM X\n\t\tI received a letter that day from the Honorable \n\t\tElijah Muhammad. The Messenger of Allah wrote", "standing in the cell with Malcolm is ELIJAH MUHAMMAD. He has \n\tmaterialized, but he can be seen through. He is MALCOLM'S", "man standing against the window, he doesn't move. This is the same man \n\twho appeared in Malcolm's cell, this is the Honorable Elijah Muhammad.", "Malcolm slowly moves toward him; he is completely humbled in his \n\tpresence.\n \n\tCLOSE - ELIJAH", "The Honorable Elijah Muhammad would like to see \n\t\tyou now.\n \n151\tINT. ELIJAH'S OFFICE - DAY", "MALCOLM \n\t\tYes, sir, I did.\n \n\t\t\t\tELIJAH", "Elijah Muhammad is telling the white man get \n\t\tthis powder keg out of your house, let the \n\t\tblack people in this country separate from him", "No. Elijah Muhammad does not say \"that white \n\t\tman is a devil.\" He teaches us that the white \n\t\tman is the devil. All white men." ], [ "They're trying to convert the Black Christians. Malcolm speaks, while \n\tthe others hand out leaflets.\n \n\t\t\t\tMALCOLM", "Malcolm is talking before an all-black audience. It is the largest \n\trally yet; the hall is packed to the rafters.", "Mr. Malcolm X, why do you teach black \n\t\tsupremacy? Why do you teach hate?\n \n\tCLOSE - MALCOLM", "that's what the white man wants you to do. Look \n\t\tat you.\n \n\tThese last words are spoken sharply with disgust. Malcolm turns his", "He looks directly into the camera, wearing a Baptist Minister's robe.\n \n \t\t\t\tVOICE OF MALCOLM X (contd)", "He continues to pray.\n \n\t\t\t\tVOICE OF MALCOLM X \n\t\tWe are told that Saul, on the road to Damascus,", "Many stand, some walk toward the podium speaking his name: \"I'm with \n\tyou, Brother Malcolm,\" \"Praise Allah,\" \"Me, Brother Malcolm.\"", "Malcolm is addressing a HUGE AUDIENCE. His tone is more intense, more \n\tpersonal than before, because of his recent encounters. In the", "He wears a Garvey hat, ornate with gold braid.\n \n\t\t\t\tVOICE OF MALCOLM X (contd)", "The crowd is listening, caught up in Malcolm's intensity.\n \n\t\t\t\tMALCOLM (contd)", "God. I'm telling you, boy, that God is black.\n \n\t\t\t\tMALCOLM \n\t\tWhat? Everybody knows God is White.", "VOICE OF MALCOLM X\n\t\tI received a letter that day from the Honorable \n\t\tElijah Muhammad. The Messenger of Allah wrote", "preacher hype I ever did hear.\n \n\t\t\t\tMALCOLM \n\t\tIt isn't a hype, Shorty. And I meant what I", "On his desk is the black headlines: MALCOLM X CALLS ASSASSINATION \n\t\"CHICKENS COMING HOME TO ROOST.\" Elijah's health is getting worse, his", "MALCOLM/HIS VOICE \n\t\tThe Honorable Elijah Muhammad teaches us that \n\t\tGod is now about to establish a kingdom on this \n\t\tearth based on brotherhood and", "Muhammad, speaks before a HUGE CROWD.\n \n\t\t\t\tMALCOLM \n\t\tAnd what do I say of this so-called national", "The Honorable Elijah Muhammad sits on the stage to the right of Malcolm.\n\tThis is a larger audience.\n \n\t\t\t\tMALCOLM", "VOICE OF MALCOLM X (contd) \n\t\tAnd then I could do it.", "Mr. X, I was out there tonight. I saw what you \n\t\tdid. I want to be a Muslim. I ain't never seen \n\t\ta Negro stand up to the police like that.", "VOICE OF MALCOLM X (contd) \n\t\tMy father dedicated his life to his beliefs \n\t\tbecause he had seen four of his six brothers" ], [ "streetcar to run him over. His body was cut \n\t\talmost in half. My father, Earl Little lived \n\t\ttwo and a half hours in that condition. Negroes", "Outside the house are 5 members of THE BLACK LEGION. They are dressed \n\tin the style of the KKK, but in black sheets rather than white. WE SEE", "explained what concurrently meant. It meant a \n\t\tminimum sentence of 10 years hard labor at the \n\t\tCharlestown State Prison. The date was February", "As Johnson's body, on a stretcher, is hurried into an ambulance. The \n\tcrowd has grown in proportions. There are ad libs: \"Goddam pigs,\" \"Damn", "SIDNEY, aged 20, a perfect specimen of the Fruit of Islam, stands \n\tbehind his chair, waiting. Their mother, LORRAINE, a woman of Bembry's", "on. Black folks are everywhere, it seems as if all of Harlem is out on \n\tthe streets. The citizens of Harlem are hugging, kissing, drinking,", "It's raining cats and dogs and it's foggy. We hear a big thud, then a \n\tgrunt and Earl Little falls across the trolley tracks, the sound of men", "They brandished guns and shouted for my father \n\t\tto come out. My mother went to the door where \n\t\tthey could see her pregnant condition...", "In contrast to the peaceful family scene, the room is a beehive of \n\tactivity. Sidney is turning out leaflets on a mimeograph machine;", "Here at this final hour, in this quiet place, \n\t\tHarlem has come to bid farewell to one of its \n\t\tbrightest hopes, extinguished now and gone from", "kind every day of your life.\" But does he? No. \n\t\tHe scorns you, splits your head with his \n\t\tnightstick and calls you nigger. If you've had", "The assassins are on their way to the Audubon Ballroom, Wilbur Kinley \n\tis behind the wheel, no one is talking. \n\n190 \tEXT.STREET - DAY", "A bright, sunny day, long shadows in the park. The Commons is almost \n\tempty. Two improbable zoot-suited blacks race past trees, and run over", "On his desk is the black headlines: MALCOLM X CALLS ASSASSINATION \n\t\"CHICKENS COMING HOME TO ROOST.\" Elijah's health is getting worse, his", "Because 1964 threatens to be a very explosive \n\t\tyear on the racial front, and because I myself \n\t\tintend to be very active in every phase of the", "Betty is driving to the Audubon Ballroom, her four daughters are in the \n\tbackseat making a racket.", "Malcolm is sweating and flushed and enormously elated. He sees that \n\tpeople are watching him, goading him on. He notices that Sophia, in", "Malcolm is talking before an all-black audience. It is the largest \n\trally yet; the hall is packed to the rafters.", "He nearly leaps out of the chair, but the barber restrains him.\n\n\tShorty, utterly unmoved by the outburst, continues working the \n\tcongolene into his hair.", "picks it up.\n \n\t\t\t\tVOICE\n\t\tThat red nigger of yours is dead and so are \n\t\tyour bastard children." ], [ "Many stand, some walk toward the podium speaking his name: \"I'm with \n\tyou, Brother Malcolm,\" \"Praise Allah,\" \"Me, Brother Malcolm.\"", "1ST STUDENT \n\t\tI'm Malcolm X.\n \n\tCLOSE - STUDENT", "3RD STUDENT \n\t\tI'm Malcolm X.\n \n\tCLOSE - STUDENT", "he describes:\n \n\t\t\t\tMALCOLM'S VOICE\n\t\tToday, with thousands of others, I proclaimed", "The crowd is listening, caught up in Malcolm's intensity.\n \n\t\t\t\tMALCOLM (contd)", "2ND STUDENT \n\t\tI'm Malcolm X.\n \n\tCLOSE - STUDENT", "Now say it.\n \n\t\t\t\tMALCOLM \n\t\tI'm Malcolm Little, not no goddam number.", "Malcolm is talking before an all-black audience. It is the largest \n\trally yet; the hall is packed to the rafters.", "He looks directly into the camera, wearing a Baptist Minister's robe.\n \n \t\t\t\tVOICE OF MALCOLM X (contd)", "Malcolm is addressing a HUGE AUDIENCE. His tone is more intense, more \n\tpersonal than before, because of his recent encounters. In the", "Muhammad, speaks before a HUGE CROWD.\n \n\t\t\t\tMALCOLM \n\t\tAnd what do I say of this so-called national", "ANGLE ON MALCOLM\n \n\t\t\t\tMALCOLM \n\t\tI'm not Malcolm Little and I'm not Satan.", "Malcolm was our manhood, our living black \n\t\tmanhood. That was his meaning to his people and \n\t\tin honoring him we honor the best in ourselves.", "He wears a Garvey hat, ornate with gold braid.\n \n\t\t\t\tVOICE OF MALCOLM X (contd)", "4TH FEMALE STUDENT \n\t\tI'm Malcolm X.", "that's what the white man wants you to do. Look \n\t\tat you.\n \n\tThese last words are spoken sharply with disgust. Malcolm turns his", "They're trying to convert the Black Christians. Malcolm speaks, while \n\tthe others hand out leaflets.\n \n\t\t\t\tMALCOLM", "God. I'm telling you, boy, that God is black.\n \n\t\t\t\tMALCOLM \n\t\tWhat? Everybody knows God is White.", "VOICE OF MALCOLM X\n\t\tI received a letter that day from the Honorable \n\t\tElijah Muhammad. The Messenger of Allah wrote", "Malcolm scanning the faces of his audience as they react. He sees \n\tsomeone he knows and blurts out boyishly (and winningly):" ], [ "MALCOLM \n\t\tAs I recall, I pointed out that while I was in \n\t\tMecca making the pilgrimage, I spoke about the", "175A\tMECCA - THE PILGRIMAGE\n \n\tMALCOLM GREETED AS HE DESCENDS FROM THE PLANE IN EGYPT", "He continues to pray.\n \n\t\t\t\tVOICE OF MALCOLM X \n\t\tWe are told that Saul, on the road to Damascus,", "177C\t--Malcolm and OTHERS walking around the Great Kaaba, a black stone set \n\tin the middle of the Great Mosque. He falls to his knees. WE SEE what", "deserve them. Because of the spiritual rebirth \n\t\twhich I was blessed to undergo as a result of \n\t\tmy pilgrimage to the Holy City of Mecca, I no", "--Malcolm, wearing the garb of a pilgrim, walks with a VAST THRONG OF \n\tOTHERS, similarly clad, around the Great Temple. He wears two white", "that's what the white man wants you to do. Look \n\t\tat you.\n \n\tThese last words are spoken sharply with disgust. Malcolm turns his", "a return to the source of our great religion. I \n\t\twill make a pilgrimage to Mecca.", "Malcolm is addressing a HUGE AUDIENCE. His tone is more intense, more \n\tpersonal than before, because of his recent encounters. In the", "that we are nothing, while He is all.\n \n\t\t\t\tMALCOLM \n\t\tAllah Akbar.", "Many stand, some walk toward the podium speaking his name: \"I'm with \n\tyou, Brother Malcolm,\" \"Praise Allah,\" \"Me, Brother Malcolm.\"", "Malcolm was our manhood, our living black \n\t\tmanhood. That was his meaning to his people and \n\t\tin honoring him we honor the best in ourselves.", "MALCOLM (contd) \n\t\tTo the hospital.\n \n\tThe Fruit of Islam fall in behind him, marching slowly. It takes on the", "excuses himself from a group of MUSLIMS, making his way toward Bembry.\n \n\t\t\t\tMALCOLM \n\t\t\t(little out of breath)", "Mr. X, I was out there tonight. I saw what you \n\t\tdid. I want to be a Muslim. I ain't never seen \n\t\ta Negro stand up to the police like that.", "The crowd is listening, caught up in Malcolm's intensity.\n \n\t\t\t\tMALCOLM (contd)", "God. I'm telling you, boy, that God is black.\n \n\t\t\t\tMALCOLM \n\t\tWhat? Everybody knows God is White.", "They're trying to convert the Black Christians. Malcolm speaks, while \n\tthe others hand out leaflets.\n \n\t\t\t\tMALCOLM", "Mr. Malcolm X, why do you teach black \n\t\tsupremacy? Why do you teach hate?\n \n\tCLOSE - MALCOLM", "Malcolm, newly conked and sharp as a tack (zoot suit, trouser crease \n\tlike a knife's edge, orange knob-toed shoes) walks toward his goal:" ], [ "Malcolm opens his eyes, she has brought him out of it. He looks at her \n\tbut doesn't answer.\n \n\t\t\t\tOLD WOMAN (contd)", "Malcolm mumbles something. He then kisses Sophia as if his black life \n\tdepended on it and he commences to kill it.", "Malcolm lies on his bed, and for the first time WE SEE the strain in \n\this face, it has begun to take its toll, he's a haunted man. A doomed \n\tman.", "Malcolm is sweating and flushed and enormously elated. He sees that \n\tpeople are watching him, goading him on. He notices that Sophia, in", "Are you okay?\n \n\tMalcolm looks at this old woman, who slightly resembles his own mother.\n \n\t\t\t\tMALCOLM", "MALCOLM \n\t\tYeah, she's alive.\n \n31 \tOMIT", "She is a pretty, mature woman and white-looking.\n \n\t\t\t\tVOICE OF MALCOLM X (contd)", "His hands full, Cholly opens the door with his feet and MALCOLM comes \n\tout, a big, gawky, bright-faced country boy, wearing downhome clothes", "Malcolm has stopped in his tracks, like some unseen force has overcome \n\thim which prevents him from moving. Malcolm is paralyzed.\n\n\tCLOSER - MALCOLM'S FACE", "MALCOLM \n\t\tAin't gonna be this mother.\n \n\tSammy goes.", "MALCOLM (contd) \n\t\tI said now.\n \n\tShe leaves. He leans his head back against the booth --", "He stares at her.\n \n\t\t\t\tMALCOLM \n\t\tNothing!\n \n\tCLOSE - COED\n\n\tShe is absolutely crushed and runs away in tears.", "Only the faintest light comes into the hideous room, which consists of \n\ta mattress and a slop bucket. If Malcolm were to stretch out his arms,", "Malcolm knocks on the door of Evelyn Williams, one of the two \n\tsecretaries/wives. She opens the door and has child in her arms.", "The crowd is listening, caught up in Malcolm's intensity.\n \n\t\t\t\tMALCOLM (contd)", "waiting to see Malcolm's body, where it lies before burial.\n \n\t\t\t\tOSSIE DAVIS'S VOICE: (contd)", "CLOSE - MALCOLM\n \n\tStoned, his nose running, Malcolm stares out of the window at the", "Oh, Malcolm, I love you. Please, there's no one \n\t\taround. Now?\n \n\tMalcolm turns his head from her, he gets up.", "MALCOLM (contd) \n\t\tTake it off.\n \n\tShe takes off the apron.", "to Malcolm and hands him a short straw. Sophia sits next to Malcolm; \n\tshe and Archie are already high. Malcolm leans over the mirror, placing \n\tthe straw in his nostril." ] ]

[ "What did Malcom's dad do for a living?", "How did Malcom's dad die?", "Where is Malcolm's mother?", "What does Malcolm call himself?", "Who is Malcolm's best friend?", "How many year's does Malcolm get sentenced?", "What does Baines introduce to Malcolm?", "What year was Malcolm assassinated?", "What city was Malcolm assassinated?", "Who's disciple did Malcom become?", "Who did Malcom marry?", "Where did Malcom go on pilgrimage?", "Malcom's father had what occupation?", "Where was Malcom assinated?", "How long was Malcom sentenced to for burglary in Boston?", "What was Malcom's job on the railroad?", "When was Mandela released from prison?", "Nelson Mandela became president of?", "Where was Malcom introduced to the Nation of Islam?", "Who was Malcolm X's father murdered by?", "What kind of job does Malcolm X end up getting?", "When Malcolm moved to Boston, what does he decide is his best way to make a living?", "What does Baines show Malcolm?", "How is Malcolm and Elijah Muhammad connected?", "What does Malcolm X initially preach?", "What happens on February 21, 1965?", "What important figure is among those that declare \"I am Malcolm X\"?", "What does a pilgrimage to Mecca teach Malcolm?", "What happens to Malcolm's mother?" ]

[ [ "Preacher ", "A preacher." ], [ "murdered", "He is murdered by the Black Legion" ], [ "institutionalized for insanity", "institutionalized for insanity" ], [ "Detroit Red", "Detroit Red" ], [ "Shorty", "Shorty." ], [ "10 years. ", "Ten years." ], [ "The teaching of the Nation of Islamic", "The teachings of the Nation of Islam." ], [ "1965", "1965" ], [ "New York City", "New York City." ], [ "Elijah Muhammad", "Elijah Muhammad" ], [ "Betty Shabazz", "Betty Shabazz" ], [ "Mecca", "Mecca" ], [ "Preacher", "preacher" ], [ "New York city", "New York City." ], [ "10 years", "ten years" ], [ "Pullman porter", "Pullman porter" ], [ "1990", "1990." ], [ "South Africa", "South Africa" ], [ "In prison", "Prison" ], [ "His father was murdered by the Black Legion.", "Black Legion" ], [ "He gets a job as a Pullman porter.", "Pullman porter." ], [ "He decided to become a burglar.", "become a burglar" ], [ "Baines teaches and shows him the teachings of the Nation of Islam.", "The teaching of the Nation of Islam" ], [ "Malcolm begins religious conversion as Elijah's disciple.", "Malcolm becomes his disciple." ], [ "He preaches for a separation from white society.", "A doctrine of separation from white society." ], [ "Malcolm is assassinated while in New York.", "He is asassinated" ], [ "Among those is anti-apartheid activist, Nelson Mandela.", "Nelson Mandela" ], [ "The journey teaches Malcolm that Muslims come from all races including whites.", "Muslims come from all races" ], [ "She is institutionalized for being insane.", "She is institutionalized for insanity." ] ]

[ [ "deceased about one hundred years ago. He would have it that Colonel\nMohune, in the dreadful wars against King Charles the First, had deserted", "away to a stricter ward, and reports to the Parliament that the King's\nescape is only prevented by Colonel Mohune's watchfulness. But how true,", "there the King's jailer, but was false to his trust. For the King,\ncarrying constantly hidden about his person a great diamond which had\nonce been given him by his brother King of France, Mohune got wind of", "Mr. Glennie, who knew more about such things than anyone else, told me\nthat Blackbeard was none other than a certain Colonel John Mohune,", "was Colonel John Mohune resting as he had been laid out a century ago. I\nlifted that portion of the lid which had been left behind, and reached", "So I told him all that Mr. Glennie had told me, how that Colonel John\nMohune, whom men called Blackbeard, was a wastrel from his youth, and", "parties in the State, until he died, about the time of the happy\nRestoration of King Charles the Second. But even after his death he could\nnot get rest; for men said that he had hid somewhere that treasure given", "Colonel Mohune; he was removed from his Governorship, and came back to\nhis home at Moonfleet. There he lived in seclusion, despised by both", "Dorchester to confess him, though a Protestant, and wished to make amends\nby leaving that treasure so ill-gotten from King Charles (which was all", "yet if riches have been set apart for a good purpose, even by evil men,\nas Colonel John Mohune set apart this treasure, it cannot be but that we", "The Why Not? was not the real name of the inn; it was properly the Mohune\nArms. The Mohunes had once owned, as I have said, the whole of the", "should some day come back to you, but put it to such uses as Colonel\nMohune thought would help his sinful soul.'", "gate-house reached by a stone bridge crossing the moat; and when I saw it\nI remembered that 'twas here Colonel Mohune had earned the wages of his", "Colonel John Mohune's black locket, and so knew that part at least of\nthis adventure was no dream.", "on whose face it had grown. For, almost before I fully saw what it was, I\nknew it was that black beard which had given Colonel John Mohune his", "passage-mouth. And all the while I had round my neck Colonel John\nMohune's locket, and at first wore it next myself, but finding it black", "It was then that a great pity came over me for this thin shadow of man;\nthinking rather what a fine, tall gentleman Colonel Mohune had once been,", "unlikely spot for Colonel Mohune to seek his treasure in; for had it been\nburied there, he would have had a hundred chances to have it up in his", "Colonel John Mohune had put this sign there a century ago, either by his\nown hands or by those of a servant; and then I thought of Mr. Glennie's", "and a good soldier no doubt besides, than that he had wasted a noble\nestate and played traitor to the king. And then I reflected that it was\nall for the bit of flashing stone, which lay as I hoped within the" ], [ "behold, there was Master Ratsey lying also on the ground with his ear to\nthe wall, while Elzevir sat back against the inside of the buttress with", "after me all these days. She knew, indeed, where I was, for Ratsey had\ntold her I lay at the Why Not?, explaining that Elzevir had found me one", "Elzevir had been in the well so long that I began to fear something had\nhappened to him, when he shouted to me to bring him up. So I fixed the", "lying on the deck, and the hatch left open. Then Elzevir saw what it all\nmeant, and seized the key. 'John,' cries he, speaking to me in English,", "Then Elzevir spoke. 'John' he said, 'there is no time to play the woman;\nanother minute of this and we are lost. Pluck up thy courage, keep thy\neyes to the cliff, and forward.'", "So we three came back to the village together; but looking up at Elzevir\nonce while Master Ratsey was making these pretences, I saw his eyes", "casting them up, I thought that Elzevir and Ratsey knew as much as any\nabout this hiding-place. These reflections gave me more courage, for I", "'Run for the cliff-side,' cried Elzevir to me; 'get close in, and they\ncannot touch thee,' and he made for the chalk wall. But I had fallen on", "tripped upon him and Ratsey in the churchyard; and how Master Ratsey lay\nwith his ear to the wall: and putting all these things together and", "I slid off behind, on to the ledge. Both were on all-fours now; Elzevir\nfirst and I following. But as I crept along, I relaxed care for a moment,", "As soon as I saw how near the well-mouth he was got, I shouted out and\nran to save him; but Elzevir saw it quicker than I, and springing forward", "I shuddered while Elzevir talked, for I thought how Cracky Jones had\nperhaps hidden behind the self-same coffin that sheltered me, and how", "I saw someone coming to me through the brambles, and Master Ratsey said,\n'Well, Jack, so thou and Elzevir are leaving Moonfleet, and I fain would", "it my seat. And then I remembered how Ratsey had tried to scare me with\ntalk of Blackbeard; and how Elzevir, who had never been seen at church", "Elzevir slung himself into the bucket. 'You can handle the break,' he\nsaid to me; 'let me down quick into the well.' I took the break-lever,", "themselves, being carried hither and thither by the water. Fie, Ratsey\nman, you should know better than to fright a boy with silly talk of\nspirits when the truth is bad enough.'", "'There,' he said, 'this is Joseph's Pit, and here we must lie hid until\nthy foot is sound again. Once get to the bottom safe, and we can laugh at", "which juts out from the wall, what should I see but two men, and these\ntwo were Ratsey and Elzevir Block. I came upon them unawares, and, lo and", "There was a look of sad amaze that came on Ratsey's face when I said\nthat; a look that woke in me an awful surmise. 'What!' cried he, 'was\nthat Master Elzevir that dragged thee through the surf?'", "When we reached the Bugle I went upstairs and flung myself upon the bed\nto try to rest a little and think, but Elzevir shut himself in with the" ], [ "Ratsey's feet: and this was none other than the writing out of\nBlackbeard's locket, which I had been reading when I first heard\nfootsteps in the passage, and had dropped in my alarm of hostile", "Blackbeard's locket. For that locket hung always round my neck; and I\noften had the parchment out and read it; not that I did not know it now", "and his burial verse. It was a cunning plan of Blackbeard; but other folk\nwere quite as cunning as he, and here was all his treasure at our feet. I", "Colonel John Mohune's black locket, and so knew that part at least of\nthis adventure was no dream.", "in the gusts of wind I heard Blackbeard himself laughing and mocking me\nfor thinking I had found his treasure. Still I read and re-read it,", "hope. So it was all a sham, a bit of glass, for which we had risked our\nlives. Blackbeard had only mocked us even in his death, and from rich men", "treasure just in the very place and hour that Blackbeard loved; and as I\npassed the turnstile I half-expected that a tall figure, hairy and", "had once hung round Blackbeard's to scare evil spirits from his tomb. If\nit could frighten them from him, might it not rout them now, and make", "So I told him all that Mr. Glennie had told me, how that Colonel John\nMohune, whom men called Blackbeard, was a wastrel from his youth, and", "had rifled Blackbeard's coffin, and did not want to be questioned as to\nhow I had come by the writing. But to try to stop him getting hold of it", "In returning to the vault, I had no very sure purpose in mind; only a\nvague surmise that this finding of Blackbeard's coffin would somehow lead", "Mr. Glennie, who knew more about such things than anyone else, told me\nthat Blackbeard was none other than a certain Colonel John Mohune,", "than once of an evening, we could never come at any hidden meaning.\nIndeed, we scarce tried to, judging it to be certainly a sacred charm to\nkeep evil spirits from Blackbeard's body.", "Blackbeard piping his lost Mohunes to hunt for treasure. So, though he\nsaw nothing, he turned tail and never stopped running till he stood at", "Then I told her of the secret sense that Master Ratsey's words put into\nthe texts written on the parchment. I had showed her the locket before,", "secrets, not even excepting the doings of the contraband, and the Mohune\nvault and Blackbeard's locket, for I knew all was as safe with her as", "The Reverend Mr. Glennie wrote the verses, and I knew them by heart, for\nhe had given me a copy; indeed, the whole village had rung with the tale", "plain enough, but not a word to say where was the jewel. Some said that\nit was all a mockery, and that Blackbeard never had the jewel; others", "had come to this place to look for Blackbeard's treasure, and might have\ngone away without knowing even so much as where he lay, had not chance", "I had lain, therefore, all that time, cheek by jowl with Blackbeard\nhimself, with only a thin shell of tinder wood to keep him from me, and" ], [ "and indeed that sea might have frighted sailors too. So they stumbled\nalong drenched with the waves, and clustered round Elzevir, for they", "Then Elzevir spoke. 'John' he said, 'there is no time to play the woman;\nanother minute of this and we are lost. Pluck up thy courage, keep thy\neyes to the cliff, and forward.'", "'Elzevir,' I said, 'where is Elzevir?' and sat up to look round,\nexpecting to see him lying near me, and remembering the wreck more", "'We are on a lee shore,' Elzevir shouted; and I looked and knew what the\nwhite fringe was, and that we should be in the breakers in half an hour.", "Then Elzevir sat up, stretching himself like one waking out of sleep, and\nsaid: 'We must be gone. They will not be back for some time yet, and,", "I sought, but only thinking that Elzevir was floating somewhere in that\nfloating skin of wreck-wood, and that I must be at hand to meet him when", "lying on the deck, and the hatch left open. Then Elzevir saw what it all\nmeant, and seized the key. 'John,' cries he, speaking to me in English,", "on the ground. 'Twas a sorry business, and has broken up the finest gang\nthat ever ran a cargo, besides driving thee and Elzevir to hide in caves", "And Elzevir, seeing me, thought for a moment I had gone mad, and was\ndragging myself over the cliff; but then saw how it was, and moved", "The moment had come. 'We must go after the next big wave runs back,'\nElzevir shouted. 'Jump when I give the word, and get as far up the", "really liked Elzevir, and partly that they might have a sailor in the\nboat to direct them; but the others cast off and left us with a curse,", "Elzevir and me, and was shouting to them for help. The sun had risen, and\nhis first rays blazed on a window far away in the west on top of Portland", "helpless in the midst of it. Elzevir had hold of my arm, and gripped it\nhard as he looked to larboard. I followed his eyes, and where one horn of", "'Oh, fool me not!' I cried out, chafing at his excuses; 'I am not\nwandering now. 'Twas Elzevir that saved me in the surf last night. 'Twas\nhe that landed with me.'", "beach thirty paces from the men and Elzevir. Then he left his own\nassured salvation, namely the rope, and strode down again into the very", "Block and John Trenchard, who left so long ago, were come back to\nMoonfleet, and that the old lander was drowned saving the young man's", "That same evening Elzevir and I left the Why Not?, went up through the\nvillage, climbed the down, and were at the brow by sunset. We had started", "times worse when we reached open sea, for of all the prisoners only\nElzevir and I were sailors, and the rest took the motion unkindly.", "'_Prosper the Bonaventure_,' was the answer, and then the landlord caught\nElzevir by the hand, shaking it hard and saying, 'Why, you are Master", "'We are lost,' cries Elzevir; 'it is the Posse; but if we die, this\ntraitor shall go before us,' and he makes towards Maskew to brain him\nwith the pistol." ], [ "'No toys like that,' he said again, repeating his last words, and Elzevir\nanswered: 'May it please your worship, we are sailors from over sea, and\nthis boy has a diamond that he would sell.'", "Thus much Elzevir explained to me afterwards, but at that time when\nthat pretender spoke of the diamond as being his own, Elzevir cut in", "green liquid. Then he sat down again, drew the diamond gently from\nElzevir's fingers, which were loth to part with it, and began using his", "had come to find it, but only of it, the diamond, and that with such a\nprize Elzevir and I could live happily ever afterwards, and that I should", "made a little quick move as though to speak, but did not, waiting till I\nhad finished the tale. Then he broke out with: 'John, the diamond is yet", "The merchant had turned sharp round at the crash, and darted for the\ndiamond, crying 'Thieves! thieves! thieves!' He was nearer to it than I,", "Elzevir made such inquiry as he could without waking suspicion as to who\nwere the best dealers in precious stones, and the most able to pay a good", "I held the diamond between finger and thumb of my right hand, and waved\nit for Elzevir to see. By stretching out my arm I could have placed it in", "This brought the diamond-buyer to his feet in a moment. 'You fool, you\ncursed fool!' he shrieked, 'are you come here to beard me? and when I say", "But Elzevir was galled to the quick with all their falsehoods, and burst\nout again, that they were liars and the jewel ours; till a jailer who\nstood by struck him on the mouth and cut his lip, to silence him.", "Then Elzevir spoke. 'John' he said, 'there is no time to play the woman;\nanother minute of this and we are lost. Pluck up thy courage, keep thy\neyes to the cliff, and forward.'", "I believe that neither of us spoke a word during that walk, and though\nElzevir had not yet seen the diamond, he never even took the pains to", "fling the diamond away, feeling overwrought and heavy-hearted in that\nawful well-house, and Elzevir who held me from it; now it was he that", "'We are lost,' cries Elzevir; 'it is the Posse; but if we die, this\ntraitor shall go before us,' and he makes towards Maskew to brain him\nwith the pistol.", "certainly go back one day to Moonfleet and marry Grace. So I never\nanswered Elzevir, but took the diamond and slipped it back in the silver", "Then Elzevir sat up, stretching himself like one waking out of sleep, and\nsaid: 'We must be gone. They will not be back for some time yet, and,", "afternoon in August came two evil-looking English sailors to his house\nunder pretence of selling a diamond, which turned out to be but a lump of\nglass: and that having taken observation of all his dwelling, and more", "describing the treasure further than to call it a diamond, nor saying\nwhere it was to be found. Doubtless he meant to get it himself, sell it,", "diamond, these had forthwith melted through unfortunate ventures and\nspeculations, till he had little remaining to him but the money that this\nsame diamond had brought.", "stone fall, I caught the eyes of the old merchant looking the same way;\nand how he spoke more quietly after that, and not with the bitter cry he\nused when Elzevir tossed the jewel out of the window." ], [ "Thus much Elzevir explained to me afterwards, but at that time when\nthat pretender spoke of the diamond as being his own, Elzevir cut in", "'No toys like that,' he said again, repeating his last words, and Elzevir\nanswered: 'May it please your worship, we are sailors from over sea, and\nthis boy has a diamond that he would sell.'", "green liquid. Then he sat down again, drew the diamond gently from\nElzevir's fingers, which were loth to part with it, and began using his", "had come to find it, but only of it, the diamond, and that with such a\nprize Elzevir and I could live happily ever afterwards, and that I should", "certainly go back one day to Moonfleet and marry Grace. So I never\nanswered Elzevir, but took the diamond and slipped it back in the silver", "Then Elzevir spoke. 'John' he said, 'there is no time to play the woman;\nanother minute of this and we are lost. Pluck up thy courage, keep thy\neyes to the cliff, and forward.'", "made a little quick move as though to speak, but did not, waiting till I\nhad finished the tale. Then he broke out with: 'John, the diamond is yet", "The merchant had turned sharp round at the crash, and darted for the\ndiamond, crying 'Thieves! thieves! thieves!' He was nearer to it than I,", "Then Elzevir sat up, stretching himself like one waking out of sleep, and\nsaid: 'We must be gone. They will not be back for some time yet, and,", "I stepped back to the lawn, and caught Elzevir by the arm. 'Aldobrand has\nbeen here before us, and stole away the jewel,' I whispered sharp; and", "But Elzevir was galled to the quick with all their falsehoods, and burst\nout again, that they were liars and the jewel ours; till a jailer who\nstood by struck him on the mouth and cut his lip, to silence him.", "'We are lost,' cries Elzevir; 'it is the Posse; but if we die, this\ntraitor shall go before us,' and he makes towards Maskew to brain him\nwith the pistol.", "I held the diamond between finger and thumb of my right hand, and waved\nit for Elzevir to see. By stretching out my arm I could have placed it in", "fling the diamond away, feeling overwrought and heavy-hearted in that\nawful well-house, and Elzevir who held me from it; now it was he that", "Elzevir had given a little groan when he saw me force the window, but\nfollowed me into the room and was now at my side. 'Thieves! thieves!", "I believe that neither of us spoke a word during that walk, and though\nElzevir had not yet seen the diamond, he never even took the pains to", "But it was all to no purpose, and at last I stepped back to where Elzevir\nwas, and begged him to light a piece of match in the shelter of the", "There was the diamond in his hands--our diamond, my diamond--in his\nhands, and I but two yards from my own; only a flimsy veil of wood and", "to use them. There were one or two, before they left, shouted to Elzevir\nand me to try to make us follow them; partly, I think, because they", "Elzevir made such inquiry as he could without waking suspicion as to who\nwere the best dealers in precious stones, and the most able to pay a good" ], [ "I have more than once brought up the name of Mr. Maskew; and as I shall\nhave other things to tell of him later on, I may as well relate here what", "bullets in the turf. And before Elzevir could get at him, Maskew had\nfallen over on the sward with a groan, and with a little red hole in the\nmiddle of his forehead.", "With that he took the pistol from the ground where it had lain, and\nturning his back on Maskew, walked slowly to and fro among the\nbramble-plumps.", "enough to show me that the man was none other than Maskew, and I knew\nthat his life was not worth ten minutes' purchase.", "after what Maskew had done to Mr. Glennie. And then it was that I took to\nwandering much in the Manor woods, having no fear of man-traps, for I", "brought to Maskew. For at the pistol shot 'twas as if a mask of horror\nhad fallen from his face, and left him his old countenance again; and", "Elzevir looked full at Maskew, and raised his pistol; but before he had\ntime to take aim, I dashed upon him like a wild cat, springing on his", "The silence was broken by Maskew: 'Unloose me, villain, and let me go. I\nam a magistrate of the county, and if you do not, I will have you\ngibbeted on this cliff-top.'", "powder-horn, and made off with them like a hare towards Corfe. And as to\nMaskew, some of the soldiers said that Elzevir had shot him, and others", "There were a half-dozen of us boys, and as many girls, whom Mr. Glennie\nused to teach; and that you may see what sort of man Maskew was, I will", "'Zounds, they are down already!' cried Elzevir, 'and have found Maskew's\nbody; it is all up; another minute and they will see us.'", "'Shoot, shoot, in the Devil's name,' screams Maskew, 'or I am a\ndead man.'", "Just as the last bid was given, Elzevir half-rose from his chair, and\nfor a moment I expected to see him spring like a wild beast on Maskew;", "was some show of fighting when the vessels first came alongside of one\nanother, and Maskew drew a pistol and fired it off in young David's face,", "himself to put Maskew away; for it was no use to tell her this when she\nhad said that he could never think to do such a thing, and besides, for", "tears. So it was with Maskew's words; for he had much ado to gather\nbreath to say them, and they came in a thin voice that had no sting of\nwrath or passion in it.", "ago, I would have thought nothing too bad for Maskew, now I was turned\nround to wish he might come off with his life, and to look with terror\nupon Elzevir.", "it to Maskew; and Maskew takes and thrusts it into his bosom underneath\nhis waistcoat front--all cheek by jowl with that silver-hafted pistol,", "saw, between the brambles, Maskew lying with his face turned up to the\nmorning sky. And there was the little red hole in the middle of his", "comes Maskew through our playground without Grace, and goes into the\nschoolroom. But in the screen at the end of the room was a chink, against" ], [ "that we were to leave Moonfleet. Yet mine was a selfish sorrow; for I had\nlittle thought for Elzevir and the pain that it must be to him to quit,", "Block and John Trenchard, who left so long ago, were come back to\nMoonfleet, and that the old lander was drowned saving the young man's", "John Trenchard, at Moonfleet, Dorset, to apprise him that he was left\nsole heir. That address, indeed, was all the indication that Aldobrand", "let her be, for she could never live anywhere else than in Moonfleet,\nand that the air and commodity of the place suited her well. So they went", "certainly go back one day to Moonfleet and marry Grace. So I never\nanswered Elzevir, but took the diamond and slipped it back in the silver", "he, Aldobrand, was desirous to leave all his goods to one John Trenchard,\nof Moonfleet, Dorset, in the Kingdom of England. And that he was moved", "We stood hand in hand again, as we had done in the morning, and she said:\n'John, you will wander on the sea, and may perhaps put into Moonfleet.", "'Nay, master, grant me leave to go yet a little farther afield. You know\nthat I was born in Moonfleet, and have been bred there all my life, and", "'From Moonfleet, in Dorset,' he repeated to himself, as he finished\nwriting my answer. 'And how did John Trenchard come by this?' and he\ntapped the diamond as it lay on the table before him.", "The village of Moonfleet lies half a mile from the sea on the right or\nwest bank of the Fleet stream. This rivulet, which is so narrow as it", "are gone out to serve King George on sea and land. But as for us, for\nGrace and me, we never leave this our happy Moonfleet, being well", "see it for yourself in Moonfleet churchyard to this day, and read the\ninscription too, though it is yellow with lichen, and not so plain as it\nwas that night. This is how it runs:", "Moonfleet. It was as fine a lander's crew as ever stood together, not\neven excepting Captain Jordan's, and now must all be broken up; for this", "and having made money in Edinburgh, had gone so far south as Moonfleet to\nget quit, as was said, of the memories of rascally deeds. It was about", "shalt learn an honest trade, and when the mischief has blown over we will\ngo back to Moonfleet. So let the jewel be, John; shall we not let the\njewel be?'", "free; he would give back the Why Not?; he would leave Moonfleet; and all\nthe while the sweat ran down his furrowed face, and at last his voice was", "or that they loved some in the past, and so would see the spot again to\nkindle memory withal. Thus when thou speakest of Moonfleet, I may guess", "Moonfleet, and showed her grief in such pretty ways, as made me almost\nglad to see her sorry. And from her I learned that Maskew was indeed", "do. She told me that a month past lawyers had come to Moonfleet, and\npressed her to leave the place, and they would give her in charge to a", "and we were in Moonfleet Bay. Oh, what a rush of thought then came,\ndazing me with its sweet bitterness, to think that after all these weary" ], [ "The merchant had turned sharp round at the crash, and darted for the\ndiamond, crying 'Thieves! thieves! thieves!' He was nearer to it than I,", "This brought the diamond-buyer to his feet in a moment. 'You fool, you\ncursed fool!' he shrieked, 'are you come here to beard me? and when I say", "man to dog me? The merchant sat still for a minute as though thinking,\nand then he took one of the diamonds that lay on the table, and then", "Aldobrand had said 'twas glass. Then the diamond merchant laughed, and\ntook from his purse our great diamond, which seemed to fill the place", "'No toys like that,' he said again, repeating his last words, and Elzevir\nanswered: 'May it please your worship, we are sailors from over sea, and\nthis boy has a diamond that he would sell.'", "made a little quick move as though to speak, but did not, waiting till I\nhad finished the tale. Then he broke out with: 'John, the diamond is yet", "sand? So I turned my back on the diamond merchant, and looked out of the\nwindow, waiting all the while to catch the slightest word that might\ncome from his lips.", "Thus much Elzevir explained to me afterwards, but at that time when\nthat pretender spoke of the diamond as being his own, Elzevir cut in", "that we are English sailors, and that the stone is fairly come by.' And\nhe let his fingers play with the diamond on the table, as if he feared it\nmight slip away from him.", "I held the diamond between finger and thumb of my right hand, and waved\nit for Elzevir to see. By stretching out my arm I could have placed it in", "There was the diamond in his hands--our diamond, my diamond--in his\nhands, and I but two yards from my own; only a flimsy veil of wood and", "I expected. Then I reminded him how the old merchant's face was full of\nwonder and delight when first he saw the stone, which showed he thought\nit was real then, and how afterwards, though he schooled his voice to", "answers, but to know whether your worship will buy this diamond, and at\nwhat price. We have no time to tell long histories, and so must only say", "In front of him, on the table, lay the diamond--our diamond, my diamond;\nfor I knew it was a diamond now, and not false. It was not alone, but had", "green liquid. Then he sat down again, drew the diamond gently from\nElzevir's fingers, which were loth to part with it, and began using his", "'Have a care how you touch the treasure: it was evilly come by and will\nbring a curse with it.' Ay, 'twas the diamond had done it all, and", "diamond, these had forthwith melted through unfortunate ventures and\nspeculations, till he had little remaining to him but the money that this\nsame diamond had brought.", "describing the treasure further than to call it a diamond, nor saying\nwhere it was to be found. Doubtless he meant to get it himself, sell it,", "all other diamonds in the world than aught should come to thee. So, if\nthou doubtest, let me go, or let not any go at all.'", "before might have made away with the diamond. Now, though I have spoken\nof this journey down the passage as though it were a mile long, and\nthough it verily seemed so to me that night, yet I afterwards found it" ], [ "On the third of November, a few days after this visit to the Why Not?,\nthe wind, which had been blowing from the south-west, began about four in", "My name is John Trenchard, and I was fifteen years of age when this story\nbegins. My father and mother had both been dead for years, and I boarded", "So it came about that on a certain afternoon in the beginning of\nFebruary, in the year 1758, I was sitting on this tomb looking out to", "It was in the tenth year of our captivity, and in the twenty-sixth of my\nage, that one morning instead of the guard marching us to work, they", "Moonfleet mourns\"; and I have heard my father tell that the last time\nthey stirred was in Queen Anne's second year, when the great storm blew", "I shall first speak of one evening in the fall of the year 1757. It must\nhave been late in October, though I have forgotten the exact date, and I", "sea. Though it was so early in the year, the air was soft and warm as a\nMay day, and so still that I could hear the drumming of turnips that", "We took an evening in late summer for our venture, and came to\nAldobrand's house about an hour before sundown. I remember the place", "But on this third of November there was no wreck, only such a wind as I\nhave never known before, and only once since. All night long the tempest", "In all the years the locusts ate for me at Ymeguen, there is but one\nthing I need speak of here. I had been there a week when I was loosed one", "being caught. But that morning there was something else to take off our\nthoughts; for before the service was well begun, we became aware of a\nstrange noise under the church. The first time it came was just as Mr.", "and began. It was dull enough, though I had borne such tribulations\nbefore, and the drone of my aunt's voice would have sent me to sleep, as", "for very anxiousness of expectation. It was that point in the story of\nthe 'Wonderful Lamp', where the false uncle lets fall a stone that seals", "There was a little dimple on the hillside above the house, green with\nburdocks in summer and filled with dry leaves in winter--just big enough", "minute, that seemed as an age, they came no nearer. What a minute was\nthat to me! Even now, so many years after, I can recall the anguish of", "fire-arms thirty years, and leave them at home at a pinch like this.'\nWith that he flung himself down where there was a narrow shadow close", "Gaffer George was flinging into a cart on the hillside, near half a mile\naway. Ever since the floods of which I have spoken, the weather had been", "wilt have heard how thirteen years ago a daft body we called Cracky Jones\nwas found one morning in the churchyard dead. He was gone missing for a", "'There is a fortnight yet to run, and then you and I shall be cut adrift\nfrom our moorings. It is a cruel thing to see the doors of this house", "side that wanted landing badly. But one evening when he had won at\nbackgammon, and was in an open mood, he took me into confidence, setting\ndown the dice box on the table, and saying--" ], [ "The Why Not? was not the real name of the inn; it was properly the Mohune\nArms. The Mohunes had once owned, as I have said, the whole of the", "knew the Mohune 'Y' for miles around, and a former landlord having called\nthe inn the Why Not? in jest, the name had stuck to it ever since.", "reads a legal description of the Why Not?, calling it the Mohune Arms, an\nexcellent messuage or tenement now used as a tavern, and speaking of the", "So the clerk read in a singsong voice that the property of the duchy of\nCornwall, called the Mohune Arms, an inn or tavern, with all its land,", "Mr. Glennie, who knew more about such things than anyone else, told me\nthat Blackbeard was none other than a certain Colonel John Mohune,", "I answered that I was a farm lad who had walked from Purbeck, and sought\nan inn called the Why Not? kept by one Master Block. When she heard that,", "Thus we came to the Why Not? and there set him down. The inn had not\nbeen let, as I learned afterwards, since Maskew died; and they had put", "deceased about one hundred years ago. He would have it that Colonel\nMohune, in the dreadful wars against King Charles the First, had deserted", "will see, I was to bear it all my life, and shall carry its impress with\nme to the grave. The Mohune shield was plain white or silver, and bore", "half the chancel, and that there were more than a score of Mohunes lying\nthere. It had not been opened for over forty years, since Gerald Mohune,", "was Colonel John Mohune resting as he had been laid out a century ago. I\nlifted that portion of the lid which had been left behind, and reached", "Colonel John Mohune had put this sign there a century ago, either by his\nown hands or by those of a servant; and then I thought of Mr. Glennie's", "The words were scarce out of his mouth when Maskew caps them with 21,\nand so in less than a minute the rent of the Why Not? was near doubled.", "owing to the Mohunes owning all the land, the only duchy estate there was\nthe Why Not? and the only duty of the bailiff to renew that five-year", "unlikely spot for Colonel Mohune to seek his treasure in; for had it been\nburied there, he would have had a hundred chances to have it up in his", "So I told him all that Mr. Glennie had told me, how that Colonel John\nMohune, whom men called Blackbeard, was a wastrel from his youth, and", "gate-house reached by a stone bridge crossing the moat; and when I saw it\nI remembered that 'twas here Colonel Mohune had earned the wages of his", "Mohune vault, I would not have believed him. Yet here I was, and had\nadvanced along the path of terror so gradually, and as it were foot by", "third, that if it came to blows, Block was strong enough to give account\neven of a Mohune. Mr. Glennie went on with his sermon, making as though", "there the King's jailer, but was false to his trust. For the King,\ncarrying constantly hidden about his person a great diamond which had\nonce been given him by his brother King of France, Mohune got wind of" ], [ "He drank again, and then rose to his feet, shaking himself like a dog;\nand walking briskly across the cave twice or thrice to make sure, as I", "'Keep thine eyes shut, John,' he said, 'and count up numbers loud to me,\nthat I may know thou art not turning faint.' So I gave out, 'One, two,", "forth either lapel a great wicker-bound flask. He put one to his lips,\ntilting it and drinking long and deep, and then passed it to me, with a", "Ratsey spoke first. 'John, pass me the flask; I can hear voices mounting\nthe cliff of those poor souls of the _Florida_.'", "spirit, for I would scarce have paused to sate that thirst even with\nmolten lead. So I felt my way down the passage back to the vault, and", "He opened a cupboard in the panelling, and took out from it a little\npair of scales, some crystals, a black-stone, and a bottle full of a", "set the casks tapping one against another. So as I lay on the ground with\nmy ear glued close against the wall, who should march round the church", "It was those few staggering paces that ruined him, for with the last he\ncame upon the stones close to the well-mouth, that had been made wet and", "Elzevir thanked him kindly but would not drink, so the man led on and we\nfollowed him. We crossed a bailey or outer court where the rain had made", "see it for yourself in Moonfleet churchyard to this day, and read the\ninscription too, though it is yellow with lichen, and not so plain as it\nwas that night. This is how it runs:", "Cracky Jones lay there, with his face thin and shrunk, yet all the doited\nlook gone out of it. We tried to force some brandy in his mouth, but he", "and the hollow gurgle of good liquor being poured from breakers into the\ncasks. By and by fumes of brandy began to fill the air, and climb to", "And still the hours passed, and at last I knew by the glimmer of light\nin the tomb above that the sun had risen again, and a maddening thirst", "poured out a glass for Ratsey and himself. Then he half-filled the third,\nand pushed it along the table to me, saying, 'There, take it, lad, if", "hair was matted with the salt, and my flesh white and shrivelled, but\nthey forced liquor into my mouth, and so I lay in drowsy content till\nutter weariness bound me in sleep.", "No time was wasted in words; Elzevir had the flask in his pocket, and the\nboy was biting the crown.\n\n'What shot have you?' said Elzevir.", "lying on the deck, and the hatch left open. Then Elzevir saw what it all\nmeant, and seized the key. 'John,' cries he, speaking to me in English,", "Ratsey raised his glass almost before it was filled. He sniffed the\nliquor and smacked his lips. 'O rare milk of Ararat!' he said, 'it is", "'John, I have observed that you are often out and about of nights,\nsometimes as late as half past seven or eight. Now, it is not seemly for", "as I had got down earlier in the day. So on that February night John\nTrenchard found himself standing in the heap of loose fallen mould at the" ], [ "the bidding is soon done; for Elzevir offers a rent of 12 a year, which\nhas always been the value of the Why Not? The clerk makes a note of", "standing round; for though the auction of the Why Not? was in itself a\ntrite thing with a foregone conclusion, yet the bailiff's visit always", "The Why Not? was not the real name of the inn; it was properly the Mohune\nArms. The Mohunes had once owned, as I have said, the whole of the", "group to see the start, but it quickly melted; and before the clatter of\nhoofs died away, the report spread through the village that Maskew had\nturned Elzevir out of the Why Not?", "The words were scarce out of his mouth when Maskew caps them with 21,\nand so in less than a minute the rent of the Why Not? was near doubled.", "Thus we came to the Why Not? and there set him down. The inn had not\nbeen let, as I learned afterwards, since Maskew died; and they had put", "CHAPTER 7\n\nAN AUCTION", "knew the Mohune 'Y' for miles around, and a former landlord having called\nthe inn the Why Not? in jest, the name had stuck to it ever since.", "But that same day came Sam Tewkesbury to the Why Not? about nightfall,\nand begged a glass of rum, being, as he said, 'all of a shake', and", "I answered that I was a farm lad who had walked from Purbeck, and sought\nan inn called the Why Not? kept by one Master Block. When she heard that,", "except the Why Not? which still remains the Duchy Inn. And that was let\nagain, and men left the Choughs at Ringstave and came back to their old", "That same evening Elzevir and I left the Why Not?, went up through the\nvillage, climbed the down, and were at the brow by sunset. We had started", "enough, being from the captain's own store, but nothing to the old Ararat\nmilk of the Why Not? Elzevir took a pull at it, and then flung the bottle", "done, and for many days after the auction he durst not show his face\nabroad. Yet Damen of Ringstave and some others of the landers' men, who", "fell out, then land or lease fell to the last bidder. So after dinner was\nover and the table cleared, Mr. Clerk takes out a roll of papers and", "up, so Elzevir was not yet gone to bed. It was strange, for the Why Not?\nhad been shut up early for many a long night past, and I crossed over", "though I shall not write here what we said, because it was mostly silly\nstuff. She spoke much of the auction and of Elzevir leaving the Why Not?,", "the pin gave a lurch, and I thought the Why Not? was saved, though at the\nprice of ruin. No; the pin had not fallen, there was a film that held it", "reads a legal description of the Why Not?, calling it the Mohune Arms, an\nexcellent messuage or tenement now used as a tavern, and speaking of the", "On the third of November, a few days after this visit to the Why Not?,\nthe wind, which had been blowing from the south-west, began about four in" ], [ "describing the treasure further than to call it a diamond, nor saying\nwhere it was to be found. Doubtless he meant to get it himself, sell it,", "There was the diamond in his hands--our diamond, my diamond--in his\nhands, and I but two yards from my own; only a flimsy veil of wood and", "had come to find it, but only of it, the diamond, and that with such a\nprize Elzevir and I could live happily ever afterwards, and that I should", "or perhaps the diamond itself shining out of a cranny. But I could\nperceive nothing; and what made it more difficult was, that the walls\nhere were lined completely with small flat bricks, and looked much the", "silver. The shape of this locket was not unlike a crown-piece, only three\ntimes as thick, and as soon as I set eyes upon it I never doubted but\nthat inside would be found the diamond.", "before might have made away with the diamond. Now, though I have spoken\nof this journey down the passage as though it were a mile long, and\nthough it verily seemed so to me that night, yet I afterwards found it", "The merchant had turned sharp round at the crash, and darted for the\ndiamond, crying 'Thieves! thieves! thieves!' He was nearer to it than I,", "Thus much Elzevir explained to me afterwards, but at that time when\nthat pretender spoke of the diamond as being his own, Elzevir cut in", "In front of him, on the table, lay the diamond--our diamond, my diamond;\nfor I knew it was a diamond now, and not false. It was not alone, but had", "made a little quick move as though to speak, but did not, waiting till I\nhad finished the tale. Then he broke out with: 'John, the diamond is yet", "there the King's jailer, but was false to his trust. For the King,\ncarrying constantly hidden about his person a great diamond which had\nonce been given him by his brother King of France, Mohune got wind of", "'Have a care how you touch the treasure: it was evilly come by and will\nbring a curse with it.' Ay, 'twas the diamond had done it all, and", "that we are English sailors, and that the stone is fairly come by.' And\nhe let his fingers play with the diamond on the table, as if he feared it\nmight slip away from him.", "green liquid. Then he sat down again, drew the diamond gently from\nElzevir's fingers, which were loth to part with it, and began using his", "Aldobrand had said 'twas glass. Then the diamond merchant laughed, and\ntook from his purse our great diamond, which seemed to fill the place", "'No toys like that,' he said again, repeating his last words, and Elzevir\nanswered: 'May it please your worship, we are sailors from over sea, and\nthis boy has a diamond that he would sell.'", "many small coffers and strong-boxes of iron. The jeweller was sitting at\na table with his face to the sun, holding the diamond up against the", "I held the diamond between finger and thumb of my right hand, and waved\nit for Elzevir to see. By stretching out my arm I could have placed it in", "This brought the diamond-buyer to his feet in a moment. 'You fool, you\ncursed fool!' he shrieked, 'are you come here to beard me? and when I say", "flower. The scarlet of its bells was almost black, but there was no\nmistaking it, and I stooped to pick the diamond up. Was it possible? was" ], [ "Then Elzevir sat up, stretching himself like one waking out of sleep, and\nsaid: 'We must be gone. They will not be back for some time yet, and,", "Then Elzevir spoke. 'John' he said, 'there is no time to play the woman;\nanother minute of this and we are lost. Pluck up thy courage, keep thy\neyes to the cliff, and forward.'", "should wander. 'Twas three months after that, and the mark healed and\nwell set, that I saw Elzevir again; and as we passed each other in the", "Elzevir was out most of the day, so that I saw him only at breakfast and\nsupper. He had been several times to Carisbrooke, and told me that the", "chills, and I have not been in this place for ten years past, since poor\nElzevir was cut adrift.'", "Elzevir. Thus we marched a ten days' journey into the country to a place\ncalled Ymeguen, where a royal fortress was building. That was a weary", "Elzevir seemed not to hear what he said, but only called out 100, with\nhis face still looking out to sea, and the same sturdiness in his voice.", "fled from England, and see Grace; so that I might tell her all that\nhappened about her father's death, saving only that Elzevir had meant", "John and little Elzevir, our firstborn, play; and now our daughter is\ngrown up, fair to us as the polished corners of the Temple, and our sons", "For a long time after all had gone, Elzevir sat at the table with his\nhead between his hands, and I kept quiet also, both because I was myself", "another gang joined us, and how my heart went out when I saw Elzevir\namong them! It was two years or more since we had met even to pass a", "'John, there is only Elzevir and I who know that you have seen the\ninside of our bond-cellar; and 'tis well, for if some of the landers", "Elzevir of 50, and 20 for me, so we had reason to lie close. It must\nhave been Maskew that listened that night at the door when Elzevir told", "Elzevir, and twenty pounds for an empty pumpkin-top like thine, is a fair\nround sum, and there are vagabonds about this countryside scurvy enough", "'Twas likely Elzevir had something of the same thoughts, for he spoke\nagain, forgetting perhaps that I was man now, and no longer boy, and", "to use them. There were one or two, before they left, shouted to Elzevir\nand me to try to make us follow them; partly, I think, because they", "And Elzevir, seeing me, thought for a moment I had gone mad, and was\ndragging myself over the cliff; but then saw how it was, and moved", "Elzevir was the first to speak: 'Can you stand, John? Is the bone\nbroken?'", "Elzevir and me, and was shouting to them for help. The sun had risen, and\nhis first rays blazed on a window far away in the west on top of Portland", "up, so Elzevir was not yet gone to bed. It was strange, for the Why Not?\nhad been shut up early for many a long night past, and I crossed over" ], [ "'We are lost,' cries Elzevir; 'it is the Posse; but if we die, this\ntraitor shall go before us,' and he makes towards Maskew to brain him\nwith the pistol.", "Then Elzevir sat up, stretching himself like one waking out of sleep, and\nsaid: 'We must be gone. They will not be back for some time yet, and,", "And Elzevir, seeing me, thought for a moment I had gone mad, and was\ndragging myself over the cliff; but then saw how it was, and moved", "Then Elzevir spoke to him, not roughly, but resolved; and yet with\nmelancholy, like a judge sentencing a prisoner:", "But Elzevir was galled to the quick with all their falsehoods, and burst\nout again, that they were liars and the jewel ours; till a jailer who\nstood by struck him on the mouth and cut his lip, to silence him.", "meant to do any such thing. Thus at the last Elzevir, who was the\nstubbornest of men, and never yielded, was overborne by his great love to\nme, and yielded here.", "It was by the side of one of these old shafts that Elzevir laid me down\nat last. The light was very low, showing all the little unevennesses of", "Elzevir had given a little groan when he saw me force the window, but\nfollowed me into the room and was now at my side. 'Thieves! thieves!", "Then Elzevir broke in quickly, fearing no doubt lest I should be betrayed\ninto saying more: 'Nay, sir, we are not come to play at questions and", "ground. And close beside them lies Elzevir Block, most faithful and most\nloved by me, with a text on his tombstone: 'Greater love hath no man than", "Elzevir looked full at Maskew, and raised his pistol; but before he had\ntime to take aim, I dashed upon him like a wild cat, springing on his", "I thought that Elzevir softened a little as Ratsey spoke of his son, and\nhe said, 'Ay, David rests in peace. 'Tis they that brought him to his end", "Elzevir seemed not to hear what he said, but only called out 100, with\nhis face still looking out to sea, and the same sturdiness in his voice.", "Elzevir looked down at me when I sighed, and seeing, I suppose, that I\nwas sorrowful, tried to put a better face on a bad business. 'Forgive me,", "Elzevir told me afterwards.", "Elzevir and me, and was shouting to them for help. The sun had risen, and\nhis first rays blazed on a window far away in the west on top of Portland", "poor child alone in it with her dead father; and there were not wanting\nsome to say it was all a judgement; and called to mind how Elzevir had", "and there been taken with a sudden giddiness, and never lived to tell\nwhat they had seen; and so I said to Master Elzevir, 'Art sure the well", "Then Elzevir spoke. 'John' he said, 'there is no time to play the woman;\nanother minute of this and we are lost. Pluck up thy courage, keep thy\neyes to the cliff, and forward.'", "Elzevir, who sadly needs the talk of kindly friends to cheer him, and\nwe'll find you a glass of Hollands to keep out autumn chills.'" ], [ "his hands from behind his back and hold them up in supplication. He\noffered money; a thousand, five thousand, ten thousand pounds to be set", "The merchant had turned sharp round at the crash, and darted for the\ndiamond, crying 'Thieves! thieves! thieves!' He was nearer to it than I,", "and took his life away? Do you not know? It was this very same that shall\nflash in yours. So make what peace you may with God, for you have little\ntime to make it.'", "and afterwards apply the profit to his good purpose, but before he could\ndo so death called him suddenly to his account. So men say that he cannot", "I expected. Then I reminded him how the old merchant's face was full of\nwonder and delight when first he saw the stone, which showed he thought\nit was real then, and how afterwards, though he schooled his voice to", "it. Even this wicked man durst not spend it for himself, but meant to\ngive it to the poor; so, if indeed you ever find it, keep it not for", "rest in his grave, not having made even so tardy a reparation, and never\nwill rest unless the treasure is found and spent upon the poor.'", "should some day come back to you, but put it to such uses as Colonel\nMohune thought would help his sinful soul.'", "the end of his life, being filled with fear and remorse (as must always\nhappen with evil livers at the last), he sent for Rector Kindersley of", "Dorchester to confess him, though a Protestant, and wished to make amends\nby leaving that treasure so ill-gotten from King Charles (which was all", "At last he spoke again, but the brave words were gone, and the thin voice\nwas thinner. He had dropped threats, and was begging piteously for his", "this jewel, and promised that if it were given him he would wink at His\nMajesty's escape. Then this wicked man, having taken the bribe, plays", "it. Which stone he, Aldobrand, had sold and converted into money, and\nhaving so done, found afterwards both his fortune and his health decline;\nso that, although he had great riches before he became possessed of the", "yourself, but set his soul at rest by doing with it what he meant to do,\nor it will bring a curse upon you.'", "late then, for the merchant was writing down my answer in a parchment\nledger. And though it would seem to most but a little thing that he", "rusted out his life, but when he neared his end was filled with fear, and\nsent for a clergyman to give him consolation. And 'twas at the parson's", "was an evil man, and besides numberless lesser crimes, had on his hands\nthe blood of a faithful servant, whom he made away with because chance\nhad brought to the man's ears some guilty secret of the master. Then, at", "Elzevir looked down at me when I sighed, and seeing, I suppose, that I\nwas sorrowful, tried to put a better face on a bad business. 'Forgive me,", "freely if thou art led to think that there are evil presences near, and\nin such lonely places as this cave.' I humoured him by doing as he\ndesired; and that the rather because I hoped his thoughts would thus be", "offered. Then Ratsey spoke up for me and said--''Tis a false scent. The\nboy is well enough, and simple, and has told me many a time he seeks the" ], [ "'Grace, it is I, John Trenchard, who am come to say goodbye before I\nleave these parts, and have much to tell that you would wish to hear. Are\nthere any beside in the house with you?'", "sameness of school, and scenting a disturbance in the air. Only Grace was\nill at ease for fear her father should say something unseemly, and kept", "me than apples or bird-batting, and that was Grace Maskew. She was an\nonly child, and about my own age, or little better, at the time of which", "John and little Elzevir, our firstborn, play; and now our daughter is\ngrown up, fair to us as the polished corners of the Temple, and our sons", "knew their place as soon as they were put down, but often catching sight\nof Grace, and sometimes finding occasion to talk with her. Thus time", "fled from England, and see Grace; so that I might tell her all that\nhappened about her father's death, saving only that Elzevir had meant", "After that Grace came no more to school, both because her father had\nsaid she should not, and because she was herself ashamed to go back", "past, but laid it out in good works, with Mr. Glennie and Grace to help\nme. First, we rebuilt and enlarged the almshouses beyond all that Colonel", "My name is John Trenchard, and I was fifteen years of age when this story\nbegins. My father and mother had both been dead for years, and I boarded", "were yammering together that one should be so near it; and clear above\nthem all I heard Grace's voice, sweet and grave, 'Have a care, have a", "see the thin blue smoke hang above the village on summer evenings. And\nin the Manor woods my wife and I have seen a little Grace and a little", "from my seat, I saw he held Grace by the hand, and so hung back for a\nmoment, and before I got my thoughts together he was gone, and I saw the", "passed. And this was that I had resolved to see Grace before I left these\nparts, and yet knew not how to tell it to Elzevir. But on this evening,", "The bolts were being drawn, and a girl's voice asked, 'Who is there?' I\ngave a jump to hear that voice, knowing it well for Grace's, and had a", "cheer, and have no fear of the law; for that the ban against me and the\nhead-price had been dead for many a year. 'Twas Grace had made her", "are gone out to serve King George on sea and land. But as for us, for\nGrace and me, we never leave this our happy Moonfleet, being well", "only twenty-four hours ago; and how far off we were now, and how long it\nwas likely to be before I saw that dear village and Grace again.", "After that he took Grace by the arm, and bade her get hat and cape and\ncome with him. 'For,' says he, 'I will not have thee taught any more by a", "pounds, or fifty, or a hundred thousand, when I heard him speaking, and\nturned round quick. 'My sons, and you especially, son John,' he said, and", "Till Maskew came there had been none living in the Manor House for a\ngeneration, so the village children used the terrace for a playground," ], [ "'Grace, it is I, John Trenchard, who am come to say goodbye before I\nleave these parts, and have much to tell that you would wish to hear. Are\nthere any beside in the house with you?'", "My name is John Trenchard, and I was fifteen years of age when this story\nbegins. My father and mother had both been dead for years, and I boarded", "using a name he had not used for years. 'Johnnie,' he said, 'I am cold\nand sore downhearted. In ten minutes we shall be in the surf. Go down to", "fled from England, and see Grace; so that I might tell her all that\nhappened about her father's death, saving only that Elzevir had meant", "pounds, or fifty, or a hundred thousand, when I heard him speaking, and\nturned round quick. 'My sons, and you especially, son John,' he said, and", "Block and John Trenchard, who left so long ago, were come back to\nMoonfleet, and that the old lander was drowned saving the young man's", "knew their place as soon as they were put down, but often catching sight\nof Grace, and sometimes finding occasion to talk with her. Thus time", "me than apples or bird-batting, and that was Grace Maskew. She was an\nonly child, and about my own age, or little better, at the time of which", "John and little Elzevir, our firstborn, play; and now our daughter is\ngrown up, fair to us as the polished corners of the Temple, and our sons", "from my seat, I saw he held Grace by the hand, and so hung back for a\nmoment, and before I got my thoughts together he was gone, and I saw the", "'Nay, son John,' squeaked the old man, seeing I was so put about, 'take\nit not hardly, for though this is but paste, I say not it is worthless.", "After that Grace came no more to school, both because her father had\nsaid she should not, and because she was herself ashamed to go back", "Now I was not used to walk under false names, and he took me unawares,\nso I must needs blurt out, 'My name is John Trenchard, sir, and I come\nfrom Moonfleet, in Dorset.'", "'He made a good end, John,' he said, rising from his knees, 'and I pray\nthat our end may be in as good cause when it comes. For with the best of", "And when I thought of Grace, and what such a deed would mean to her, my\npulse beat so fierce that I must needs spring to my feet and run to", "sameness of school, and scenting a disturbance in the air. Only Grace was\nill at ease for fear her father should say something unseemly, and kept", "I guessed that he had spoken with Grace that day, and as I lay dozing in\nfront of the fire, alone in this old room I knew so well, alone with that", "cheer, and have no fear of the law; for that the ban against me and the\nhead-price had been dead for many a year. 'Twas Grace had made her", "passed. And this was that I had resolved to see Grace before I left these\nparts, and yet knew not how to tell it to Elzevir. But on this evening,", "Then Elzevir spoke. 'John' he said, 'there is no time to play the woman;\nanother minute of this and we are lost. Pluck up thy courage, keep thy\neyes to the cliff, and forward.'" ], [ "diamond could be hid, and thought at last it must be buried in the\nchurchyard, because of the talk of Blackbeard being seen on wild nights", "I thought much over what Mr. Glennie had said and fell to wondering where\nBlackbeard could have hid his diamond, and whether I might not find it", "casket, which had only to be opened to show Blackbeard's diamond gleaming\ninside, I had stumbled on the Mohunes' vault, and found it to be nothing", "plain enough, but not a word to say where was the jewel. Some said that\nit was all a mockery, and that Blackbeard never had the jewel; others", "and his burial verse. It was a cunning plan of Blackbeard; but other folk\nwere quite as cunning as he, and here was all his treasure at our feet. I", "So I told him all that Mr. Glennie had told me, how that Colonel John\nMohune, whom men called Blackbeard, was a wastrel from his youth, and", "Blackbeard was a spendthrift, squandering all he had, and would most\nsurely have squandered the jewel too, could he have laid his hands on it.", "Blackbeard was one of the Mohunes who had died a century back, and was\nburied in the vault under the church, with others of his family, but", "Blackbeard piping his lost Mohunes to hunt for treasure. So, though he\nsaw nothing, he turned tail and never stopped running till he stood at", "had come to this place to look for Blackbeard's treasure, and might have\ngone away without knowing even so much as where he lay, had not chance", "Mr. Glennie, who knew more about such things than anyone else, told me\nthat Blackbeard was none other than a certain Colonel John Mohune,", "hope. So it was all a sham, a bit of glass, for which we had risked our\nlives. Blackbeard had only mocked us even in his death, and from rich men", "had once hung round Blackbeard's to scare evil spirits from his tomb. If\nit could frighten them from him, might it not rout them now, and make", "'Have a care how you touch the treasure: it was evilly come by and will\nbring a curse with it.' Ay, 'twas the diamond had done it all, and", "my aunt read of spiritualities and saving grace, I had my mind on\ndiamonds and all kinds of mammon, for I never doubted that Blackbeard's", "bottom of the hole, with a mixture of courage and cowardice in his heart,\nbut overruling all a great desire to get at Blackbeard's diamond.", "All this I told Elzevir, and he listened close as though some of it was\nnew to him. When I was speaking of Blackbeard being at Carisbrooke, he", "small--yet even if I had not known that Blackbeard had buried a diamond,\nand if we had not come hither of set purpose to find it, I should not", "that we are English sailors, and that the stone is fairly come by.' And\nhe let his fingers play with the diamond on the table, as if he feared it\nmight slip away from him.", "So he spoke, and it seemed there was a little halting at first, as of\nmen not liking to take Blackbeard's name in Blackbeard's place, or raise" ], [ "The village of Moonfleet lies half a mile from the sea on the right or\nwest bank of the Fleet stream. This rivulet, which is so narrow as it", "MOONFLEET\n\n J. MEADE FALKNER\n\n 1898", "Our village lies near the centre of Moonfleet Bay, a great bight twenty\nmiles across, and a death-trap to up-channel sailors in a", "'Nay, master, grant me leave to go yet a little farther afield. You know\nthat I was born in Moonfleet, and have been bred there all my life, and", "CHAPTER 1\n\nIN MOONFLEET VILLAGE\n\nSo sleeps the pride of former days--_More_", "Glennie, Perpetual Curate of Moonfleet, in the County of Dorset, England,\nand written in English by Heer Roosten, Attorney and Signariat of the", "John Trenchard, at Moonfleet, Dorset, to apprise him that he was left\nsole heir. That address, indeed, was all the indication that Aldobrand", "1 IN MOONFLEET VILLAGE\n\n 2 THE FLOODS\n\n 3 A DISCOVERY\n\n 4 IN THE VAULT", "and having made money in Edinburgh, had gone so far south as Moonfleet to\nget quit, as was said, of the memories of rascally deeds. It was about", "'From Moonfleet, in Dorset,' he repeated to himself, as he finished\nwriting my answer. 'And how did John Trenchard come by this?' and he\ntapped the diamond as it lay on the table before him.", "TRENCHARD, both of the Parish of Moonfleet, in the aforesaid County: His\nMajesty, for the better discovering and bringing to Justice these", "see it for yourself in Moonfleet churchyard to this day, and read the\ninscription too, though it is yellow with lichen, and not so plain as it\nwas that night. This is how it runs:", "When I was a child I thought that this place was called Moonfleet,\nbecause on a still night, whether in summer, or in winter frosts, the", "and we were in Moonfleet Bay. Oh, what a rush of thought then came,\ndazing me with its sweet bitterness, to think that after all these weary", "he, Aldobrand, was desirous to leave all his goods to one John Trenchard,\nof Moonfleet, Dorset, in the Kingdom of England. And that he was moved", "Moonfleet mourns\"; and I have heard my father tell that the last time\nthey stirred was in Queen Anne's second year, when the great storm blew", "let her be, for she could never live anywhere else than in Moonfleet,\nand that the air and commodity of the place suited her well. So they went", "GUTENBERG EBOOK MOONFLEET ***\n\n\n\n\nProduced by Riikka Talonpoika, Mary Meehan and the Online Distributed\nProofreading Team", "Moonfleet. It was as fine a lander's crew as ever stood together, not\neven excepting Captain Jordan's, and now must all be broken up; for this", "are gone out to serve King George on sea and land. But as for us, for\nGrace and me, we never leave this our happy Moonfleet, being well" ], [ "John Trenchard, at Moonfleet, Dorset, to apprise him that he was left\nsole heir. That address, indeed, was all the indication that Aldobrand", "'Grace, it is I, John Trenchard, who am come to say goodbye before I\nleave these parts, and have much to tell that you would wish to hear. Are\nthere any beside in the house with you?'", "is the only sort of change for which we look in Moonfleet. And among\nthose who had passed away was Miss Arnold, my aunt, so that I was", "with my aunt, Miss Arnold, who was kind to me in her own fashion, but too\nstrict and precise ever to make me love her.", "Block and John Trenchard, who left so long ago, were come back to\nMoonfleet, and that the old lander was drowned saving the young man's", "he, Aldobrand, was desirous to leave all his goods to one John Trenchard,\nof Moonfleet, Dorset, in the Kingdom of England. And that he was moved", "'Do you not know me, Master Ratsey?' and I looked full in his face. 'I am\nJohn Trenchard, who left you so long ago. I pray you tell me where is\nMaster Block?'", "Now I was not used to walk under false names, and he took me unawares,\nso I must needs blurt out, 'My name is John Trenchard, sir, and I come\nfrom Moonfleet, in Dorset.'", "TRENCHARD, both of the Parish of Moonfleet, in the aforesaid County: His\nMajesty, for the better discovering and bringing to Justice these", "My name is John Trenchard, and I was fifteen years of age when this story\nbegins. My father and mother had both been dead for years, and I boarded", "'From Moonfleet, in Dorset,' he repeated to himself, as he finished\nwriting my answer. 'And how did John Trenchard come by this?' and he\ntapped the diamond as it lay on the table before him.", "the sweeps, I took my glass to scan the coast-line, and lo, here on the\ntomb-top sits Master Trenchard. I could not see his face, but knew him by", "He therefore left to John Trenchard everything of which he should die\npossessed, and being near death begged his forgiveness if he had wronged", "where Aldobrand sat, he bows to me and says in English, 'Your servant,\nMr. Trenchard. I wish you a good day, Sir John Trenchard--of Moonfleet,", "Trenchard's that I mistrust; he is for ever wandering in the graveyard,\nand I have seen him a score of times sitting on this tomb and looking out", "had given, though he constantly promised his attorney to let him have\ncloser information as to Trenchard's whereabouts, in good time. This\ninformation was, however, always postponed, perhaps because Aldobrand", "'There is a boy of Trenchard's,' said a voice that I thought was\nParmiter's, who lived at the bottom of the village--'there is a boy of", "hoped he might get better and so repent of his repentance. So all Heer\nRoosten had to do was to write to Trenchard at Moonfleet, and in due", "APPREHENSION of the said JOHN TRENCHARD. Such INFORMATION to be given to\nME, or to the GOVERNOUR of His MAJESTY'S GAOL in Dorchester.", "course the letter was returned to him, with the information that\nTrenchard had fled that place to escape the law, and was then nowhere to\nbe found. After that Heer Roosten was advised to write to the minister of" ], [ "and his burial verse. It was a cunning plan of Blackbeard; but other folk\nwere quite as cunning as he, and here was all his treasure at our feet. I", "had come to this place to look for Blackbeard's treasure, and might have\ngone away without knowing even so much as where he lay, had not chance", "diamond could be hid, and thought at last it must be buried in the\nchurchyard, because of the talk of Blackbeard being seen on wild nights", "Blackbeard was one of the Mohunes who had died a century back, and was\nburied in the vault under the church, with others of his family, but", "remembered poor Cracky Jones found dead in the churchyard, and how men\n_said_ he had met Blackbeard in the night.", "had once hung round Blackbeard's to scare evil spirits from his tomb. If\nit could frighten them from him, might it not rout them now, and make", "treasure just in the very place and hour that Blackbeard loved; and as I\npassed the turnstile I half-expected that a tall figure, hairy and", "Blackbeard piping his lost Mohunes to hunt for treasure. So, though he\nsaw nothing, he turned tail and never stopped running till he stood at", "hope. So it was all a sham, a bit of glass, for which we had risked our\nlives. Blackbeard had only mocked us even in his death, and from rich men", "order, and then safely walled up, and after that nothing was more ever\nheard of Blackbeard and his lost Mohunes. And as for the landers, I", "I thought much over what Mr. Glennie had said and fell to wondering where\nBlackbeard could have hid his diamond, and whether I might not find it", "Blackbeard's tomb, deemed it a light thing to be left in the dark to wait\nan hour till morning. So I sat down on the floor of the passage, which,", "I had lain, therefore, all that time, cheek by jowl with Blackbeard\nhimself, with only a thin shell of tinder wood to keep him from me, and", "In returning to the vault, I had no very sure purpose in mind; only a\nvague surmise that this finding of Blackbeard's coffin would somehow lead", "plain enough, but not a word to say where was the jewel. Some said that\nit was all a mockery, and that Blackbeard never had the jewel; others", "All this I told Elzevir, and he listened close as though some of it was\nnew to him. When I was speaking of Blackbeard being at Carisbrooke, he", "So he spoke, and it seemed there was a little halting at first, as of\nmen not liking to take Blackbeard's name in Blackbeard's place, or raise", "one summer morning, lying dead on the grass, it was thought that he had\nmet Blackbeard in the night.", "So I told him all that Mr. Glennie had told me, how that Colonel John\nMohune, whom men called Blackbeard, was a wastrel from his youth, and", "house was left well behind me. At the churchyard wall my courage had\nwaned somewhat: it seemed a shameless thing to come to rifle Blackbeard's" ], [ "Mr. Glennie, who knew more about such things than anyone else, told me\nthat Blackbeard was none other than a certain Colonel John Mohune,", "So I told him all that Mr. Glennie had told me, how that Colonel John\nMohune, whom men called Blackbeard, was a wastrel from his youth, and", "So he spoke, and it seemed there was a little halting at first, as of\nmen not liking to take Blackbeard's name in Blackbeard's place, or raise", "Blackbeard was one of the Mohunes who had died a century back, and was\nburied in the vault under the church, with others of his family, but", "the Devil by mocking at him. But then some of the bolder shouted\n'Blackbeard', and so the more timid chimed in, and in a minute there", "and his burial verse. It was a cunning plan of Blackbeard; but other folk\nwere quite as cunning as he, and here was all his treasure at our feet. I", "'My son,' he answered, 'all that I have been able to gather is, that this\nColonel John Mohune (foolishly called Blackbeard) was the first to impair", "All this I told Elzevir, and he listened close as though some of it was\nnew to him. When I was speaking of Blackbeard being at Carisbrooke, he", "He spoke quick and with more fire than I had known him use before, and I\nfelt he was right. It seemed indeed natural enough that if Blackbeard was", "had come to this place to look for Blackbeard's treasure, and might have\ngone away without knowing even so much as where he lay, had not chance", "hope. So it was all a sham, a bit of glass, for which we had risked our\nlives. Blackbeard had only mocked us even in his death, and from rich men", "been near Moonfleet, he would have had it up a hundred times. But thou\nhast often talked of Blackbeard and his end with Parson Glennie; so speak", "Blackbeard piping his lost Mohunes to hunt for treasure. So, though he\nsaw nothing, he turned tail and never stopped running till he stood at", "but they must have an ass inside a tread-wheel to hoist them up. Now,\nwhy this Colonel John Mohune, whom we call Blackbeard, should have chosen", "recked not of the darkness, nor of Blackbeard and his crew, if only I\ncould lay my lips to liquor. Thus I groped about the barrels till near", "treasure just in the very place and hour that Blackbeard loved; and as I\npassed the turnstile I half-expected that a tall figure, hairy and", "escaping. But no one trusted Blackbeard after that, and so he lost his\npost, and came back in his age, a broken man, to Moonfleet. There he", "I had lain, therefore, all that time, cheek by jowl with Blackbeard\nhimself, with only a thin shell of tinder wood to keep him from me, and", "Blackbeard's locket. For that locket hung always round my neck; and I\noften had the parchment out and read it; not that I did not know it now", "had once hung round Blackbeard's to scare evil spirits from his tomb. If\nit could frighten them from him, might it not rout them now, and make" ], [ "'He made a good end, John,' he said, rising from his knees, 'and I pray\nthat our end may be in as good cause when it comes. For with the best of", "'Keep thine eyes shut, John,' he said, 'and count up numbers loud to me,\nthat I may know thou art not turning faint.' So I gave out, 'One, two,", "locket, that he had sold his honour; and wished that the jewel might\nbring me better fortune than had fallen to him, or at any rate, that it", "such pious words had been hung round his neck as a charm to keep the\nspirits of evil away from his tomb. I was disappointed enough, but before\nI left picked up the beard from the floor, though it sent a shiver", "natural decay. But the locket I kept, and hung about my neck under my\nshirt; both as being a curious thing in itself, and because I thought\nthat if the good words inside it were strong enough to keep off bad", "made a little quick move as though to speak, but did not, waiting till I\nhad finished the tale. Then he broke out with: 'John, the diamond is yet", "and a good soldier no doubt besides, than that he had wasted a noble\nestate and played traitor to the king. And then I reflected that it was\nall for the bit of flashing stone, which lay as I hoped within the", "'From Moonfleet, in Dorset,' he repeated to himself, as he finished\nwriting my answer. 'And how did John Trenchard come by this?' and he\ntapped the diamond as it lay on the table before him.", "He loved a glass of the good liquor well, and with him 'twas always the\nsame reasoning, namely, to keep off chills; though he chopped the words", "hope that luck may turn, and that with this piece he may win back all his\nmoney. So it was with me; for I hoped that this paper might have written", "sweet and strong, and sets the heart at ease. And now get the\nbackgammon-board, John, and set it for us on the table.' So they fell to", "and out of countenance, though he tried to say 'Good morning, John', in\nan easy tone, as if it was a common thing for him to be lying in the", "Colonel John Mohune's black locket, and so knew that part at least of\nthis adventure was no dream.", "So I gave him the jewel.\n\n\n\n\nCHAPTER 16\n\nTHE JEWEL\n\nAll that glisters is not gold--_Shakespeare_", "passage-mouth. And all the while I had round my neck Colonel John\nMohune's locket, and at first wore it next myself, but finding it black", "pounds, or fifty, or a hundred thousand, when I heard him speaking, and\nturned round quick. 'My sons, and you especially, son John,' he said, and", "'Nay, son John,' squeaked the old man, seeing I was so put about, 'take\nit not hardly, for though this is but paste, I say not it is worthless.", "by making another himself, whether by shuffling with his feet or by\nthumping down his prayer-book. But the thing that most surprised me was", "''Tis well written,' he said, 'and good verses enough, but he who put\nthem together for a spell knew little how to keep off evil spirits, for", "and took his life away? Do you not know? It was this very same that shall\nflash in yours. So make what peace you may with God, for you have little\ntime to make it.'" ], [ "And again she said: 'John, have you no word for me? have you forgotten?\ndo you not love me still? Have I no part in your sorrow?'", "'Keep thine eyes shut, John,' he said, 'and count up numbers loud to me,\nthat I may know thou art not turning faint.' So I gave out, 'One, two,", "'He made a good end, John,' he said, rising from his knees, 'and I pray\nthat our end may be in as good cause when it comes. For with the best of", "Then Elzevir spoke. 'John' he said, 'there is no time to play the woman;\nanother minute of this and we are lost. Pluck up thy courage, keep thy\neyes to the cliff, and forward.'", "using a name he had not used for years. 'Johnnie,' he said, 'I am cold\nand sore downhearted. In ten minutes we shall be in the surf. Go down to", "'Grace, it is I, John Trenchard, who am come to say goodbye before I\nleave these parts, and have much to tell that you would wish to hear. Are\nthere any beside in the house with you?'", "We stood for a moment holding one another's hands; then Ratsey spoke.\n'John, these two months have changed thee from boy to man. Thou wast a", "down at me, and let her hand rest on my shoulder. 'John,' she said, 'have\nyou forgotten me? May I not share your sorrow? Did you not think to tell", "He therefore left to John Trenchard everything of which he should die\npossessed, and being near death begged his forgiveness if he had wronged", "and having once been young himself. 'Twas but boy's love, yet serious for\nme; and on the day she lay near death, I made so bold as to stop Dr.", "drawing back a little, as if to see me better, and saying, 'John, you\nhave grown a man in these two months.' So I did not kiss her.", "perilled his life to bid adieu to an aunt. So have no secrets from me,\nJohn, but tell me straight, and I will judge whether this second", "he, Aldobrand, was desirous to leave all his goods to one John Trenchard,\nof Moonfleet, Dorset, in the Kingdom of England. And that he was moved", "'John, I am going to stop; but open not thy eyes till I have set thee\ndown and bid thee.'", "'My heart is very heavy, John, tonight, to think how all the good old\ntimes are gone, and how that Master Block can never again go back to", "Block and John Trenchard, who left so long ago, were come back to\nMoonfleet, and that the old lander was drowned saving the young man's", "'From Moonfleet, in Dorset,' he repeated to himself, as he finished\nwriting my answer. 'And how did John Trenchard come by this?' and he\ntapped the diamond as it lay on the table before him.", "'Nay, son John,' squeaked the old man, seeing I was so put about, 'take\nit not hardly, for though this is but paste, I say not it is worthless.", "My name is John Trenchard, and I was fifteen years of age when this story\nbegins. My father and mother had both been dead for years, and I boarded", "Now I was not used to walk under false names, and he took me unawares,\nso I must needs blurt out, 'My name is John Trenchard, sir, and I come\nfrom Moonfleet, in Dorset.'" ], [ "We were so near our goal. Yet, were we near it at all? How did we know\nMohune had meant to tell the place of hiding for the diamond in those", "silver. The shape of this locket was not unlike a crown-piece, only three\ntimes as thick, and as soon as I set eyes upon it I never doubted but\nthat inside would be found the diamond.", "describing the treasure further than to call it a diamond, nor saying\nwhere it was to be found. Doubtless he meant to get it himself, sell it,", "'From Moonfleet, in Dorset,' he repeated to himself, as he finished\nwriting my answer. 'And how did John Trenchard come by this?' and he\ntapped the diamond as it lay on the table before him.", "There was the diamond in his hands--our diamond, my diamond--in his\nhands, and I but two yards from my own; only a flimsy veil of wood and", "or perhaps the diamond itself shining out of a cranny. But I could\nperceive nothing; and what made it more difficult was, that the walls\nhere were lined completely with small flat bricks, and looked much the", "had come to find it, but only of it, the diamond, and that with such a\nprize Elzevir and I could live happily ever afterwards, and that I should", "before might have made away with the diamond. Now, though I have spoken\nof this journey down the passage as though it were a mile long, and\nthough it verily seemed so to me that night, yet I afterwards found it", "For there lay all the secret of the locket disclosed, and there was no\ndiamond, no, nor any other jewel, and nothing at all except a little", "I thought much over what Mr. Glennie had said and fell to wondering where\nBlackbeard could have hid his diamond, and whether I might not find it", "Thus much Elzevir explained to me afterwards, but at that time when\nthat pretender spoke of the diamond as being his own, Elzevir cut in", "casket, which had only to be opened to show Blackbeard's diamond gleaming\ninside, I had stumbled on the Mohunes' vault, and found it to be nothing", "suddenly, he died before he could reveal the safe place of the jewel; and\nthat in his last throes he struggled hard to speak as if he had some\nsecret to unburden.", "there the King's jailer, but was false to his trust. For the King,\ncarrying constantly hidden about his person a great diamond which had\nonce been given him by his brother King of France, Mohune got wind of", "many small coffers and strong-boxes of iron. The jeweller was sitting at\na table with his face to the sun, holding the diamond up against the", "see that these verses could ever lead to any diamond; and though I might\notherwise have thought of ciphers or secret writing, yet, remembering", "I held the diamond between finger and thumb of my right hand, and waved\nit for Elzevir to see. By stretching out my arm I could have placed it in", "green liquid. Then he sat down again, drew the diamond gently from\nElzevir's fingers, which were loth to part with it, and began using his", "made a little quick move as though to speak, but did not, waiting till I\nhad finished the tale. Then he broke out with: 'John, the diamond is yet", "that we are English sailors, and that the stone is fairly come by.' And\nhe let his fingers play with the diamond on the table, as if he feared it\nmight slip away from him." ], [ "me than apples or bird-batting, and that was Grace Maskew. She was an\nonly child, and about my own age, or little better, at the time of which", "'Grace, it is I, John Trenchard, who am come to say goodbye before I\nleave these parts, and have much to tell that you would wish to hear. Are\nthere any beside in the house with you?'", "John and little Elzevir, our firstborn, play; and now our daughter is\ngrown up, fair to us as the polished corners of the Temple, and our sons", "fled from England, and see Grace; so that I might tell her all that\nhappened about her father's death, saving only that Elzevir had meant", "The bolts were being drawn, and a girl's voice asked, 'Who is there?' I\ngave a jump to hear that voice, knowing it well for Grace's, and had a", "My name is John Trenchard, and I was fifteen years of age when this story\nbegins. My father and mother had both been dead for years, and I boarded", "using a name he had not used for years. 'Johnnie,' he said, 'I am cold\nand sore downhearted. In ten minutes we shall be in the surf. Go down to", "were yammering together that one should be so near it; and clear above\nthem all I heard Grace's voice, sweet and grave, 'Have a care, have a", "obstacle between Grace and me. In the Family Bible lying on the table in\nmy aunt's best parlour was a picture of Cain, which I had often looked at", "After that Grace came no more to school, both because her father had\nsaid she should not, and because she was herself ashamed to go back", "And when I thought of Grace, and what such a deed would mean to her, my\npulse beat so fierce that I must needs spring to my feet and run to", "knew their place as soon as they were put down, but often catching sight\nof Grace, and sometimes finding occasion to talk with her. Thus time", "After that he took Grace by the arm, and bade her get hat and cape and\ncome with him. 'For,' says he, 'I will not have thee taught any more by a", "sameness of school, and scenting a disturbance in the air. Only Grace was\nill at ease for fear her father should say something unseemly, and kept", "to see one's head wrote down so low as 20. And what I wanted most to\nknow, namely how Grace fared and how she took the bad news of her", "Elzevir was the first to speak: 'Can you stand, John? Is the bone\nbroken?'", "from my seat, I saw he held Grace by the hand, and so hung back for a\nmoment, and before I got my thoughts together he was gone, and I saw the", "passed. And this was that I had resolved to see Grace before I left these\nparts, and yet knew not how to tell it to Elzevir. But on this evening,", "Now I was not used to walk under false names, and he took me unawares,\nso I must needs blurt out, 'My name is John Trenchard, sir, and I come\nfrom Moonfleet, in Dorset.'", "cheer, and have no fear of the law; for that the ban against me and the\nhead-price had been dead for many a year. 'Twas Grace had made her" ], [ "'Grace, it is I, John Trenchard, who am come to say goodbye before I\nleave these parts, and have much to tell that you would wish to hear. Are\nthere any beside in the house with you?'", "me than apples or bird-batting, and that was Grace Maskew. She was an\nonly child, and about my own age, or little better, at the time of which", "knew their place as soon as they were put down, but often catching sight\nof Grace, and sometimes finding occasion to talk with her. Thus time", "sameness of school, and scenting a disturbance in the air. Only Grace was\nill at ease for fear her father should say something unseemly, and kept", "After that Grace came no more to school, both because her father had\nsaid she should not, and because she was herself ashamed to go back", "fled from England, and see Grace; so that I might tell her all that\nhappened about her father's death, saving only that Elzevir had meant", "past, but laid it out in good works, with Mr. Glennie and Grace to help\nme. First, we rebuilt and enlarged the almshouses beyond all that Colonel", "John and little Elzevir, our firstborn, play; and now our daughter is\ngrown up, fair to us as the polished corners of the Temple, and our sons", "were yammering together that one should be so near it; and clear above\nthem all I heard Grace's voice, sweet and grave, 'Have a care, have a", "to see one's head wrote down so low as 20. And what I wanted most to\nknow, namely how Grace fared and how she took the bad news of her", "passed. And this was that I had resolved to see Grace before I left these\nparts, and yet knew not how to tell it to Elzevir. But on this evening,", "cheer, and have no fear of the law; for that the ban against me and the\nhead-price had been dead for many a year. 'Twas Grace had made her", "My name is John Trenchard, and I was fifteen years of age when this story\nbegins. My father and mother had both been dead for years, and I boarded", "from my seat, I saw he held Grace by the hand, and so hung back for a\nmoment, and before I got my thoughts together he was gone, and I saw the", "And when I thought of Grace, and what such a deed would mean to her, my\npulse beat so fierce that I must needs spring to my feet and run to", "The bolts were being drawn, and a girl's voice asked, 'Who is there?' I\ngave a jump to hear that voice, knowing it well for Grace's, and had a", "After that he took Grace by the arm, and bade her get hat and cape and\ncome with him. 'For,' says he, 'I will not have thee taught any more by a", "I guessed that he had spoken with Grace that day, and as I lay dozing in\nfront of the fire, alone in this old room I knew so well, alone with that", "only twenty-four hours ago; and how far off we were now, and how long it\nwas likely to be before I saw that dear village and Grace again.", "On the third of November, a few days after this visit to the Why Not?,\nthe wind, which had been blowing from the south-west, began about four in" ] ]

[ "What was Colonel Mohune supposed to have stolen from King Charles I?", "Where does John hide when he hears Ratsey & Elzevir coming after he fell in the sink hole?", "What does John realize the verses from Blackbeard's locket contain?", "Where do John and Elzevir land when their ship wrecks?", "What happens to John and Elzevir when they try to sell the diamond?", "What happens when John and Elzevir try to get the diamond back?", "Who kills Mr. Maskew?", "What is the name of the girl John loves and leaves behind in Moonfleet?", "How does the diamond merchant do what's right?", "In what year does the story begin?", "Why is Mohune Arms nicknamed \"Why Not\"?", "What is John drinking when he passes out in the crypt?", "Who wins the auction for the Why Not? ", "Where is the diamond hidden?", "How many years are John and Elzevir separated? ", "How does Elzevir die?", "What does the merchant do to help his guilty conscience? ", "How many children do John and Grace have?", "Who did John and Grace name their first son after?", "WHO IS BLACKBEARD BELIEVED TO HAVE STOLEN A DIAMOND FROM?", "IN WHAT COUNTRY IS MOONFLEET LOCATED?", "WHO IS MISS ARNOLD TO JOHN TRENCHARD?", "WHERE WAS BLACKBEARD BURIED?", "WHAT WAS BLACKBEARD'S FAMILY NAME?", "WHAT DID JOHN CONSIDER TO BE HIS GOOD LUCK CHARM?", "WHO WAS JOHN IN LOVE WITH?", "WHERE WAS THE CODE TO THE DIAMOND'S LOCATION HIDDEN?", "WHO WAS JOHN AND GRACE'S FIRSTBORN NAMED AFTER?", "HOW MANY CHILDREN DID JOHN AND GRACE HAVE?" ]

[ [ "A diamond", "a diamond" ], [ "Behind a coffin", "John hide behind coffin" ], [ "A code which reveals the location of his diamond", "Code that tells where the diamond is hiding." ], [ "The beach of Moonfleet", "Moonfleet beach" ], [ "They are told the diamond is fake. ", "They are cheated by the merchant" ], [ "They are sentenced to prison for life.", "they are arrested and sent to prison" ], [ "The excisemen.", "exisemen" ], [ "Grace Maskew", "Grace" ], [ "He gave John the amount of money the diamond was worth.", "bequeaths the worth of the diamond to John upon his death" ], [ "1757.", "1757" ], [ "The Mohune coat of arms symbol is in the shape of a capital 'Y'.", "Because of the Mohune coat of arms." ], [ "Wine.", "Wine" ], [ "Maskew.", "Maskew" ], [ "Carisbrooke Castle.", "In a well." ], [ "Ten.", "10 years" ], [ "He is drowned while saving John. ", "drowned" ], [ "He gives John money worth as much as the diamond. ", "gives John the value of the diamond" ], [ "Three.", "3" ], [ "Elzevir.", "Elzevir" ], [ "KING CHARLES I", "King Charles" ], [ "ENGLAND", "England" ], [ "HIS AUNT", "his aunt" ], [ "IN A FAMILY CRYPT UNDER THE CHURCH", "in the family crypt" ], [ "MOHUNE", "Monhue" ], [ "HIS MOTHER'S BIBLE", "his mothers prayer book" ], [ "GRACE MASKEW", "Grace" ], [ "IN BLACKBEARD'S LOCKET", "Blackbeard's locket" ], [ "JOHN'S FRIEND ELZEVIR", "elzevir" ], [ "3", "3" ] ]

[ [ "Pickle, esq.; the father of that hero whose fortunes we propose to\nrecord. He was the son of a merchant in London, who, like Rome, from", "personate old Pickle's friend, and Peregrine represent his own father;\nwhile the lieutenant should take care in loading the pistols to keep out\nthe shot, so that no damage might be done in the rencounter.", "When the old gentleman recovered his health, he was so penetrated with\nPeregrine's behaviour, that he actually would have made over to him his", "GUTENBERG EBOOK PEREGRINE PICKLE ***\n\n\n\n\nProduced by Tapio Riikonen", "looked upon his person with eyes of affection. This being the situation\nof things in the garrison, it is not to be doubted that the old\ngentleman highly enjoyed the presence of Peregrine, who found means to", "Peregrine, instead of alighting at the garrison, rode straightway to\nhis father's house; and no person appearing to receive him, not even a", "Peregrine holds a Consultation with his Friends, in consequence of\nwhich he bids Adieu to the Fleet--He arrives at his Father's House, and\nasserts his Right of Inheritance.", "from Sophy's father, who, at parting, recommended them piously to\nthe care of Peregrine, with whom by this time, he was perfectly well\nacquainted.", "the friendship of his brother-in-law, Mr. Pickle, and in the course of\ntheir intimacy conceived an affection for his nephew Perry, which did", "his friend Mr. Pallet were resolved to take their passage in a trading\nsloop, after he had heard Peregrine object against that tedious,\ndisagreeable, and uncertain method of conveyance. Pickle immediately saw", "Mr. Pickle; and an overture accordingly made to her father, who, being\noverjoyed at the proposal, gave his consent without hesitation, and even", "of his honour's conduct. Indeed, Pickle began to suspect the sincerity\nof his own patron, who, in his opinion, had trifled with his impatience,", "The nobleman, touched with this instance of generous self-denial in\nPeregrine, as well as with the sensibility of his friend, lamented the", "a needy volunteer, greatly inferior to himself in fortune, as well as\nevery other accomplishment. This mutual misunderstanding could not fail\nof animosities. The very next day after Peregrine's arrival, some sharp", "of tumult, waste, and prodigality. Not that Peregrine relished those\nscenes, which were a succession of absurd extravagance, devoid of all", "information he had received, or to treat him in other respects as a\nman of sound intellects. At length, however, he ventured to make Pickle", "Peregrine having perused the billet, and listened to this ejaculation,\nreplied with great composure, that he was ashamed to see a man of", "acquired at a day-school, during the life of her father, who was a\nday-labourer in the country. Upon this foundation did Peregrine build", "of Peregrine without ceremony or hesitation. This remedy produced the\ndesired effect. Unpalatable as it was, the young gentleman no sooner\nrecovered his breath, which was endangered by such a sudden application,", "Trunnion is enraged at the conduct of Pickle--Peregrine resents the\nInjustice of his Mother, to whom he explains his Sentiments in a" ], [ "the friendship of his brother-in-law, Mr. Pickle, and in the course of\ntheir intimacy conceived an affection for his nephew Perry, which did", "a needy volunteer, greatly inferior to himself in fortune, as well as\nevery other accomplishment. This mutual misunderstanding could not fail\nof animosities. The very next day after Peregrine's arrival, some sharp", "his friend Mr. Pallet were resolved to take their passage in a trading\nsloop, after he had heard Peregrine object against that tedious,\ndisagreeable, and uncertain method of conveyance. Pickle immediately saw", "chanced to meet Peregrine on horseback. The young squire no sooner\nperceived his elder brother, for whom he had been instructed to\nentertain the most inveterate grudge, than he resolved to insult him en", "sister from the cruelty of Gam, who assaulted her from another quarter,\nseeing his brother engaged. This attack lasted several minutes with\ngreat violence, till at length Peregrine, finding himself in danger of", "The nobleman, touched with this instance of generous self-denial in\nPeregrine, as well as with the sensibility of his friend, lamented the", "terms. While Peregrine was thus employed, his brother Gam had made shift\nto rise and attack him in the rear; for which reason, when the tutor was", "GUTENBERG EBOOK PEREGRINE PICKLE ***\n\n\n\n\nProduced by Tapio Riikonen", "When the old gentleman recovered his health, he was so penetrated with\nPeregrine's behaviour, that he actually would have made over to him his", "Peregrine having perused the billet, and listened to this ejaculation,\nreplied with great composure, that he was ashamed to see a man of", "Peregrine, meanwhile, employed all his insinuation and address in\npractising upon the heart of the Capuchin's fair charge. He had long ago", "that Pipes had been quite spoiled in our hero's service. But Peregrine\ndid not choose to lay his friend under that inconvenience, knowing that\nhis present lacquey understood and complied with all the peculiarities", "looked upon his person with eyes of affection. This being the situation\nof things in the garrison, it is not to be doubted that the old\ngentleman highly enjoyed the presence of Peregrine, who found means to", "the lieutenant, in his great wisdom, represented himself as a kinsman to\nPeregrine, who, rather than leave that young gentleman by himself to the", "The young soldier was contented with this apology and, as Pickle's\nintention, with respect to his sister, was still dubious and undeclared,", "After a cordial shake of the hand, with the usual salutation of, “What\ncheer, cousin Pickle?” honest Jack seated himself without ceremony; and", "personate old Pickle's friend, and Peregrine represent his own father;\nwhile the lieutenant should take care in loading the pistols to keep out\nthe shot, so that no damage might be done in the rencounter.", "a quarrel in the case, and followed him with a view of protecting\nhis master. Peregrine, seeing him arrive, and guessing his intention,", "Next day Peregrine communed with his sister on the subject of her match\nwith Mr. Clover, who, she told him, had offered to settle a jointure of", "The old gentleman, who was no stranger to the nature of Peregrine's\nconnection with his sister's family, prevailed upon him to stay" ], [ "Commodore Trunnion, which was altogether singular and odd. “The\ncommodore and your worship,” said he, “will in a short time be hand and", "answered the commodore; “ahey! brother, where did you learn your\nnavigation? Hawser Trunnion is not to be taught at this time of day how", "After some whispers among themselves, one of them took the pen, and,\nwriting the name of Commodore Trunnion upon a slip of paper, put it into", "HAWSER TRUNNION, Esq.\n Formerly commander of a squadron\n In his Majesty's service,", "their nuptials, to which everybody of any fashion in the neighbourhood\nwas invited. Among these, commodore Trunnion and Mr. Hatchway were not", "surveyed the body, with a face of rueful attention,--“Well fare thy\nsoul! old Hawser Trunnion,” said he: “man and boy I have known thee", "Peregrine arrives at the Garrison, where he receives the last\nAdmonitions of Commodore Trunnion, who next Day resigns his Breath, and", "as a debt which the commodore had contracted of his father at sea.\nTrunnion made wry faces at this expedient, the necessity of which he\ncould not conceive, without calling in question the common sense of", "serious manner about the commodore's proposal of taking Mrs. Trunnion\nto wife; and Jack, being quite tired of the solitary situation of a\nbachelor, which nothing but the company of his old commander could have", "think that Hawser Trunnion, who has stood the fire of so many floating\nbatteries, runs any risk from the lousy pops of a landman? Thou shalt", "He is made acquainted with the Characters of Commodore Trunnion and his\nAdherents--Meets with them by Accident, and contracts an Intimacy with\nthat Commander.", "This maxim had been more than once inculcated upon the commodore by Mrs.\nTrunnion, who, over and above the deference she paid to the parson's", "Hatchway, advancing to the company, after a brace of sea bows to the\nladies, took the youth aside, and put the commodore's letter into", "“Hawser Trunnion.”", "Trunnion, exhausted as he was, smiled at this sally, and, after some\npause, resumed his admonitions in this manner:--“I need not talk of", "the contrivances in which he had been concerned. The commodore was\nthunderstruck at the discovery, and so much incensed against Hatchway\nfor the part he had acted in the whole, that he deliberated with", "instructed in the nature of the salute by Trunnion, who, by this time,\nhad entered into all the jollity of his new friends, and was indeed more", "Trunnion, who had scarce ever been on shore till he was paid off, and\nnever once in his whole life in the company of any females above the", "Pipes, whose turn it was to watch, concurred in giving evidence to the\nsame purpose; and the commodore not only owned that he had heard the\nvoice, but likewise communicated his vision, with all the aggravation\nwhich his disturbed fancy suggested.", "to Commodore Trunnion one thousand pounds, to purchase a mourning\nring, which she hoped he would wear as a pledge of her friendship and\naffection. Her brother, though he did not much relish this testimony" ], [ "acquired at a day-school, during the life of her father, who was a\nday-labourer in the country. Upon this foundation did Peregrine build", "Thus left to the prosecution of his studies, Peregrine was in a\nlittle time a distinguished character, not only for his acuteness of", "CHAPTER XII.\n\n\n\nPeregrine is sent to a boarding-school--Becomes remarkable for his\nGenius and Ambition.", "The Commodore detects the Machinations of the Conspirators, and hires a\ntutor for Peregrine, whom he settles in Winchester School.", "Peregrine having in this manner initiated her in the beau monde of the\ncountry, conducted her to London, where she was provided with private", "GUTENBERG EBOOK PEREGRINE PICKLE ***\n\n\n\n\nProduced by Tapio Riikonen", "From his own house he went directly to visit Mrs. Pickle, to whom\nhe imparted Peregrine's epistle, with many encomiums upon the boy's", "known, and much better beloved, by every boy in the school than the\nmaster who instructed him, and always received by a number of scholars,\nwho used to attend Peregrine when he went forth to meet his friend, and", "In the meantime, Peregrine flourished in the gay scenes of life, and,\nas I have already observed, had divers opportunities of profiting in the", "Meanwhile preparations were made for Peregrine's departure to the\nuniversity, and in a few weeks he set out, in the seventeenth year", "his friend Mr. Pallet were resolved to take their passage in a trading\nsloop, after he had heard Peregrine object against that tedious,\ndisagreeable, and uncertain method of conveyance. Pickle immediately saw", "Peregrine, who was now turned of twelve, had made such advances under\nthe instruction of Jennings, that he often disputed upon grammar, and", "CHAPTER XVI.\n\n\n\nPeregrine distinguishes himself among his School-fellows, exposes his\nTutor, and attracts the particular Notice of the Master.", "Peregrine having perused the billet, and listened to this ejaculation,\nreplied with great composure, that he was ashamed to see a man of", "Our young gentleman and his friends acquiesced in the justness of his\nobservation. Peregrine particularly assured him that, from reading", "He soon perceived that Peregrine was not deficient in spirit or sense,\nand seemed particularly pleased with his engaging manner and easy\ndeportment, qualifications for which the English nation is by no means", "information he had received, or to treat him in other respects as a\nman of sound intellects. At length, however, he ventured to make Pickle", "her only child. Nevertheless, Mrs. Pickle was not so blindly partial as\nto be pleased with such unseasonable indulgence. Perry was taken out of\nthe hands of this courteous teacher, and committed to the instruction", "Peregrine, who had resided about fifteen months in France, thought he\nwas now sufficiently qualified for eclipsing most of his contemporaries\nin England, and therefore prepared for his departure with infinite", "at his own pleasure. No wonder then that Peregrine gave a loose to his\ninclinations, and, by dint of genius and an enterprising temper, made a\nfigure among the younger class of heroes in the school." ], [ "cultivated Pickle's acquaintance with great eagerness, and, without\ncircumlocution, offered to him in marriage his only daughter, with a\nvery considerable fortune.", "of the marriage executed in the presence of the old commodore and his\nlady, who gave her niece five hundred pounds to purchase jewels and\nclothes, Mr. Peregrine could no longer restrain his impatience to see", "Her ladyship having thus concluded her story, to the entertainment\nof the company, and the admiration of Peregrine, who expressed his", "Peregrine, meanwhile, employed all his insinuation and address in\npractising upon the heart of the Capuchin's fair charge. He had long ago", "I shall omit the description of the rejoicings, which were infinite on\nthis important occasion, and only observe that Mrs. Pickle's mother and", "forsaken her since she had the pleasure of seeing them, and that she\nwould rely upon accident for a partner. Just as she pronounced these\nwords to the last of the three, Peregrine advanced as an utter stranger,", "Mr. Pickle; and an overture accordingly made to her father, who, being\noverjoyed at the proposal, gave his consent without hesitation, and even", "From his own house he went directly to visit Mrs. Pickle, to whom\nhe imparted Peregrine's epistle, with many encomiums upon the boy's", "Pickle, than she thought it encumbent on her to act up to the dignity of\nthe character; and, the very day after the marriage, ventured to dispute", "Mrs. Grizzle exerts herself in finding a proper Match for her Brother;\nwho is accordingly introduced to the young Lady, whom he marries in due\nSeason.", "While they sat thus conferring together, Peregrine, having taken\nleave of his mistress for the night, came home, and was not a little", "GUTENBERG EBOOK PEREGRINE PICKLE ***\n\n\n\n\nProduced by Tapio Riikonen", "till death,\n “Peregrine Pickle.”", "his lovely Sophy; that the wedding-day was already fixed; and that\nnothing would be wanting to his happiness, if Peregrine would honour the\nnuptials with his presence.", "THE ADVENTURES OF PEREGRINE PICKLE\n\nIn which are included Memoirs of a Lady of Quality\n\n\nBy Tobias Smollett", "are under some mistake with regard to us.” Before Peregrine had time\nto answer this salutation, the lady, hearing it, advanced to him, and,", "End of the Project Gutenberg EBook of The Adventures of Peregrine Pickle,\nVolume I, by Tobias Smollett", "The machine had not proceeded many furlongs, when Pickle, accosting the\nfair incognita, congratulated himself upon his happiness, in being the", "The attorney signified a suspicion of Hatchway's being married to Miss\nPickle, and that the firing and illuminations were in honour of the", "soldier had made a conquest of the bridegroom's sister. Pickle\nhimself began to cherish the same opinion, which gradually invaded his" ], [ "CHAPTER LI.", "CHAPTER II.", "CHAPTER III.", "CHAPTER L.", "CHAPTER LIII.", "CHAPTER VII.", "CHAPTER LII.", "CHAPTER LVII.", "CHAPTER LV.", "CHAPTER V.", "CHAPTER C.", "CHAPTER CIV.", "CHAPTER CII.", "CHAPTER LXXIII.", "CHAPTER XIII.", "CHAPTER XXX.", "CHAPTER XVII.", "CHAPTER LVIII.", "CHAPTER LXXVIII.", "CHAPTER XI." ], [ "“The story which you have related of that young gentleman,” said he,\n“bears a very strong resemblance to the fate of a Spanish nobleman, as", "The parson, in compliance with our hero's request, taking up the story\nfrom the beginning, “Mr. A--,” said he, “is the son of Arthur, late lord", "“By the circumstances of the story which I am going to relate, you will\nbe convinced of my candour, while you are informed of my indiscretion.", "without ceasing. In the course of his own history, the particulars of\nwhich he delighted to recount, he had often rehearsed an adventure of", "“In this manner my lovers were one by one repulsed, almost as soon as\nthey presented themselves, and I preserved the independence of my heart,", "Her ladyship having thus concluded her story, to the entertainment\nof the company, and the admiration of Peregrine, who expressed his", "CHAPTER LI.", "“One instance, however, is so flagrantly flagitious, that I cannot\nresist the inclination I feel to relate it, as an example of the most", "account of all the robberies and murders which had been committed on\nthat road, with many additional circumstances of their own invention.\nAfter having been two days exposed to this comfortable conversation,", "CHAPTER LVII.", "it with such manifestation of displeasure, that the fellow, afraid of\ndisobliging such a good master, frankly communicated the story which was", "stories were told about this adventure, which happened literally as I\nhave related it.", "him perfectly independent; and thus he delineated the plan: “One half\nof the sum,” said he, “shall be laid out in jewels, which I will pawn to", "to read a newspaper that lay on the table before him. This task was\naccordingly undertaken by the lame lieutenant, who, among paragraphs,\nread that which follows, with an elevation of voice which seemed to", "who read it immediately with an audible voice. The first two words of\nit were no sooner pronounced, than he started, with great emotion, and\nraised himself upon his hand and knee, in which posture he listened", "While he thus meditated vengeance, the fame of his disorder, in due\ncourse of circulation, reached the ears of that lady of quality whose\nmemoirs have already appeared in these adventures. The correspondence", "“While he thus regaled me with these interesting particulars, I was\ncontriving a scheme to frustrate the discovery he had made; so that I", "“While she was thus employed, I got up, and huddled on my clothes,\nstanding upon my pillow, lest my father, who lay in the chamber below,", "effectually from the world, and, with great tranquility, gave the\nmisanthrope an entertaining detail of what he had seen and heard since\ntheir last parting. While they amused themselves in this manner over", "“This plausible tale was enforced with such an air of truth, candour,\nand earnest concern for his safety, and was strengthened by so many" ], [ "Commodore Trunnion, which was altogether singular and odd. “The\ncommodore and your worship,” said he, “will in a short time be hand and", "answered the commodore; “ahey! brother, where did you learn your\nnavigation? Hawser Trunnion is not to be taught at this time of day how", "After some whispers among themselves, one of them took the pen, and,\nwriting the name of Commodore Trunnion upon a slip of paper, put it into", "their nuptials, to which everybody of any fashion in the neighbourhood\nwas invited. Among these, commodore Trunnion and Mr. Hatchway were not", "serious manner about the commodore's proposal of taking Mrs. Trunnion\nto wife; and Jack, being quite tired of the solitary situation of a\nbachelor, which nothing but the company of his old commander could have", "HAWSER TRUNNION, Esq.\n Formerly commander of a squadron\n In his Majesty's service,", "Peregrine arrives at the Garrison, where he receives the last\nAdmonitions of Commodore Trunnion, who next Day resigns his Breath, and", "This maxim had been more than once inculcated upon the commodore by Mrs.\nTrunnion, who, over and above the deference she paid to the parson's", "He is made acquainted with the Characters of Commodore Trunnion and his\nAdherents--Meets with them by Accident, and contracts an Intimacy with\nthat Commander.", "surveyed the body, with a face of rueful attention,--“Well fare thy\nsoul! old Hawser Trunnion,” said he: “man and boy I have known thee", "In the afternoon he was conducted by the commodore to the house of his\nparents; and, strange to tell, no sooner was he presented to his mother,", "Trunnion, who had scarce ever been on shore till he was paid off, and\nnever once in his whole life in the company of any females above the", "entertained little or no company, kept few servants, and was remarkably\nplain and frugal in his housekeeping. Mrs. Trunnion being now some", "as a debt which the commodore had contracted of his father at sea.\nTrunnion made wry faces at this expedient, the necessity of which he\ncould not conceive, without calling in question the common sense of", "In consequence of this declaration, it was determined that Mr. Hatchway\nshould make his addresses to Mrs. Trunnion as soon as decency would", "to Commodore Trunnion one thousand pounds, to purchase a mourning\nring, which she hoped he would wear as a pledge of her friendship and\naffection. Her brother, though he did not much relish this testimony", "of his precious limbs. Hatchway was the only person whom the temper of\nMrs. Trunnion respected, either because she dreaded his ridicule, or", "think that Hawser Trunnion, who has stood the fire of so many floating\nbatteries, runs any risk from the lousy pops of a landman? Thou shalt", "Mr. Hatchway no sooner learnt the sentiments of Mrs. Trunnion, than,\nsheathing his indignation, he told the commodore he should always", "Mrs. Trunnion erects a Tyranny in the Garrison, while her Husband\nconceives an affection for his Nephew Perry, who manifests a peculiarity\nof disposition even in his tender years." ], [ "Cadwallader acts the part of a Comforter to his Friend; and in his turn\nis consoled by Peregrine, who begins to find himself a most egregious\nDupe.", "Peregrine was now seized with a strange whim, and when he communicated\nthe conceit to Cadwallader, it in a moment acquired his approbation.", "Crabtree, having rehearsed these adventures, in such a peculiarity of\nmanner as added infinite ridicule to every circumstance, and repeated", "turns of their entertainers. The lieutenant was a droll in his way,\nPeregrine possessed a great fund of sprightliness and good-humour, and", "Peregrine and his friend Cadwallader proceed in the Exercise of the\nMystery of Fortune-telling, in the course of which they achieve various\nAdventures.", "friend Cadwallader; though he sometimes converted this advantage to the\npurposes of gallantry, being, as the reader may have perceived, of a\nvery amorous complexion. He not only acted the reformer, or rather the", "He returns to London, and meets with Cadwallader, who entertains\nhim with many curious Particulars--Crabtree sounds the Duchess, and", "Here Tom was interrupted by the arrival of Mr. Crabtree, who seeing\nPeregrine with a pistol in his hand, and such wild disorder in his", "While he remained in this hesitation and suspense, he was one morning\nvery agreeably surprised with the appearance of his friend Crabtree,", "such a ludicrous account of his fellow-travellers, that Peregrine, for\nthe first time since their parting, indulged himself in mirth, even to\nthe hazard of suffocation.", "In this laudable determination he was confirmed by the repeated\nsuggestions of his friend Cadwallader, who taxed him with letting his\ntalents rust in indolence, and stimulated his natural vivacity with a", "Now, as Peregrine's satirical disposition was never more gratified than\nwhen he had an opportunity of exposing grave characters in ridiculous", "the ancient visitant was utterly bereft of the sense of hearing;\nthat his name was Cadwallader Crabtree, his disposition altogether\nmisanthropical; and that he was admitted into company on account", "Peregrine is celebrated as a Wit and Patron, and proceeds to entertain\nhimself at the Expense of whom it did concern.", "This indeed was the plan with which Mr. Pickle had amused himself during\nthe researches of Crabtree; and by this time it so effectually flattered", "consternation, while Cadwallader, shutting himself in the closet,\nthat was contiguous to the chamber in which his friend Peregrine was", "perfidy of his patron, and desired that he would not aggravate his\naffliction by those cynical remarks which were peculiar to men of his\nmisanthropical disposition. Cadwallader listened to this declaration", "the arrival of Cadwallader, who never failed in the performance of his\ndiurnal visit. Hatchway, conjecturing that this stranger might have some\nprivate business with his friend, quitted the apartment, on pretence of", "In the meantime, Peregrine flourished in the gay scenes of life, and,\nas I have already observed, had divers opportunities of profiting in the", "amuse the landlord in discourse, while Peregrine, stepping out into\nthe yard, by the talent of mimickry, which he possessed in a surprising" ], [ "The parson, in compliance with our hero's request, taking up the story\nfrom the beginning, “Mr. A--,” said he, “is the son of Arthur, late lord", "CHAPTER CI.\n\n\n\nHe receives an unexpected Visit; and the Clouds of Misfortune begin to\nseparate.", "beginning seemed to promise. Indeed, the circumstance of his espousing\nthat cause was so uncommon and romantic and the depravity of the\nhuman heart so universal, that some people, unacquainted with his real", "The young gentleman was thunderstruck at this exclamation; to which,\nafter a long pause, he answered: “I begin to suspect, and heartily wish", "By this time, the season at Bath was begun; and our hero, panting with\nthe desire of distinguishing himself at that resort of the fashionable", "“There he had not long remained, when his treacherous landlord,\ntampering with his inexperience, effected a marriage between him and the", "dress, that he was scarce distinguishable by his own acquaintance. This\ncontention of thoughts continued several weeks, at the end of which\nthe charms of Emilia triumphed over every other consideration. Having", "his journey. But Thomas, notwithstanding his irony appearance, was in\nreality composed of flesh and blood. His desire being titillated by", "who read it immediately with an audible voice. The first two words of\nit were no sooner pronounced, than he started, with great emotion, and\nraised himself upon his hand and knee, in which posture he listened", "Marshalsea, and saw the night come on, attended with hunger and cold,\nthe wind began to blow, and the tiles of the house rattled with the\nstorm. His imagination was immediately struck with the idea of escaping", "In the meantime, our hero jogged along in a profound reverie, which\nwas disturbed by a beggar-woman and her daughter, who solicited him", "a needy volunteer, greatly inferior to himself in fortune, as well as\nevery other accomplishment. This mutual misunderstanding could not fail\nof animosities. The very next day after Peregrine's arrival, some sharp", "“After I had lived some time in this agreeable retreat, my husband began\nto make a bustle. He sent a message, demanding me from Lord B--; then", "“From this era may be dated the beginning of Mr. A--'s misfortune. This\nartful woman, who had formerly treated the child with an appearance of", "forsaken her since she had the pleasure of seeing them, and that she\nwould rely upon accident for a partner. Just as she pronounced these\nwords to the last of the three, Peregrine advanced as an utter stranger,", "which he could never attain. In short, our hero, who among his own\ncountrymen would have passed for a sprightly, entertaining fellow, was", "our journey before my lord opened his mouth, my thoughts having been all\nthat time employed on something quite foreign to my present situation;\nfor I was then but a giddy girl of eighteen. At length my father broke", "for alms, as he passed them on the road. The girl was about the age\nof sixteen, and, notwithstanding the wretched equipage in which she", "curiosity. But he that first captivated his attention was a meagre,\nshrivelled antiquary, who looked like an animated mummy, which had been", "manner, carefully attended his footsteps in this excursion, in hope\nof being favoured with his confidence, in the course of their\nperambulation. Our hero no sooner appeared at the street door, than he" ], [ "Peregrine, instead of alighting at the garrison, rode straightway to\nhis father's house; and no person appearing to receive him, not even a", "When the old gentleman recovered his health, he was so penetrated with\nPeregrine's behaviour, that he actually would have made over to him his", "The old gentleman, who was no stranger to the nature of Peregrine's\nconnection with his sister's family, prevailed upon him to stay", "Peregrine, taking him cordially by the hand, seated him upon one side of\nhis bed; and, after having made an apology for that reserve of which he", "In the mean time, Peregrine was not a little perplexed about the\ndisposal of his sister, whom he had rescued. He could not endure the", "While they sat thus conferring together, Peregrine, having taken\nleave of his mistress for the night, came home, and was not a little", "Emilia, which he perceived had given him pain. Peregrine, who had by\nthis time recollected the dictates of his pride, assured him, that he", "acquired at a day-school, during the life of her father, who was a\nday-labourer in the country. Upon this foundation did Peregrine build", "was appeased by his solicitations and submission, and Peregrine owned as\nhis son and heir. But this acknowledgment was made without the privity", "presented to him a fine boy, the first-fruits of their love, whom they\nhad christened by the name of Peregrine, in memory of the friendship\nwhich had subsisted between Godfrey and our youth.", "the lieutenant, in his great wisdom, represented himself as a kinsman to\nPeregrine, who, rather than leave that young gentleman by himself to the", "It was then that Peregrine, pretending to recollect himself a little,\nran, with all the marks of disturbance and affright, and called up the", "Meanwhile preparations were made for Peregrine's departure to the\nuniversity, and in a few weeks he set out, in the seventeenth year", "looked upon his person with eyes of affection. This being the situation\nof things in the garrison, it is not to be doubted that the old\ngentleman highly enjoyed the presence of Peregrine, who found means to", "Peregrine is summoned to attend his Uncle--Is more and more hated by his\nown Mother--Appeals to his Father, whose Condescension is defeated by\nthe Dominion of his Wife.", "Thus left to the prosecution of his studies, Peregrine was in a\nlittle time a distinguished character, not only for his acuteness of", "Peregrine, at the request of his friend Jack, took charge of his aunt's\nfuneral, to which his parents were invited, though they did not think", "By this declaration Peregrine was appeased, and, out of a delirium of\npassion, waked to all the horrors of reflection. All the glory of his", "and his employers mistook for Peregrine. In consideration of this frank\nacknowledgment, and a severe wound he had received in his right arm,\nthey resolved to inflict no other punishment on this malefactor than to", "Peregrine, in spite of his misanthropy, could not help being affected\nwith this uncommon testimony of regard; but he strove to stifle his" ], [ "acquired at a day-school, during the life of her father, who was a\nday-labourer in the country. Upon this foundation did Peregrine build", "Thus left to the prosecution of his studies, Peregrine was in a\nlittle time a distinguished character, not only for his acuteness of", "Meanwhile preparations were made for Peregrine's departure to the\nuniversity, and in a few weeks he set out, in the seventeenth year", "CHAPTER XII.\n\n\n\nPeregrine is sent to a boarding-school--Becomes remarkable for his\nGenius and Ambition.", "Peregrine, who was now turned of twelve, had made such advances under\nthe instruction of Jennings, that he often disputed upon grammar, and", "Peregrine, instead of alighting at the garrison, rode straightway to\nhis father's house; and no person appearing to receive him, not even a", "Our young gentleman and his friends acquiesced in the justness of his\nobservation. Peregrine particularly assured him that, from reading", "In the meantime, Peregrine flourished in the gay scenes of life, and,\nas I have already observed, had divers opportunities of profiting in the", "Peregrine, taking him cordially by the hand, seated him upon one side of\nhis bed; and, after having made an apology for that reserve of which he", "These honourable adventurers being gone, Peregrine, who was present\nduring the transaction, informed himself of the particulars from the", "The Commodore detects the Machinations of the Conspirators, and hires a\ntutor for Peregrine, whom he settles in Winchester School.", "Peregrine, who had resided about fifteen months in France, thought he\nwas now sufficiently qualified for eclipsing most of his contemporaries\nin England, and therefore prepared for his departure with infinite", "Peregrine, hearing the description of this place, began to be very\nimpatient about his night's lodging; and the parson, perceiving his", "known, and much better beloved, by every boy in the school than the\nmaster who instructed him, and always received by a number of scholars,\nwho used to attend Peregrine when he went forth to meet his friend, and", "might not suffer by his humanity. It may be easily conceived that\nPeregrine did not receive this intelligence in cold blood. He cursed his", "He soon perceived that Peregrine was not deficient in spirit or sense,\nand seemed particularly pleased with his engaging manner and easy\ndeportment, qualifications for which the English nation is by no means", "Peregrine, when he first saw him approach in this menacing attitude, put\nhimself upon his guard; but being informed of his quality, perused", "Peregrine having perused the billet, and listened to this ejaculation,\nreplied with great composure, that he was ashamed to see a man of", "Peregrine entered upon this branch of learning with all that warmth of\napplication which boys commonly yield on the first change of study; but", "Peregrine, fortified as he was with pride and indignation, did not fail\nto feel the smarting suggestions of his present situation: after having" ], [ "Peregrine had it in his power to manifest his importance to the\ncommunity; for he happened to be acquainted with the creditor of one\nof the prisoners, and knew that gentleman's severity was owing to his", "Peregrine was confined in a dungeon, for some outrage he had committed.\nHe ran with great agitation to a trunk, and, taking out a bundle of", "Peregrine, having thus played upon his passions of fear and hope,\nanswered, “that as the offence was committed in the habit of a woman,", "and his employers mistook for Peregrine. In consideration of this frank\nacknowledgment, and a severe wound he had received in his right arm,\nthey resolved to inflict no other punishment on this malefactor than to", "had by this time retired. Peregrine was, under the auspices of his\ndirector, conducted to the judges' chamber, where he was left in the", "her that she was no longer a prisoner. As the painter did not understand\none word of what he said, Peregrine undertook the office of interpreter,", "Peregrine, hearing the description of this place, began to be very\nimpatient about his night's lodging; and the parson, perceiving his", "Peregrine, instead of alighting at the garrison, rode straightway to\nhis father's house; and no person appearing to receive him, not even a", "Peregrine at once conceived the meaning of this arrest, and it was well\nfor him that he had no weapon wherewith to stand upon his defence; for", "Peregrine, taking him cordially by the hand, seated him upon one side of\nhis bed; and, after having made an apology for that reserve of which he", "Peregrine, fortified as he was with pride and indignation, did not fail\nto feel the smarting suggestions of his present situation: after having", "into which Peregrine and Pallet had been conveyed, together with its\nsituation in respect to the river, he went home to the lodgings, and,", "Peregrine should be confined. After having proceeded slowly through many\nwindings and turnings to a part of Paris, in which Pipes was an utter", "Peregrine congratulated him on his safety, and having ordered Pipes to\nsecure the prisoner, conducted Mr. Gauntlet to the garrison, where he", "It was then that Peregrine, pretending to recollect himself a little,\nran, with all the marks of disturbance and affright, and called up the", "By this declaration Peregrine was appeased, and, out of a delirium of\npassion, waked to all the horrors of reflection. All the glory of his", "Peregrine guessing, from this exclamation, and the circumstance of their\nbeing abed, that they mistook him for a robber, and were ignorant of", "While they sat thus conferring together, Peregrine, having taken\nleave of his mistress for the night, came home, and was not a little", "not Peregrine gently disengaged her confidante from her embrace,\nand conducted her trembling to the door; which having bolted and\nbarricadoed, he profited by his good fortune, and his felicity was", "tampered with his servant's integrity in vain; and Peregrine began to\nlive and curse his fate for having subjected him to such mean suspicion," ], [ "Peregrine, meanwhile, employed all his insinuation and address in\npractising upon the heart of the Capuchin's fair charge. He had long ago", "While they sat thus conferring together, Peregrine, having taken\nleave of his mistress for the night, came home, and was not a little", "forsaken her since she had the pleasure of seeing them, and that she\nwould rely upon accident for a partner. Just as she pronounced these\nwords to the last of the three, Peregrine advanced as an utter stranger,", "are under some mistake with regard to us.” Before Peregrine had time\nto answer this salutation, the lady, hearing it, advanced to him, and,", "Her ladyship having thus concluded her story, to the entertainment\nof the company, and the admiration of Peregrine, who expressed his", "Neither was Peregrine less inquisitive about the situation and pedigree\nof his new mistress, who, he learned, was the only daughter of a", "By this declaration Peregrine was appeased, and, out of a delirium of\npassion, waked to all the horrors of reflection. All the glory of his", "In the mean time, Peregrine was not a little perplexed about the\ndisposal of his sister, whom he had rescued. He could not endure the", "Canterbury in his route. As Peregrine manifested an inclination of\nbeing acquainted with the state of his affairs, he very complaisantly\nsatisfied his curiosity by giving him to know that his spouse had left", "of the marriage executed in the presence of the old commodore and his\nlady, who gave her niece five hundred pounds to purchase jewels and\nclothes, Mr. Peregrine could no longer restrain his impatience to see", "Peregrine promoted the lieutenant's suit with all his influence, and\nall Mrs. Trunnion's objections to the match being surmounted, it was", "Meanwhile, Peregrine cultivated his new acquaintance with all his art\nand assiduity, presuming, from the circumstances of her reputation and", "Next day Peregrine communed with his sister on the subject of her match\nwith Mr. Clover, who, she told him, had offered to settle a jointure of", "not Peregrine gently disengaged her confidante from her embrace,\nand conducted her trembling to the door; which having bolted and\nbarricadoed, he profited by his good fortune, and his felicity was", "I shall leave the sensible reader to judge what passed at this juncture\nwithin the bosoms of the new-married couple: Peregrine's heart was fired", "Peregrine, instead of alighting at the garrison, rode straightway to\nhis father's house; and no person appearing to receive him, not even a", "Peregrine, who had been alarmed by her exclamation, and ran to the\ndoor with a view of interposing according to the emergency of the case,", "Peregrine, taking him cordially by the hand, seated him upon one side of\nhis bed; and, after having made an apology for that reserve of which he", "his lovely Sophy; that the wedding-day was already fixed; and that\nnothing would be wanting to his happiness, if Peregrine would honour the\nnuptials with his presence.", "Emilia, which he perceived had given him pain. Peregrine, who had by\nthis time recollected the dictates of his pride, assured him, that he" ], [ "Cadwallader acts the part of a Comforter to his Friend; and in his turn\nis consoled by Peregrine, who begins to find himself a most egregious\nDupe.", "presented to him a fine boy, the first-fruits of their love, whom they\nhad christened by the name of Peregrine, in memory of the friendship\nwhich had subsisted between Godfrey and our youth.", "adored the immensity of his friend's understanding. In short, Peregrine\neasily perceived that they were false enthusiasts, without the smallest", "turns of their entertainers. The lieutenant was a droll in his way,\nPeregrine possessed a great fund of sprightliness and good-humour, and", "Peregrine, taking him cordially by the hand, seated him upon one side of\nhis bed; and, after having made an apology for that reserve of which he", "Peregrine was so much irritated at this intimation, that, in the first\ntransports of his anger he forgot the respect he owed his friend, and", "Peregrine's curiosity being excited by this encomium, asked the name of\nthis generous patron, of which when he was informed, “I am no stranger,”", "Emilia, which he perceived had given him pain. Peregrine, who had by\nthis time recollected the dictates of his pride, assured him, that he", "The nobleman, touched with this instance of generous self-denial in\nPeregrine, as well as with the sensibility of his friend, lamented the", "Peregrine, meanwhile, employed all his insinuation and address in\npractising upon the heart of the Capuchin's fair charge. He had long ago", "Peregrine is overtaken by Mr. Gauntlet, with whom he fights a Duel, and\ncontracts an intimate Friendship--He arrives at the Garrison, and finds", "a hunch upon his back, and distorted limbs, that seemed to attract the\nsatirical notice of Peregrine, who, young as he was, took offence at", "that Pipes had been quite spoiled in our hero's service. But Peregrine\ndid not choose to lay his friend under that inconvenience, knowing that\nhis present lacquey understood and complied with all the peculiarities", "of Peregrine without ceremony or hesitation. This remedy produced the\ndesired effect. Unpalatable as it was, the young gentleman no sooner\nrecovered his breath, which was endangered by such a sudden application,", "Mr. Jolter was disconcerted at this declaration, and so much offended\nat Peregrine's disrespect, that he could not help expressing his", "and his employers mistook for Peregrine. In consideration of this frank\nacknowledgment, and a severe wound he had received in his right arm,\nthey resolved to inflict no other punishment on this malefactor than to", "Gauntlet, who had seen undoubted proofs of Peregrine's courage, which\nhad considerably raised him in his esteem, and had sense enough to", "looked upon his person with eyes of affection. This being the situation\nof things in the garrison, it is not to be doubted that the old\ngentleman highly enjoyed the presence of Peregrine, who found means to", "Peregrine having perused the billet, and listened to this ejaculation,\nreplied with great composure, that he was ashamed to see a man of", "Peregrine could not help laughing, and his mistress looked a little\ndisconcerted at this blunt repartee: while Sophy, slipping a purse" ], [ "Peregrine, who had resided about fifteen months in France, thought he\nwas now sufficiently qualified for eclipsing most of his contemporaries\nin England, and therefore prepared for his departure with infinite", "When Peregrine had settled all these points to his own satisfaction,\nhe took leave of all his friends, and, repairing to the great city,", "Meanwhile preparations were made for Peregrine's departure to the\nuniversity, and in a few weeks he set out, in the seventeenth year", "Canterbury in his route. As Peregrine manifested an inclination of\nbeing acquainted with the state of his affairs, he very complaisantly\nsatisfied his curiosity by giving him to know that his spouse had left", "Peregrine, hearing the description of this place, began to be very\nimpatient about his night's lodging; and the parson, perceiving his", "Peregrine, instead of alighting at the garrison, rode straightway to\nhis father's house; and no person appearing to receive him, not even a", "These honourable adventurers being gone, Peregrine, who was present\nduring the transaction, informed himself of the particulars from the", "preferring that of the country in which he was born to any climate under\nthe sun. “Were you ever in Gloucestershire?” said he to Peregrine; who", "Peregrine, having thus played upon his passions of fear and hope,\nanswered, “that as the offence was committed in the habit of a woman,", "Peregrine as a young fellow of great ambition, spirit, and address, who\ncould not fail to make a figure in the world; that therefore he would be", "CHAPTER XII.\n\n\n\nPeregrine is sent to a boarding-school--Becomes remarkable for his\nGenius and Ambition.", "of my last peregrination.” Peregrine's curiosity being inflamed by this\nextraordinary conclusion he turned to the beginning, and perused several", "They proceed to the Hague; from whence they depart for Amsterdam, where\nthey see a Dutch Tragedy--Visit the Music-house, in which Peregrine", "Peregrine, taking him cordially by the hand, seated him upon one side of\nhis bed; and, after having made an apology for that reserve of which he", "Finally, after mutual promises, exhortations, and endearments, Peregrine\ntook his leave, his heart being so full that he could scarce pronounce", "While they sat thus conferring together, Peregrine, having taken\nleave of his mistress for the night, came home, and was not a little", "Peregrine having in this manner initiated her in the beau monde of the\ncountry, conducted her to London, where she was provided with private", "Meanwhile, Peregrine no sooner read the first sentence than his\ncountenance, which before was overcast with a deep gloom, began to be", "It was then that Peregrine, pretending to recollect himself a little,\nran, with all the marks of disturbance and affright, and called up the", "much longer, because they seemed to be quite spent when they passed\nhis door. Encouraged by this intimation, Peregrine pushed on with great" ], [ "Commodore Trunnion, which was altogether singular and odd. “The\ncommodore and your worship,” said he, “will in a short time be hand and", "After some whispers among themselves, one of them took the pen, and,\nwriting the name of Commodore Trunnion upon a slip of paper, put it into", "their nuptials, to which everybody of any fashion in the neighbourhood\nwas invited. Among these, commodore Trunnion and Mr. Hatchway were not", "answered the commodore; “ahey! brother, where did you learn your\nnavigation? Hawser Trunnion is not to be taught at this time of day how", "serious manner about the commodore's proposal of taking Mrs. Trunnion\nto wife; and Jack, being quite tired of the solitary situation of a\nbachelor, which nothing but the company of his old commander could have", "In the afternoon he was conducted by the commodore to the house of his\nparents; and, strange to tell, no sooner was he presented to his mother,", "entertained little or no company, kept few servants, and was remarkably\nplain and frugal in his housekeeping. Mrs. Trunnion being now some", "He is made acquainted with the Characters of Commodore Trunnion and his\nAdherents--Meets with them by Accident, and contracts an Intimacy with\nthat Commander.", "This maxim had been more than once inculcated upon the commodore by Mrs.\nTrunnion, who, over and above the deference she paid to the parson's", "house. There was such a quick circulation of domestics in the family,\nthat every suit of livery had been worn by figures of all dimensions.\nTrunnion himself had long before this time yielded to the torrent of her", "Trunnion, who had scarce ever been on shore till he was paid off, and\nnever once in his whole life in the company of any females above the", "Peregrine arrives at the Garrison, where he receives the last\nAdmonitions of Commodore Trunnion, who next Day resigns his Breath, and", "HAWSER TRUNNION, Esq.\n Formerly commander of a squadron\n In his Majesty's service,", "of his precious limbs. Hatchway was the only person whom the temper of\nMrs. Trunnion respected, either because she dreaded his ridicule, or", "Mrs. Trunnion erects a Tyranny in the Garrison, while her Husband\nconceives an affection for his Nephew Perry, who manifests a peculiarity\nof disposition even in his tender years.", "surveyed the body, with a face of rueful attention,--“Well fare thy\nsoul! old Hawser Trunnion,” said he: “man and boy I have known thee", "The captive being examined, in presence of Trunnion and all his\nadherents, touching the ambuscade, owned that being in the service of", "Hatchway, advancing to the company, after a brace of sea bows to the\nladies, took the youth aside, and put the commodore's letter into", "commodore himself almost dressed, and every servant in the garrison\nassembled in he yard to wish him a good journey. Our hero shook each\nof these humble friends by the hand, tipping them at the same time", "the well-known sound, cried, “Odd's niggers! there is the commodore with\nhis company, as sure as I live,” and with his apron began to wipe the" ], [ "When the old gentleman recovered his health, he was so penetrated with\nPeregrine's behaviour, that he actually would have made over to him his", "In consequence of this information, Peregrine, who knew the narrowness\nof the old gentleman's fortune, next day desired his friend Gauntlet to", "Peregrine holds a Consultation with his Friends, in consequence of\nwhich he bids Adieu to the Fleet--He arrives at his Father's House, and\nasserts his Right of Inheritance.", "Peregrine, instead of alighting at the garrison, rode straightway to\nhis father's house; and no person appearing to receive him, not even a", "acquired at a day-school, during the life of her father, who was a\nday-labourer in the country. Upon this foundation did Peregrine build", "Peregrine receives a letter from Hatchway, in consequence of which he\nrepairs to the Garrison, and performs the last Offices to his Aunt--He\nis visited by Mr. Gauntlet, who invites him to his Marriage.", "The nobleman, touched with this instance of generous self-denial in\nPeregrine, as well as with the sensibility of his friend, lamented the", "With this son of fortune was Peregrine one evening engaged at play, and\nso successful, that he could not help informing his friend of his", "These honourable adventurers being gone, Peregrine, who was present\nduring the transaction, informed himself of the particulars from the", "was appeased by his solicitations and submission, and Peregrine owned as\nhis son and heir. But this acknowledgment was made without the privity", "forsaken her since she had the pleasure of seeing them, and that she\nwould rely upon accident for a partner. Just as she pronounced these\nwords to the last of the three, Peregrine advanced as an utter stranger,", "Thus left to the prosecution of his studies, Peregrine was in a\nlittle time a distinguished character, not only for his acuteness of", "The old gentleman, who was no stranger to the nature of Peregrine's\nconnection with his sister's family, prevailed upon him to stay", "By this declaration Peregrine was appeased, and, out of a delirium of\npassion, waked to all the horrors of reflection. All the glory of his", "a needy volunteer, greatly inferior to himself in fortune, as well as\nevery other accomplishment. This mutual misunderstanding could not fail\nof animosities. The very next day after Peregrine's arrival, some sharp", "Neither was Peregrine less inquisitive about the situation and pedigree\nof his new mistress, who, he learned, was the only daughter of a", "his bar, and a careful manager of his affairs. Peregrine approved of the\nplan, towards the execution of which he made him and his wife a present\nof five hundred pounds, together with a promise of erecting a weekly", "misfortune to the secret enmity of some person who had a design upon his\nlife; and, upon mature deliberation, fixed his suspicion upon Peregrine,", "and, by repeated howlings, expressed their sorrow for the death of their\ncharitable benefactor. Peregrine, though he felt everything which\nlove and gratitude could inspire on this occasion, was not so much", "Peregrine, though at first offended at his valet's presumption, was,\nupon second thoughts, reconciled to the event by which he was delivered" ], [ "“The story which you have related of that young gentleman,” said he,\n“bears a very strong resemblance to the fate of a Spanish nobleman, as", "The parson, in compliance with our hero's request, taking up the story\nfrom the beginning, “Mr. A--,” said he, “is the son of Arthur, late lord", "“By the circumstances of the story which I am going to relate, you will\nbe convinced of my candour, while you are informed of my indiscretion.", "his journey. But Thomas, notwithstanding his irony appearance, was in\nreality composed of flesh and blood. His desire being titillated by", "“While she was thus employed, I got up, and huddled on my clothes,\nstanding upon my pillow, lest my father, who lay in the chamber below,", "to read a newspaper that lay on the table before him. This task was\naccordingly undertaken by the lame lieutenant, who, among paragraphs,\nread that which follows, with an elevation of voice which seemed to", "CHAPTER LVII.", "who read it immediately with an audible voice. The first two words of\nit were no sooner pronounced, than he started, with great emotion, and\nraised himself upon his hand and knee, in which posture he listened", "CHAPTER LI.", "without ceasing. In the course of his own history, the particulars of\nwhich he delighted to recount, he had often rehearsed an adventure of", "“In this manner my lovers were one by one repulsed, almost as soon as\nthey presented themselves, and I preserved the independence of my heart,", "that separation more severely than you imagine.” Transported at this\nflattering confession, he pressed her to his breast, and while her head", "represented to her, that her character would run a much greater risk\nif he should be detected in withdrawing, she consented, with great\ntrepidation, to his stay, and they listened in silence to the sequel of", "While he thus meditated vengeance, the fame of his disorder, in due\ncourse of circulation, reached the ears of that lady of quality whose\nmemoirs have already appeared in these adventures. The correspondence", "Her ladyship having thus concluded her story, to the entertainment\nof the company, and the admiration of Peregrine, who expressed his", "account of all the robberies and murders which had been committed on\nthat road, with many additional circumstances of their own invention.\nAfter having been two days exposed to this comfortable conversation,", "“One instance, however, is so flagrantly flagitious, that I cannot\nresist the inclination I feel to relate it, as an example of the most", "“While he thus regaled me with these interesting particulars, I was\ncontriving a scheme to frustrate the discovery he had made; so that I", "his breast. As her ladyship had undergone a vast variety of fortune\nand adventure, which he had heard indistinctly related, with numberless\nerrors and misrepresentations, he was no sooner entitled, by the", "somewhere in the apartment. In pursuance of this intimation, the room\nwas immediately searched, and the mortified Levite pulled up by the" ], [ "Peregrine, instead of alighting at the garrison, rode straightway to\nhis father's house; and no person appearing to receive him, not even a", "Peregrine, taking him cordially by the hand, seated him upon one side of\nhis bed; and, after having made an apology for that reserve of which he", "presented to him a fine boy, the first-fruits of their love, whom they\nhad christened by the name of Peregrine, in memory of the friendship\nwhich had subsisted between Godfrey and our youth.", "In the mean time, Peregrine was not a little perplexed about the\ndisposal of his sister, whom he had rescued. He could not endure the", "The old gentleman, who was no stranger to the nature of Peregrine's\nconnection with his sister's family, prevailed upon him to stay", "acquired at a day-school, during the life of her father, who was a\nday-labourer in the country. Upon this foundation did Peregrine build", "It was then that Peregrine, pretending to recollect himself a little,\nran, with all the marks of disturbance and affright, and called up the", "When the old gentleman recovered his health, he was so penetrated with\nPeregrine's behaviour, that he actually would have made over to him his", "Neither was Peregrine less inquisitive about the situation and pedigree\nof his new mistress, who, he learned, was the only daughter of a", "The Commodore detects the Machinations of the Conspirators, and hires a\ntutor for Peregrine, whom he settles in Winchester School.", "looked upon his person with eyes of affection. This being the situation\nof things in the garrison, it is not to be doubted that the old\ngentleman highly enjoyed the presence of Peregrine, who found means to", "Peregrine, meanwhile, employed all his insinuation and address in\npractising upon the heart of the Capuchin's fair charge. He had long ago", "Gauntlet, who had seen undoubted proofs of Peregrine's courage, which\nhad considerably raised him in his esteem, and had sense enough to", "Peregrine, at the request of his friend Jack, took charge of his aunt's\nfuneral, to which his parents were invited, though they did not think", "was appeased by his solicitations and submission, and Peregrine owned as\nhis son and heir. But this acknowledgment was made without the privity", "Peregrine, having thus played upon his passions of fear and hope,\nanswered, “that as the offence was committed in the habit of a woman,", "Emilia, which he perceived had given him pain. Peregrine, who had by\nthis time recollected the dictates of his pride, assured him, that he", "and his employers mistook for Peregrine. In consideration of this frank\nacknowledgment, and a severe wound he had received in his right arm,\nthey resolved to inflict no other punishment on this malefactor than to", "Peregrine is summoned to attend his Uncle--Is more and more hated by his\nown Mother--Appeals to his Father, whose Condescension is defeated by\nthe Dominion of his Wife.", "Our young gentleman and his friends acquiesced in the justness of his\nobservation. Peregrine particularly assured him that, from reading" ], [ "Thus left to the prosecution of his studies, Peregrine was in a\nlittle time a distinguished character, not only for his acuteness of", "Meanwhile preparations were made for Peregrine's departure to the\nuniversity, and in a few weeks he set out, in the seventeenth year", "CHAPTER XII.\n\n\n\nPeregrine is sent to a boarding-school--Becomes remarkable for his\nGenius and Ambition.", "acquired at a day-school, during the life of her father, who was a\nday-labourer in the country. Upon this foundation did Peregrine build", "Peregrine, hearing the description of this place, began to be very\nimpatient about his night's lodging; and the parson, perceiving his", "Peregrine, instead of alighting at the garrison, rode straightway to\nhis father's house; and no person appearing to receive him, not even a", "The Commodore detects the Machinations of the Conspirators, and hires a\ntutor for Peregrine, whom he settles in Winchester School.", "Our young gentleman and his friends acquiesced in the justness of his\nobservation. Peregrine particularly assured him that, from reading", "Peregrine, who was now turned of twelve, had made such advances under\nthe instruction of Jennings, that he often disputed upon grammar, and", "Peregrine entered upon this branch of learning with all that warmth of\napplication which boys commonly yield on the first change of study; but", "Peregrine, taking him cordially by the hand, seated him upon one side of\nhis bed; and, after having made an apology for that reserve of which he", "Peregrine, who had resided about fifteen months in France, thought he\nwas now sufficiently qualified for eclipsing most of his contemporaries\nin England, and therefore prepared for his departure with infinite", "While they sat thus conferring together, Peregrine, having taken\nleave of his mistress for the night, came home, and was not a little", "When Peregrine had settled all these points to his own satisfaction,\nhe took leave of all his friends, and, repairing to the great city,", "In the meantime, Peregrine flourished in the gay scenes of life, and,\nas I have already observed, had divers opportunities of profiting in the", "It was then that Peregrine, pretending to recollect himself a little,\nran, with all the marks of disturbance and affright, and called up the", "Peregrine, meanwhile, employed all his insinuation and address in\npractising upon the heart of the Capuchin's fair charge. He had long ago", "Peregrine having perused the billet, and listened to this ejaculation,\nreplied with great composure, that he was ashamed to see a man of", "Peregrine, fortified as he was with pride and indignation, did not fail\nto feel the smarting suggestions of his present situation: after having", "Peregrine, having thus played upon his passions of fear and hope,\nanswered, “that as the offence was committed in the habit of a woman," ], [ "In the afternoon he was conducted by the commodore to the house of his\nparents; and, strange to tell, no sooner was he presented to his mother,", "answered the commodore; “ahey! brother, where did you learn your\nnavigation? Hawser Trunnion is not to be taught at this time of day how", "Hatchway, advancing to the company, after a brace of sea bows to the\nladies, took the youth aside, and put the commodore's letter into", "In the mean time our hero received a letter from his aunt, importing\nthat the commodore was in a very declining way, and longed much to see", "the well-known sound, cried, “Odd's niggers! there is the commodore with\nhis company, as sure as I live,” and with his apron began to wipe the", "After some whispers among themselves, one of them took the pen, and,\nwriting the name of Commodore Trunnion upon a slip of paper, put it into", "Commodore Trunnion, which was altogether singular and odd. “The\ncommodore and your worship,” said he, “will in a short time be hand and", "The commodore, understanding her determination, to which her husband did\nnot venture to make the least objection, interested himself so much", "Mr. Hatchway, who was not quite so unpolished as the commodore, and had\ncertain notions that seemed to approach the ideas of common life, made", "accident should deprive him of the commodore, he would in all likelihood\nfind himself in a very disagreeable situation. Prompted by this\nconsideration, he one evening accompanied his uncle to the club, and", "serious manner about the commodore's proposal of taking Mrs. Trunnion\nto wife; and Jack, being quite tired of the solitary situation of a\nbachelor, which nothing but the company of his old commander could have", "Pipes, whose turn it was to watch, concurred in giving evidence to the\nsame purpose; and the commodore not only owned that he had heard the\nvoice, but likewise communicated his vision, with all the aggravation\nwhich his disturbed fancy suggested.", "The commodore, who did not understand those nice distinctions of\nbehaviour, and dreaded the consequence of Peregrine's amour, against", "entertainment was prepared by the direction of Miss Julia, who was an\nexcellent housewife; and the commodore was so invigorated with joy, that", "The commodore, who was by this time turned of seventy, and altogether\ncrippled by the gout, seldom went abroad; and as his conversation was", "him. Reddening with these reflections, he assured the commodore that he\nnever had serious thoughts of matrimony; so that if any person had told", "the contrivances in which he had been concerned. The commodore was\nthunderstruck at the discovery, and so much incensed against Hatchway\nfor the part he had acted in the whole, that he deliberated with", "perceived in his pupil. He communicated his apprehensions to the master\nof the school, who advised him to apprise the commodore of his nephew's", "entirely to the disposal of the commodore, whose affection for him daily\nincreased, insomuch that he could scarcely prevail upon himself to\npart with him, when his education absolutely required that he should be", "his life and conversation, he generously withstood the impulse of his\npassion, because he knew that his governor had no other dependence than\nthe good opinion of the commodore. He could not, however, digest in" ], [ "Crabtree, having rehearsed these adventures, in such a peculiarity of\nmanner as added infinite ridicule to every circumstance, and repeated", "He returns to London, and meets with Cadwallader, who entertains\nhim with many curious Particulars--Crabtree sounds the Duchess, and", "This indeed was the plan with which Mr. Pickle had amused himself during\nthe researches of Crabtree; and by this time it so effectually flattered", "Cadwallader understood this insinuation, and was tempted to amuse him\nin such a manner as would tend to his disgrace and confusion; but,", "Cadwallader; and, tossing it down upon the floor, regaled himself with a\nquid, without the least manifestation of concern. After some pause, “You", "the ancient visitant was utterly bereft of the sense of hearing;\nthat his name was Cadwallader Crabtree, his disposition altogether\nmisanthropical; and that he was admitted into company on account", "strength of his sanguine expectation. Cadwallader and he renewed\ntheir consultations in the court of ridicule; and divers exploits were", "So saying, he withdrew, very well satisfied with the revenge he had\ntaken, which operated so violently upon Crabtree, that, if it had", "and twenty years hence!” Cadwallader, who enjoyed his terror,\nunder pretence of alleviating his concern, told him that what he had", "looked upon Cadwallader as the greatest curiosity he had ever known,\nand cultivated the old man's acquaintance with such insinuating address,", "friend Cadwallader; though he sometimes converted this advantage to the\npurposes of gallantry, being, as the reader may have perceived, of a\nvery amorous complexion. He not only acted the reformer, or rather the", "While he remained in this hesitation and suspense, he was one morning\nvery agreeably surprised with the appearance of his friend Crabtree,", "Cadwallader acts the part of a Comforter to his Friend; and in his turn\nis consoled by Peregrine, who begins to find himself a most egregious\nDupe.", "they had made an appointment to drink tea with two agreeable ladies,\nand were unwilling that he should lose the opportunity of enjoying an\nentertainment which he loved so much. Crabtree, shrivelling up his face", "perfidy of his patron, and desired that he would not aggravate his\naffliction by those cynical remarks which were peculiar to men of his\nmisanthropical disposition. Cadwallader listened to this declaration", "and surprise; and the treaty was no sooner concluded, than Mr. Crabtree\nbegan to perform articles, by imparting to him a thousand delicious", "of its most favoured ministers upon earth.” With these words, he flung\nout of the room, leaving Cadwallader very well satisfied with the\nchastisement he had bestowed.", "In this laudable determination he was confirmed by the repeated\nsuggestions of his friend Cadwallader, who taxed him with letting his\ntalents rust in indolence, and stimulated his natural vivacity with a", "succeeded by abundance of mirth and pleasantry at the account he gave of\nTrunnion's adventure.", "at all prepossess him in their favour; and, after having strolled about\nthe place with his friend Cadwallader, repaired to the coffee-house,\nin order to be further informed of the peculiar customs which it was" ], [ "Trunnion, exhausted as he was, smiled at this sally, and, after some\npause, resumed his admonitions in this manner:--“I need not talk of", "assertions of his enemies. But, though Trunnion had been dubious of\nthe young gentleman's principles, and deaf to the remonstrances of the", "instructed in the nature of the salute by Trunnion, who, by this time,\nhad entered into all the jollity of his new friends, and was indeed more", "I have been the more circumstantial in opening the character of\nTrunnion, because he bears a considerable share in the course of these", "Trunnion, who had scarce ever been on shore till he was paid off, and\nnever once in his whole life in the company of any females above the", "is exposed; warning the devoted wretch of death and woe. No wonder then\nthat Trunnion was disturbed by a supposed visit of this demon, which, in", "The captive being examined, in presence of Trunnion and all his\nadherents, touching the ambuscade, owned that being in the service of", "before Trunnion used to get up, and gave Pipes, who admitted him, to\nunderstand, that he had a letter from his master, which he was ordered", "Trunnion commended him for his prudent resolution, and observed, that,\nthough no person mentioned to him what promises had passed betwixt him", "Trunnion's declaration, and offended at the presumption of the young\nsoldier, in presuming to disclose the secret with which he had entrusted", "Trunnion, who was equally surprised and offended when she understood\nthat her letter did not produce the desired effect; and after having\nimputed the youth's obstinacy to his uncle's unseasonable indulgence,", "not end but with his life. Indeed it must be owned that Trunnion was\nnot naturally deficient in the social passions of the soul, which though", "Commodore Trunnion, which was altogether singular and odd. “The\ncommodore and your worship,” said he, “will in a short time be hand and", "Trunnion was overjoyed at the receipt of this letter, which he looked\nupon as one of the greatest efforts of human genius, and as such", "This declaration, though not strictly true, was extremely agreeable\nto Mr. Trunnion, who, with an air of triumph, observed, “Aha! Jack,", "Through the rough unpolished hulk that cased the soul of Trunnion, she\ncould easily distinguish a large share of that vanity and self-conceit", "welcome.”--“Lord, Mr. Trunnion,” said she, “why will you continually", "Trunnion was the more startled a this declaration, as Hatchway was\nbecome so necessary to him in almost all the purposes of his life, that", "before, when he was annoyed by the same grievance. The exciseman, with\na waggish sneer, expressed his apprehension of Trunnion's death,", "Trunnion, surprised at this importunity, got up with great reluctance,\nin the middle of his meal, and descending to a parlour where the" ], [ "chanced to meet Peregrine on horseback. The young squire no sooner\nperceived his elder brother, for whom he had been instructed to\nentertain the most inveterate grudge, than he resolved to insult him en", "Peregrine was so much irritated at this intimation, that, in the first\ntransports of his anger he forgot the respect he owed his friend, and", "Peregrine, in spite of his misanthropy, could not help being affected\nwith this uncommon testimony of regard; but he strove to stifle his", "Peregrine's task, therefore, was not so great in comforting him, as in\nconsoling his own sister, who, with great poignancy and sincerity", "adored the immensity of his friend's understanding. In short, Peregrine\neasily perceived that they were false enthusiasts, without the smallest", "a needy volunteer, greatly inferior to himself in fortune, as well as\nevery other accomplishment. This mutual misunderstanding could not fail\nof animosities. The very next day after Peregrine's arrival, some sharp", "might not suffer by his humanity. It may be easily conceived that\nPeregrine did not receive this intelligence in cold blood. He cursed his", "Peregrine returned his compliment with such disdainful civility as gave\nhim room to believe that he suspected his errand; and therefore, without", "terms. While Peregrine was thus employed, his brother Gam had made shift\nto rise and attack him in the rear; for which reason, when the tutor was", "He inveighed bitterly against the ingratitude of Peregrine, whom he\nmentioned with many opprobrious epithets, and swore that he ought to be", "Emilia, which he perceived had given him pain. Peregrine, who had by\nthis time recollected the dictates of his pride, assured him, that he", "By this declaration Peregrine was appeased, and, out of a delirium of\npassion, waked to all the horrors of reflection. All the glory of his", "Had Peregrine and he considered themselves upon equal footing, in\nall probability they would have immediately entered into a league of\nintimacy and friendship: but this sufficient soldier looked upon his", "In the mean time, Peregrine was not a little perplexed about the\ndisposal of his sister, whom he had rescued. He could not endure the", "Next day Peregrine communed with his sister on the subject of her match\nwith Mr. Clover, who, she told him, had offered to settle a jointure of", "and, by repeated howlings, expressed their sorrow for the death of their\ncharitable benefactor. Peregrine, though he felt everything which\nlove and gratitude could inspire on this occasion, was not so much", "Mr. Jolter was disconcerted at this declaration, and so much offended\nat Peregrine's disrespect, that he could not help expressing his", "looked upon his person with eyes of affection. This being the situation\nof things in the garrison, it is not to be doubted that the old\ngentleman highly enjoyed the presence of Peregrine, who found means to", "Peregrine having perused the billet, and listened to this ejaculation,\nreplied with great composure, that he was ashamed to see a man of", "Peregrine's generous heart was wrung with anguish, when he understood\nthat this young gentleman, who was the only son of a distinguished" ], [ "Peregrine, instead of alighting at the garrison, rode straightway to\nhis father's house; and no person appearing to receive him, not even a", "Peregrine, in spite of his misanthropy, could not help being affected\nwith this uncommon testimony of regard; but he strove to stifle his", "Peregrine is summoned to attend his Uncle--Is more and more hated by his\nown Mother--Appeals to his Father, whose Condescension is defeated by\nthe Dominion of his Wife.", "Peregrine, taking him cordially by the hand, seated him upon one side of\nhis bed; and, after having made an apology for that reserve of which he", "Peregrine was so much irritated at this intimation, that, in the first\ntransports of his anger he forgot the respect he owed his friend, and", "When the old gentleman recovered his health, he was so penetrated with\nPeregrine's behaviour, that he actually would have made over to him his", "looked upon his person with eyes of affection. This being the situation\nof things in the garrison, it is not to be doubted that the old\ngentleman highly enjoyed the presence of Peregrine, who found means to", "Mr. Jolter was disconcerted at this declaration, and so much offended\nat Peregrine's disrespect, that he could not help expressing his", "The imposition of this invidious theme had all the desired effect upon\nPeregrine, who not only considered it as a piece of unmannerly abuse", "Peregrine, though he did not approve of Tom's conduct, could not bear\nto see him so roughly handled, especially as he thought his own honour", "before whom he appeared with a most penitential aspect. Peregrine,\nthough he could scarce help laughing at his rueful length of face,\nreprimanded him sharply, for his disrespect and ingratitude in taking", "Peregrine, hearing the description of this place, began to be very\nimpatient about his night's lodging; and the parson, perceiving his", "and his employers mistook for Peregrine. In consideration of this frank\nacknowledgment, and a severe wound he had received in his right arm,\nthey resolved to inflict no other punishment on this malefactor than to", "from Sophy's father, who, at parting, recommended them piously to\nthe care of Peregrine, with whom by this time, he was perfectly well\nacquainted.", "might not suffer by his humanity. It may be easily conceived that\nPeregrine did not receive this intelligence in cold blood. He cursed his", "Emilia, which he perceived had given him pain. Peregrine, who had by\nthis time recollected the dictates of his pride, assured him, that he", "He inveighed bitterly against the ingratitude of Peregrine, whom he\nmentioned with many opprobrious epithets, and swore that he ought to be", "Peregrine's generous heart was wrung with anguish, when he understood\nthat this young gentleman, who was the only son of a distinguished", "Peregrine, fortified as he was with pride and indignation, did not fail\nto feel the smarting suggestions of his present situation: after having", "on his return from his visit to Peregrine, and, without hesitation,\nexercise upon him the discipline of the pump. This plan they would have" ], [ "Peregrine, who had resided about fifteen months in France, thought he\nwas now sufficiently qualified for eclipsing most of his contemporaries\nin England, and therefore prepared for his departure with infinite", "When Peregrine had settled all these points to his own satisfaction,\nhe took leave of all his friends, and, repairing to the great city,", "Peregrine, instead of alighting at the garrison, rode straightway to\nhis father's house; and no person appearing to receive him, not even a", "Meanwhile preparations were made for Peregrine's departure to the\nuniversity, and in a few weeks he set out, in the seventeenth year", "Peregrine, hearing the description of this place, began to be very\nimpatient about his night's lodging; and the parson, perceiving his", "Canterbury in his route. As Peregrine manifested an inclination of\nbeing acquainted with the state of his affairs, he very complaisantly\nsatisfied his curiosity by giving him to know that his spouse had left", "These honourable adventurers being gone, Peregrine, who was present\nduring the transaction, informed himself of the particulars from the", "It was then that Peregrine, pretending to recollect himself a little,\nran, with all the marks of disturbance and affright, and called up the", "Peregrine, having thus played upon his passions of fear and hope,\nanswered, “that as the offence was committed in the habit of a woman,", "CHAPTER XII.\n\n\n\nPeregrine is sent to a boarding-school--Becomes remarkable for his\nGenius and Ambition.", "While they sat thus conferring together, Peregrine, having taken\nleave of his mistress for the night, came home, and was not a little", "much longer, because they seemed to be quite spent when they passed\nhis door. Encouraged by this intimation, Peregrine pushed on with great", "went abroad except to visit in the neighbourhood, and was always housed\nbefore Peregrine could be apprised of her appearance. He went to church", "Peregrine as a young fellow of great ambition, spirit, and address, who\ncould not fail to make a figure in the world; that therefore he would be", "They proceed to the Hague; from whence they depart for Amsterdam, where\nthey see a Dutch Tragedy--Visit the Music-house, in which Peregrine", "Peregrine, taking him cordially by the hand, seated him upon one side of\nhis bed; and, after having made an apology for that reserve of which he", "Peregrine is overtaken by Mr. Gauntlet, with whom he fights a Duel, and\ncontracts an intimate Friendship--He arrives at the Garrison, and finds", "Peregrine, meanwhile, employed all his insinuation and address in\npractising upon the heart of the Capuchin's fair charge. He had long ago", "In the meantime, Peregrine flourished in the gay scenes of life, and,\nas I have already observed, had divers opportunities of profiting in the", "Peregrine having in this manner initiated her in the beau monde of the\ncountry, conducted her to London, where she was provided with private" ], [ "Trunnion, exhausted as he was, smiled at this sally, and, after some\npause, resumed his admonitions in this manner:--“I need not talk of", "Trunnion was overjoyed at the receipt of this letter, which he looked\nupon as one of the greatest efforts of human genius, and as such", "After some whispers among themselves, one of them took the pen, and,\nwriting the name of Commodore Trunnion upon a slip of paper, put it into", "I have been the more circumstantial in opening the character of\nTrunnion, because he bears a considerable share in the course of these", "assertions of his enemies. But, though Trunnion had been dubious of\nthe young gentleman's principles, and deaf to the remonstrances of the", "is exposed; warning the devoted wretch of death and woe. No wonder then\nthat Trunnion was disturbed by a supposed visit of this demon, which, in", "Through the rough unpolished hulk that cased the soul of Trunnion, she\ncould easily distinguish a large share of that vanity and self-conceit", "Trunnion, who was equally surprised and offended when she understood\nthat her letter did not produce the desired effect; and after having\nimputed the youth's obstinacy to his uncle's unseasonable indulgence,", "make such honourable mention was my own father.”--“The devil he was!”\n cried Trunnion, shaking him by the hand: “I am rejoiced to see a son of", "This declaration, though not strictly true, was extremely agreeable\nto Mr. Trunnion, who, with an air of triumph, observed, “Aha! Jack,", "welcome.”--“Lord, Mr. Trunnion,” said she, “why will you continually", "which had inspired him. Trunnion that instant desired his counsellor to\nprepare his cartridge-box, and order the quietest horse in the stable to", "speaking-trumpet to his mouth, and hallooed down the vent, in a voice\nlike thunder, “Trunnion! Trunnion! turn out and be spliced, or lie still", "account, and, observing that his horses were very vicious, asked how he\nintended to return. “As for that matter,” replied Mr. Trunnion, “I am", "Commodore Trunnion, which was altogether singular and odd. “The\ncommodore and your worship,” said he, “will in a short time be hand and", "with more expedition. To this message Mr. Trunnion replied, “Hark ye,\nbrother, don't you see we make all possible speed? go back, and tell", "not end but with his life. Indeed it must be owned that Trunnion was\nnot naturally deficient in the social passions of the soul, which though", "instructed in the nature of the salute by Trunnion, who, by this time,\nhad entered into all the jollity of his new friends, and was indeed more", "runaway. Mr. Trunnion was well distracted at the news of his flight; he\nraved with great fury at the imprudence of Peregrine, whom in his first", "Trunnion commended him for his prudent resolution, and observed, that,\nthough no person mentioned to him what promises had passed betwixt him" ], [ "While this affair was in agitation, the captain told him in the course\nof conversation, that Emilia was arrived in town, and had inquired about", "After having cleared up this misunderstanding, she proceeded to give an\naccount of Emilia, whose behaviour, at that juncture, plainly indicated", "“Emilia.”", "“Emilia.”", "Emilia, which he perceived had given him pain. Peregrine, who had by\nthis time recollected the dictates of his pride, assured him, that he", "Emilia, with a most enchanting sweetness of aspect, told her lover that\nhe had instructed her how to behave towards him; and taking a diamond", "by the charms of his partner; while Emilia, penetrating into his\ndesign, turned his own artillery upon himself, by seeming to listen with", "Emilia, who knew the nicety of our hero's pride, had foreseen the\npurport of this epistle before it came to her hands; she did not,", "that Emilia loved his master at her heart, howsoever she might attempt\nto disguise her sentiments; I say, Thomas was taken with a conceit\nwhich he thought would set everything to rights, and therefore put it in", "himself to Emilia, if possible, more than ever; and although he was\ntempted to punish the officiousness of Jolter, by recriminating upon", "gentleman so much affected with that disdain which she knew to be\nfeigned, laid hold on Emilia's sleeve, saying, with a smile, “Not quite", "reception, and shook Emilia by the hand, telling her, with the familiar\nappellation of “old acquaintance” that he did not care how soon he was", "door. He no sooner perceived that the superscription was in Emilia's\nhandwriting, than he guessed the nature of the contents; and, opening", "actually asked if Mrs. Gauntlet was at home, before he perceived that\nthe portress was no other than his dear Emilia. She was not without\nemotion at the unexpected sight of her lover, who instantly recognising", "Emilia; but it arrived at a very unseasonable juncture, when his\nimagination was engrossed by conquests that more agreeably flattered his", "prospects; and he began to fear that his passion for Emilia might be\nthought to derogate from the dignity of his situation. The struggle\nbetween his interest and love produced a perplexity which had an evident", "Emilia, whose caution was equally vigilant and commendable, foreseeing\nthat she might be exposed to the fertility of his invention, came home", "dress, that he was scarce distinguishable by his own acquaintance. This\ncontention of thoughts continued several weeks, at the end of which\nthe charms of Emilia triumphed over every other consideration. Having", "of these that he was informed of Emilia's being then in town with her\nmother; upon which he excused himself from staying to drink tea, and\nimmediately repaired to their lodgings, according to the directions he", "our proceedings.” Emilia commended him for his candour, at the same\ntime darting a sarcastic look at his master, as if she thought he had" ] ]

[ "What relationship does Peregrine Pickle have with his father? ", "What relationship does Peregrine Pickle have with his brother?", "Who is Commodore Hawser Trunnion?", "Where is Peregrine Pickle educated?", "Who does Peregrine Pickle marry?", "What does each chapter depict?", "What is the name of the independent story within this work?", "Who does Commodore Hawser Trunnion live with?", "How does Peregrine's friend Cadwallader Crabtree amuse himself?", "Who is the main character in the beginning of the novel?", "Who raises Peregrine after he was alienated by his family?", "Where did Peregrine receive his education?", "Where was Peregrine jailed?", "Who does Peregrine Marry?", "What is the name of Peregrine's friend who likes to play jokes on people?", "Which country does Peregrine go to on his journey?", "Who else lives with Commodore Hawser Trunnion in his house?", "Who does Peregrine inherit his fortune from?", "What is the title of the independent story within the novel?", "Who raises Peregrine?", "Where does Peregrine study?", "Who does Commodore Hawser live with?", "What amuses Cadwallader Crabtree?", "What was Trunnion's former career?", "How does Peregrine's brother feel about him?", "How does Peregrine's father treat Peregrine?", "Where does Peregrine travel to?", "Which novelist may have been inspired to create a character modeled after Trunnion?", "Who is Emelia?" ]

[ [ "Peregrine Pickle is ignored by his indifferent father.", "his father is indifferent to him" ], [ "Peregrine Pickle is hated by his brother.", "he is hated by him" ], [ "An old seaman who raises Peregrine Pickle.", "a seaman and misogynist" ], [ "He is educated at Oxford.", "Oxford" ], [ "Emilia.", "Emilia." ], [ "A new adventure.", "a different adventure peregrine has" ], [ "The Memiors of a Lady of Quality.", "The Memoirs of a Lady of Quality." ], [ "He lives with his former shipmates?", "his former shipmates" ], [ "by playing inventive jokes on naive people.", "playing jokes on naive people" ], [ "Peregrine", "Peregrine Pickle" ], [ "Commodore Hawser Trunnion", "Commodore Hawser Trunnion" ], [ "Oxford", "Oxford" ], [ "The fleet", "The Fleet." ], [ "Emilia", "Emilia" ], [ "Cadwallader Crabtree", "Cadwallader" ], [ "France", "France." ], [ "His former shipmates.", "his former shipmates" ], [ "His Father", "his father" ], [ "The memoirs of a lady of quality", "The Memoirs of a Lady of Quality" ], [ "Commodore Hawser Trunnion", "Commodore Husser Tunion" ], [ "Oxford", "Oxford" ], [ "His former shipmates", "his former shipmates" ], [ "Playing jokes on naive people", "Playing ingenious jokes on naive people." ], [ "He was a seaman", "Commodore" ], [ "He hates him", "He hates him." ], [ "He ignores him", "He ignores him." ], [ "France", "France" ], [ "Charles Dickens", "Dickens." ], [ "Peregrine's wife", "Peregrines beloved" ] ]

[ [ "intent on driving him away altogether from the vicinity. And White Fang\nallowed himself to be driven away. This was a female of his kind, and it", "after it, deaf to the sharp cries of Grey Beaver to return. Even a man-\nanimal, a god, White Fang ignored, such was the terror he was in of\nlosing his mother.", "But it was not Kiche's fault. A wolf-mother was not made to remember her\ncubs of a year or so before. So she did not remember White Fang. He was", "White Fang did not wait. The way was clear, and that was all he had\nwanted. She took after him, never ceasing her outcry. It was the", "Growling savagely, White Fang sprang out of the corner, overturning the\nboy and the girl. The mother called them to her and comforted them,\ntelling them not to bother White Fang.", "Kiche's greeting of her grown son was anything but affectionate. But\nWhite Fang did not mind. He had outgrown his mother. So he turned tail", "scored on the newcomer, until White Fang, yelping shamelessly, fled to\nthe protection of his mother. It was the first of the many fights he was", "That night, when all was still, White Fang remembered his mother and\nsorrowed for her. He sorrowed too loudly and woke up Grey Beaver, who", "little difference from the wolf when they discovered the cub and his\nmother. There was a rush. White Fang bristled and snarled and snapped", "The last dog had been driven back. The hubbub died down. And White Fang\nlicked his hurts and meditated upon this, his first taste of pack-cruelty", "Kiche licked White Fang soothingly with her tongue, and tried to prevail\nupon him to remain with her. But his curiosity was rampant, and several", "Scott opened his arms to her, but kept his eyes on White Fang.\n\n\"Down!\" he warned. \"Down!\"", "Twilight drew down and night came on, and White Fang lay by his mother's\nside. His nose and tongue still hurt, but he was perplexed by a greater", "The carriage drove on, and still Collie blocked White Fang's way. He\ntried to outrun her by leaving the drive and circling across the lawn but", "was in his way. He spurned him savagely with his foot. In that moment\nWhite Fang's free nature flashed forth again, and he sank his teeth into\nthe moccasined foot.", "White Fang did not need the encouragement. The return of the love-master\nwas enough. Life was flowing through him again, splendid and", "They got out of the way, gave trail to the grown dogs, and gave up meat\nto them under compulsion. But White Fang, uncompanionable, solitary,", "This was too much for White Fang. Fresh upon his months of mastery over\nhis own team-mates, it was beyond his self-control to stand idly by while", "\"It's all right, mother,\" Scott was saying as he kept tight hold of White\nFang and placated him. \"He thought you were going to injure me, and he", "\"Go home!\" came the sharp command, and this time he obeyed.\n\nThe family was on the porch, taking the cool of the afternoon, when White\nFang arrived. He came in among them, panting, covered with dust." ], [ "But there was another sound. Far and faint it was, in the remote\ndistance, the cry of the hungry wolf-pack as it took the trail of other\nmeat than the man it had just missed.", "\"It's a she-wolf,\" Henry whispered back, \"an' that accounts for Fatty an'\nFrog. She's the decoy for the pack. She draws out the dog an' then all", "With night came horror. Not only were the starving wolves growing\nbolder, but lack of sleep was telling upon Henry. He dozed despite", "\"The wolf's nailed somebody,\" Matt said.\n\nA wild scream of fear and anguish hastened them.\n\n\"Bring a light!\" Scott shouted, as he sprang outside.", "Henry laughed defiantly. \"I ain't been trailed this way by wolves\nbefore, but I've gone through a whole lot worse an' kept my health. Takes", "and do the cruel finishing work. It was then that the white men rushed\nin, visiting their wrath heavily on the pack, while White Fang went free.", "chase through the adjacent woods. But the pack invariably lost him. Its\nnoise and outcry warned him of its presence, while he ran alone, velvet-", "At such times, confronted by three sets of savage teeth, the young wolf\nstopped precipitately, throwing himself back on his haunches, with fore-", "With this triple killing his main troubles with dogs ceased. The word\nwent up and down the valley, and men saw to it that their dogs did not\nmolest the Fighting Wolf.", "shocked wider awake. Something had happened. He could not understand at\nfirst. Then he discovered it. The wolves were gone. Remained only the", "legs stiff, mouth menacing, and mane bristling. This confusion in the\nfront of the moving pack always caused confusion in the rear. The wolves", "Henry leaped out of the blankets and to the dogs. He counted them with\ncare, and then joined his partner in cursing the power of the Wild that\nhad robbed them of another dog.", "He awoke once and saw in front of him, not a dozen feet away, a big grey\nwolf, one of the largest of the pack. And even as he looked, the brute", "missed, was out again too quickly. The dislike of the wolf for close\nquarters was his to an unusual degree. He could not endure a prolonged", "He made one desperate attempt to pull out on the trail. But the moment\nhe left the protection of the fire, the boldest wolf leaped for him, but", "fascinated him, and he grew suddenly fond of this subtle flesh of his\nthat worked so beautifully and smoothly and delicately. Then he would\ncast a glance of fear at the wolf-circle drawn expectantly about him, and", "he caught them alone, and they attacked him when they were bunched. The\nsight of him was sufficient to start them rushing after him, at which\ntimes his swiftness usually carried him into safety. But woe the dog", "and disappearing amongst the underbrush and the scattered clumps of\nspruce, could be seen One Ear. Henry judged his case to be hopeless. The", "saw him they rushed for him. It was their instinct. He was the Wild--the\nunknown, the terrible, the ever-menacing, the thing that prowled in the", "have gone with him and eventually found his way into the pack amongst his\nwild brethren. As it was, he ran the young wolf down and killed and ate\nhim." ], [ "There came a day, in this land of plenty, when the wolf-pack split in\nhalf and went in different directions. The she-wolf, the young leader on", "Each day this remnant of the pack dwindled. Two by two, male and female,\nthe wolves were deserting. Occasionally a solitary male was driven out", "But there was another sound. Far and faint it was, in the remote\ndistance, the cry of the hungry wolf-pack as it took the trail of other\nmeat than the man it had just missed.", "Running at the forefront of the pack was a large grey wolf--one of its\nseveral leaders. It was he who directed the pack's course on the heels", "have gone with him and eventually found his way into the pack amongst his\nwild brethren. As it was, he ran the young wolf down and killed and ate\nhim.", "the few days that followed before the breaking-up of the pack. The\nfamine was over. The wolves were now in the country of game, and though", "legs stiff, mouth menacing, and mane bristling. This confusion in the\nfront of the moving pack always caused confusion in the rear. The wolves", "and do the cruel finishing work. It was then that the white men rushed\nin, visiting their wrath heavily on the pack, while White Fang went free.", "the pack was desperate. It was lean with long-standing hunger. It ran\nbelow its ordinary speed. At the rear limped the weak members, the very", "either side, no gladness at meeting, no desire to return to the\npack-formation. Several times they encountered solitary wolves. These\nwere always males, and they were pressingly insistent on joining with One", "This was his one trouble in the running of the pack; but she had other\ntroubles. On her other side ran a gaunt old wolf, grizzled and marked", "left her litter and went out in search of meat. In the first days after\nthe birth of the cubs, One Eye had journeyed several times back to the", "But there was one lesson the dogs did learn, and that was to keep\ntogether. White Fang was too terrible for any of them to face single-", "The dogs had lain down in the snow, and he walked past them to join his\npartner in the sled. Together they watched the strange animal that had\npursued them for days and that had already accomplished the destruction\nof half their dog-team.", "They got out of the way, gave trail to the grown dogs, and gave up meat\nto them under compulsion. But White Fang, uncompanionable, solitary,", "An outcast himself from the pack of the part-grown dogs, his sanguinary\nmethods and remarkable efficiency made the pack pay for its persecution", "knew that the wolf-pack, One Ear, and Bill were coming together. All too\nquickly, far more quickly than he had expected, it happened. He heard a", "He awoke once and saw in front of him, not a dozen feet away, a big grey\nwolf, one of the largest of the pack. And even as he looked, the brute", "\"It's a she-wolf,\" Henry whispered back, \"an' that accounts for Fatty an'\nFrog. She's the decoy for the pack. She draws out the dog an' then all", "scarred by the teeth of the pack, and as continually he left his own\nmarks upon the pack. Unlike most leaders, who, when camp was made and" ], [ "One of the puppies sprawled up to White Fang. They were half-brothers,\nonly they did not know it. White Fang sniffed the puppy curiously,", "There were seven puppies in the team. The others had been born earlier\nin the year and were nine and ten months old, while White Fang was only", "Of this litter but one remained alive when White Fang came upon the\nscene, and this one was not destined to live long. Young life had little\nchance in such a famine.", "and do the cruel finishing work. It was then that the white men rushed\nin, visiting their wrath heavily on the pack, while White Fang went free.", "little difference from the wolf when they discovered the cub and his\nmother. There was a rush. White Fang bristled and snarled and snapped", "And here, in this inferno of luggage, was White Fang deserted by the\nmaster. Or at least White Fang thought he was deserted, until he smelled", "behind him. Scott turned to see. Sitting on the deck several feet away\nand watching wistfully was White Fang.", "White Fang did not wait. The way was clear, and that was all he had\nwanted. She took after him, never ceasing her outcry. It was the", "The last dog had been driven back. The hubbub died down. And White Fang\nlicked his hurts and meditated upon this, his first taste of pack-cruelty", "White Fang had never seen dogs before, but at sight of them he felt that\nthey were his own kind, only somehow different. But they displayed", "Growling savagely, White Fang sprang out of the corner, overturning the\nboy and the girl. The mother called them to her and comforted them,\ntelling them not to bother White Fang.", "This was too much for White Fang. Fresh upon his months of mastery over\nhis own team-mates, it was beyond his self-control to stand idly by while", "A companionship did exist between White Fang and the other dogs, but it\nwas one of warfare and enmity. He had never learned to play with them.", "They got out of the way, gave trail to the grown dogs, and gave up meat\nto them under compulsion. But White Fang, uncompanionable, solitary,", "Since White Fang continued to fight, it is obvious that it was the other\ndogs that died. He never knew defeat. His early training, when he", "The children welcomed White Fang with glad cries and ran to meet him. He\navoided them and passed down the porch, but they cornered him against a", "Then they turned to White Fang. He, too, was lying on his side. His\neyes were closed, but the lids slightly lifted in an effort to look at", "Night had fallen. The snow was flying more thickly, and White Fang,\nwhimpering softly to himself as he stumbled and limped along, came upon a", "White Fang no longer hesitated. He turned and leaped silently among his\nenemies. All three faced him. There was a great snarling and growling,", "But there was one lesson the dogs did learn, and that was to keep\ntogether. White Fang was too terrible for any of them to face single-" ], [ "fled to Kiche, raging at the end of her stick like an animal gone mad--to\nKiche, the one creature in the world who was not laughing at him.", "and tearing at the legs and bellies above him. There was a great uproar.\nHe could hear the snarl of Kiche as she fought for him; and he could hear", "the stick at each end and in the notches fastened strings of raw-hide.\nOne string he tied around the throat of Kiche. Then he led her to a\nsmall pine, around which he tied the other string.", "woods all of three nights in the mating season? Therefore was the father\nof Kiche a wolf.\"", "Then it was that a cry went up from one of the men. \"Kiche!\" was what he\nuttered. It was an exclamation of surprise. The cub felt his mother\nwilting at the sound.", "the dogs trying often to get into them, and being driven away with sharp\nwords and flying stones. After a time, he left Kiche's side and crawled", "Kiche, when with the wolves, had lured out to destruction dogs from the\ncamps of men, so White Fang, in manner somewhat similar, lured Lip-lip", "of scarlet cloth, a bearskin, twenty cartridges, and Kiche, went to pay\nthe debt. White Fang saw his mother taken aboard Three Eagles' canoe,", "village while he was away with the hunters after moose, he came full upon\nKiche. He paused and looked at her. He remembered her vaguely, but he", "Kiche. Up to her old tricks, she, too, had fled the inhospitable fires\nof the gods and gone back to her old refuge to give birth to her young.", "experience of love. Kiche was a remote memory. Besides, not only had he\nabandoned the Wild and his kind when he gave himself up to man, but the", "into Kiche's avenging jaws. Retreating before Lip-lip, White Fang made\nan indirect flight that led in and out and around the various tepees of", "Kiche turned and slowly trotted back toward camp. Stronger than the\nphysical restraint of the stick was the clutch of the camp upon her.", "He crawled over to his mate and tried to persuade her to get up. But she\nonly snarled at him, and he walked out alone into the bright sunshine to", "ferocious and indomitable mother who fought and killed all things and was\nnever afraid. She was snarling as she ran. She had heard the cry of her\ncub and was dashing to save him.", "But it was not Kiche's fault. A wolf-mother was not made to remember her\ncubs of a year or so before. So she did not remember White Fang. He was", "Once again he lived in the lair with Kiche, crept trembling to the knees\nof Grey Beaver to tender his allegiance, ran for his life before Lip-lip", "upon her and pinned her down. The cub saw little of the battle. There\nwas a tremendous snarling and spitting and screeching. The two animals", "He was still standing, stupid and bewildered, the memories forgotten,\nwondering what it was all about, when Kiche attacked him a third time,", "again and passed into the grave from which they had been resurrected. He\nlooked at Kiche licking her puppy and stopping now and then to snarl at" ], [ "and do the cruel finishing work. It was then that the white men rushed\nin, visiting their wrath heavily on the pack, while White Fang went free.", "The last dog had been driven back. The hubbub died down. And White Fang\nlicked his hurts and meditated upon this, his first taste of pack-cruelty", "Lip-lip was White Fang's own kind, and, being only a puppy, did not seem\ndangerous; so White Fang prepared to meet him in a friendly spirit. But", "One of the puppies sprawled up to White Fang. They were half-brothers,\nonly they did not know it. White Fang sniffed the puppy curiously,", "against him. These were trapped by the Indians for the purpose, and a\nfight between White Fang and a wolf was always sure to draw a crowd.", "together. Once, the man pointed at him, and White Fang snarled back as\nthough the hand were just descending upon him instead of being, as it", "insulting him. This endured for some time. The men at the saloon even\nurged the dogs on to attack White Fang. One day they openly sicked the", "was in his way. He spurned him savagely with his foot. In that moment\nWhite Fang's free nature flashed forth again, and he sank his teeth into\nthe moccasined foot.", "the other puppies of the camp. Lip-lip would not permit it. The moment\nWhite Fang appeared near them, Lip-lip was upon him, bullying and", "There were seven puppies in the team. The others had been born earlier\nin the year and were nine and ten months old, while White Fang was only", "This was too much for White Fang. Fresh upon his months of mastery over\nhis own team-mates, it was beyond his self-control to stand idly by while", "As an enemy of his kind, it was in White Fang's province to fight with\nthem. This he did, and he quickly achieved for them a mighty contempt.", "This was not without its effect on White Fang. The hair began to rise on\nhis neck and across the shoulders. Tim Keenan gave a final shove forward", "back to his own tepee. Here the squaws came to his aid, and White Fang,\ntransformed into a raging demon, was finally driven off only by a\nfusillade of stones.", "of the puppy on his jowl. White Fang's tongue went out, he knew not why,\nand he licked the puppy's face.", "But there was one lesson the dogs did learn, and that was to keep\ntogether. White Fang was too terrible for any of them to face single-", "In that moment White Fang was in upon him and out, in passing ripping his\ntrimmed remnant of an ear. With a slight manifestation of anger,", "Growling savagely, White Fang sprang out of the corner, overturning the\nboy and the girl. The mother called them to her and comforted them,\ntelling them not to bother White Fang.", "It was as Matt had said. White Fang had ceased eating, lost heart, and\nallowed every dog of the team to thrash him. In the cabin he lay on the", "little difference from the wolf when they discovered the cub and his\nmother. There was a rush. White Fang bristled and snarled and snapped" ], [ "During the early summer, in the last days of the famine, he met Lip-lip,\nwho had likewise taken to the woods, where he had eked out a miserable\nexistence.", "Lip-lip, excited by the chase and by the persistent nearness of his\nvictim, forgot caution and locality. When he remembered locality, it was", "Lip-lip's hind leg. There was no fight left in Lip-lip, and he ran away\nshamelessly, his victim hot on his heels and worrying him all the way", "proceeded to wreak his vengeance on him by putting him at the end of the\nlongest rope. This made Lip-lip the leader, and was apparently an", "Fang fought willingly enough, but he was outclassed. His enemy was too\nbig. Lip-lip became a nightmare to him. Whenever he ventured away from", "Lip-lip was leader of the pack. But Lip-lip was no longer leader--except\nwhen he fled away before his mates at the end of his rope, the sled", "animal was near, to spring upon him and force a fight. As Lip-lip\ninvariably won, he enjoyed it hugely. It became his chief delight in", "But in the moment he looked at Lip-lip his hair rose on end all along his\nback. It was an involuntary bristling on his part, the physical state", "wolf. But be that as it may, they joined with Lip-lip in the\npersecution. And, once declared against him, they found good reason to", "lifting Lip-lip into the air with its violence so that he smashed down to\nearth a dozen feet away. This was the man-animal's justice; and even", "sort of game. But suddenly, with remarkable swiftness, Lip-lip leaped\nin, delivering a slashing snap, and leaped away again. The snap had", "He found himself an outcast in the midst of the populous camp. All the\nyoung dogs followed Lip-lip's lead. There was a difference between White", "This was maddening to them. They would rage around just outside the\nthrowing-distance of the whip, while Lip-lip devoured the meat and Mit-", "feet and stood whimpering. Lip-lip, who had watched the whole proceeding\nfrom the bank, now rushed upon him, knocking him over and sinking his", "exception of Lip-lip, they were compelled to hunch together for mutual\nprotection against the terrible enemy they had made. A puppy alone by", "his face and compel him to turn tail and run on. Lip-lip might face the\npack, but he could not face that whip, and all that was left him to do", "the camp. He was a good runner, swifter than any puppy of his size, and\nswifter than Lip-lip. But he did not run his best in this chase. He", "But Lip-lip had lived his life in camp and had fought many puppy fights.\nThree times, four times, and half a dozen times, his sharp little teeth", "Lip-lip was White Fang's own kind, and, being only a puppy, did not seem\ndangerous; so White Fang prepared to meet him in a friendly spirit. But", "Grey Beaver descending upon him in wrath; while he would have welcomed\nwith delight Lip-lip and the whole snarling, cowardly pack." ], [ "It was in the summer that White Fang arrived at Fort Yukon. Grey Beaver\nhad crossed the great watershed between Mackenzie and the Yukon in the", "Here Grey Beaver stopped. A whisper of the gold-rush had reached his\nears, and he had come with several bales of furs, and another of gut-sewn", "Grey Beaver had intended camping that night on the far bank of the\nMackenzie, for it was in that direction that the hunting lay. But on the", "driven. After a few days, sober and bankrupt, Grey Beaver departed up\nthe Porcupine on his long journey to the Mackenzie. White Fang remained", "When December was well along, Grey Beaver went on a journey up the", "dogs had been a diversion. After a time it became his occupation. There\nwas no work for him to do. Grey Beaver was busy trading and getting", "in that early day when he turned his back on the Wild and crawled to Grey\nBeaver's feet to receive the expected beating. This seal had been", "It was at Fort Yukon that White Fang saw his first white men. As\ncompared with the Indians he had known, they were to him another race of", "was food. The famine was gone. He came out boldly from the forest and\ntrotted into camp straight to Grey Beaver's tepee. Grey Beaver was not", "Fang. Grey Beaver was in the debt of Three Eagles. Three Eagles was\ngoing away on a trip up the Mackenzie to the Great Slave Lake. A strip", "Grey Beaver refused to sell the dog. He had grown rich with his trading\nand stood in need of nothing. Besides, White Fang was a valuable animal,", "The spring of the year was at hand when Grey Beaver finished his long\njourney. It was April, and White Fang was a year old when he pulled into", "now abandoned himself. In short, when all things were considered, he had\nto achieve an orientation far vaster than the one he had achieved at the\ntime he came voluntarily in from the Wild and accepted Grey Beaver as his", "terribly because she could not come to his aid. But Grey Beaver laughed\nloudly, and slapped his thighs, and told the happening to all the rest of", "He was wise. But had he been merely wise he would not have gone back to\nGrey Beaver who had already twice betrayed him. But there was his", "touched Grey Beaver's knee, so curious was he, and already forgetful that\nthis was a terrible man-animal. Suddenly he saw a strange thing like", "minutes later he was venturing forth on a new quest. He came upon one of\nthe man-animals, Grey Beaver, who was squatting on his hams and doing", "piece of meat was of value. It was worth more, in some strange way, then\na dozen pieces of meat from the hand of a squaw. Grey Beaver never", "Women and children were carrying more sticks and branches to Grey Beaver.\nIt was evidently an affair of moment. White Fang came in until he", "boy's family came, demanding vengeance. But they went away with\nvengeance unsatisfied. Grey Beaver defended White Fang. So did Mit-sah" ], [ "that Jim Hall was guiltless of the crime charged. And Jim Hall, on the\nother hand, did not know that Judge Scott was merely ignorant. Jim Hall", "For once, Jim Hall was right. He was innocent of the crime for which he\nwas sentenced. It was a case, in the parlance of thieves and police, of", "After this, Jim Hall went to live in the incorrigible cell. He lived\nthere three years. The cell was of iron, the floor, the walls, the roof.", "injustice, and upon Judge Scott he emptied the vials of his wrath and\nhurled the threats of his revenge yet to come. Then Jim Hall went to his\nliving death . . . and escaped.", "\"Jim Hall,\" said Judge Scott, and father and son looked significantly at\neach other.", "poohed and laughed, but not with reason, for it was in his last days on\nthe bench that Jim Hall had stood before him and received sentence. And", "in open court-room, before all men, Jim Hall had proclaimed that the day\nwould come when he would wreak vengeance on the Judge that sentenced him.", "\"rail-roading.\" Jim Hall was being \"rail-roaded\" to prison for a crime\nhe had not committed. Because of the two prior convictions against him,", "the doom of fifty years of living death was uttered by Judge Scott, that\nJim Hall, hating all things in the society that misused him, rose up and", "It was during Jim Hall's third term in prison that he encountered a guard\nthat was almost as great a beast as he. The guard treated him unfairly,", "And then Jim Hall disappeared. The bloodhounds vainly quested on the\nlost trail. Inoffensive ranchers in remote valleys were held up by armed", "\"He's all in, poor devil,\" muttered the master.\n\n\"We'll see about that,\" asserted the Judge, as he started for the\ntelephone.", "Judge Scott imposed upon him a sentence of fifty years.", "raged in the court-room until dragged down by half a dozen of his blue-\ncoated enemies. To him, Judge Scott was the keystone in the arch of", "Judge Scott did not know all things, and he did not know that he was\nparty to a police conspiracy, that the evidence was hatched and perjured,", "believed that the judge knew all about it and was hand in glove with the\npolice in the perpetration of the monstrous injustice. So it was, when", "revolver. Jim Hall had only his naked hands and his teeth. But he\nsprang upon the guard one day and used his teeth on the other's throat\njust like any jungle animal.", "Weedon Scott pressed a button, and the staircase and downstairs hall were\nflooded with light. Then he and Judge Scott, revolvers in hand,", "ground outside, whence he sauntered gravely to the house. He had learned\nthe law. And on the porch, before the delighted family, Judge Scott,", "\"But he mustn't lose any chance that might be of help to him,\" Judge\nScott exclaimed. \"Never mind expense. Put him under the X-ray--anything." ], [ "\"Say, Henry,\" he chided gently, \"ain't you forgot somethin'?\"\n\nHenry looked about with great carefulness and shook his head. Bill held\nup the empty cup.", "Henry sat down on the sled and watched. There was nothing else for him\nto do. Bill had already gone from sight; but now and again, appearing", "\"Look here, Henry,\" Bill said, unconsciously lowering his voice to a\nwhisper because of what he imitated. \"We've got three cartridges. But", "Henry nodded his consent. Bill cautiously slipped the gun from under the\nsled-lashing. The gun was on the way to his shoulder, but it never got", "\"Well, Henry . . . \" Bill stopped for a moment, in order that his words\nmight gain greater significance. \"As I was sayin', Henry, we've got six", "Henry grunted with an intonation that was not all sympathy, and for a\nquarter of an hour they sat on in silence, Henry staring at the fire, and\nBill at the circle of eyes that burned in the darkness just beyond the\nfirelight.", "\"Look at that, Bill,\" Henry whispered.", "\"Say, Bill!\" Henry called after him. \"Be careful! Don't take no\nchances!\"", "A few minutes later, Henry, who was now travelling behind the sled,\nemitted a low, warning whistle. Bill turned and looked, then quietly", "Henry rolled over angrily on his side, but was surprised that Bill made\nno similar display of temper. This was not Bill's way, for he was easily", "In the morning Henry was aroused by fervid blasphemy that proceeded from\nthe mouth of Bill. Henry propped himself up on an elbow and looked to", "In the meantime, Bill had bethought himself of the rifle. But it was\njammed beneath the overturned sled, and by the time Henry had helped him", "\"We've only got six dogs,\" Henry said.\n\n\"Henry,\" Bill went on. \"I won't say they was all dogs, but there was\nseven of 'm that got fish.\"", "The fire crackled. A log fell apart with a loud spluttering noise. At\nthe sound of it the strange animal leaped back into the darkness.\n\n\"Henry, I'm a-thinkin',\" Bill announced.", "Bill had finished his pipe and was helping his companion to spread the\nbed of fur and blanket upon the spruce boughs which he had laid over the\nsnow before supper. Henry grunted, and began unlacing his moccasins.", "Henry was bending over and adding ice to the babbling pot of beans when\nhe was startled by the sound of a blow, an exclamation from Bill, and a", "\"You don't get no coffee,\" Henry announced.\n\n\"Ain't run out?\" Bill asked anxiously.\n\n\"Nope.\"", "\"Say, Henry,\" he asked suddenly, \"how many dogs did you say we had?\"\n\n\"Six.\"\n\n\"Wrong,\" Bill proclaimed triumphantly.", "\"Henry,\" said the other, munching with deliberation the beans he was\neating, \"did you happen to notice the way them dogs kicked up when I was\na-feedin' 'em?\"", "But Bill ignored him. \"I seen some of them. They're pretty thin. They\nain't had a bite in weeks I reckon, outside of Fatty an' Frog an'" ], [ "Henry grunted with an intonation that was not all sympathy, and for a\nquarter of an hour they sat on in silence, Henry staring at the fire, and\nBill at the circle of eyes that burned in the darkness just beyond the\nfirelight.", "\"Look here, Henry,\" Bill said, unconsciously lowering his voice to a\nwhisper because of what he imitated. \"We've got three cartridges. But", "Henry nodded his consent. Bill cautiously slipped the gun from under the\nsled-lashing. The gun was on the way to his shoulder, but it never got", "\"Look at that, Bill,\" Henry whispered.", "A few minutes later, Henry, who was now travelling behind the sled,\nemitted a low, warning whistle. Bill turned and looked, then quietly", "Henry sat down on the sled and watched. There was nothing else for him\nto do. Bill had already gone from sight; but now and again, appearing", "\"Say, Henry,\" he chided gently, \"ain't you forgot somethin'?\"\n\nHenry looked about with great carefulness and shook his head. Bill held\nup the empty cup.", "The fire crackled. A log fell apart with a loud spluttering noise. At\nthe sound of it the strange animal leaped back into the darkness.\n\n\"Henry, I'm a-thinkin',\" Bill announced.", "\"Seems to me, Henry, they're stayin' remarkable close to camp,\" Bill\ncommented.", "Henry was bending over and adding ice to the babbling pot of beans when\nhe was startled by the sound of a blow, an exclamation from Bill, and a", "In the meantime, Bill had bethought himself of the rifle. But it was\njammed beneath the overturned sled, and by the time Henry had helped him", "\"Well, Henry . . . \" Bill stopped for a moment, in order that his words\nmight gain greater significance. \"As I was sayin', Henry, we've got six", "At the conclusion of one such panic, when he and Henry had got the dogs\nback in the traces, Bill said:\n\n\"I wisht they'd strike game somewheres, an' go away an' leave us alone.\"", "\"Say, Bill!\" Henry called after him. \"Be careful! Don't take no\nchances!\"", "Henry rolled over angrily on his side, but was surprised that Bill made\nno similar display of temper. This was not Bill's way, for he was easily", "\"Henry,\" said the other, munching with deliberation the beans he was\neating, \"did you happen to notice the way them dogs kicked up when I was\na-feedin' 'em?\"", "The different lines were rapidly approaching a point. Somewhere out\nthere in the snow, screened from his sight by trees and thickets, Henry", "\"They're after us, Bill,\" said the man at the front.\n\nHis voice sounded hoarse and unreal, and he had spoken with apparent\neffort.", "Bill had finished his pipe and was helping his companion to spread the\nbed of fur and blanket upon the spruce boughs which he had laid over the\nsnow before supper. Henry grunted, and began unlacing his moccasins.", "In the morning Henry was aroused by fervid blasphemy that proceeded from\nthe mouth of Bill. Henry propped himself up on an elbow and looked to" ], [ "the few days that followed before the breaking-up of the pack. The\nfamine was over. The wolves were now in the country of game, and though", "Famine came again, and the cub with clearer consciousness knew once more\nthe bite of hunger. The she-wolf ran herself thin in the quest for meat.", "have gone with him and eventually found his way into the pack amongst his\nwild brethren. As it was, he ran the young wolf down and killed and ate\nhim.", "\"It is not strange, Salmon Tongue,\" Grey Beaver answered. \"It was the\ntime of the famine, and there was no meat for the dogs.\"\n\n\"She has lived with the wolves,\" said a third Indian.", "The famine broke. The she-wolf brought home meat. It was strange meat,\ndifferent from any she had ever brought before. It was a lynx kitten,", "the pack. But if they could fast prodigiously, they could feed\nprodigiously, and soon a few scattered bones were all that remained of\nthe splendid live brute that had faced the pack a few hours before.", "But there was another sound. Far and faint it was, in the remote\ndistance, the cry of the hungry wolf-pack as it took the trail of other\nmeat than the man it had just missed.", "the pack was desperate. It was lean with long-standing hunger. It ran\nbelow its ordinary speed. At the rear limped the weak members, the very", "The battle began fairly, but it did not end fairly. There was no telling\nwhat the outcome would have been, for the third wolf joined the elder,", "All night, with burning brands, he fought off the hungry pack. When he\ndozed despite himself, the whimpering and snarling of the dogs aroused", "pack ran full tilt upon him. It was a long, cruel chase, but he was\nbetter nourished than they, and in the end outran them. And not only did", "They might have fought, but even wooing and its rivalry waited upon the\nmore pressing hunger-need of the pack.", "One day White Fang encountered a young wolf, gaunt and scrawny, loose-\njointed with famine. Had he not been hungry himself, White Fang might", "With this triple killing his main troubles with dogs ceased. The word\nwent up and down the valley, and men saw to it that their dogs did not\nmolest the Fighting Wolf.", "When the young leader lay in the snow and moved no more, One Eye stalked\nover to the she-wolf. His carriage was one of mingled triumph and", "The last dog had been driven back. The hubbub died down. And White Fang\nlicked his hurts and meditated upon this, his first taste of pack-cruelty", "was food. The famine was gone. He came out boldly from the forest and\ntrotted into camp straight to Grey Beaver's tepee. Grey Beaver was not", "meat. On the contrary, they devoured their own meat hurriedly, for fear\nthat he would take it away from them. White Fang knew the law well: _to", "And in the meanwhile, the she-wolf, the cause of it all, sat down\ncontentedly on her haunches and watched. She was even pleased. This was", "Of this litter but one remained alive when White Fang came upon the\nscene, and this one was not destined to live long. Young life had little\nchance in such a famine." ], [ "The cub, who had thus received a name in the world, lay and watched. For\na time the man-animals continued to make their mouth-noises. Then Grey", "left her litter and went out in search of meat. In the first days after\nthe birth of the cubs, One Eye had journeyed several times back to the", "came from his mother's breast. At first, the cubs whimpered and cried,\nbut for the most part they slept. It was not long before they were", "The grey cub would have died, and there would have been no story to write\nabout him, had not the she-wolf come bounding through the bushes. The", "The cub came upon it suddenly. It was his own fault. He had been\ncareless. He had left the cave and run down to the stream to drink. It", "Midway in the passage, the current picked up the cub and swept him\ndownstream. He was caught in the miniature rapid at the bottom of the", "The cub felt the prod of the life that was in him, and stood up and\nsnarled valiantly by his mother's side. But she thrust him ignominiously", "the river bank meant a puppy dead or a puppy that aroused the camp with\nits shrill pain and terror as it fled back from the wolf-cub that had\nwaylaid it.", "upon her and pinned her down. The cub saw little of the battle. There\nwas a tremendous snarling and spitting and screeching. The two animals", "half-digested by the she-wolf and disgorged for the five growing cubs\nthat already made too great demand upon her breast.", "Then it was that a cry went up from one of the men. \"Kiche!\" was what he\nuttered. It was an exclamation of surprise. The cub felt his mother\nwilting at the sound.", "But the cub was learning. His misty little mind had already made an\nunconscious classification. There were live things and things not alive.", "And then the cub saw his mother, the she-wolf, the fearless one,\ncrouching down till her belly touched the ground, whimpering, wagging her", "Before him, sitting silently on their haunches, were five live things,\nthe like of which he had never seen before. It was his first glimpse of", "The other Indians laughed loudly, and urged the man on to pick up the\ncub. As the hand descended closer and closer, there raged within the cub", "CHAPTER III--THE GREY CUB", "The cub's shoulder was stiff and sore, and for some time he limped from\nthe terrible slash he had received. But the world now seemed changed. He", "The lynx was dead. But the she-wolf was very weak and sick. At first\nshe caressed the cub and licked his wounded shoulder; but the blood she", "happy when it is expressing itself. So the cub had no quarrel with his\nhostile environment. He was very much alive, very happy, and very proud\nof himself.", "\"So it would seem, Three Eagles,\" Grey Beaver answered, laying his hand\non the cub; \"and this be the sign of it.\"" ], [ "The cub came upon it suddenly. It was his own fault. He had been\ncareless. He had left the cave and run down to the stream to drink. It", "The cub had never seen man, yet the instinct concerning man was his. In\ndim ways he recognised in man the animal that had fought itself to", "The cub, who had thus received a name in the world, lay and watched. For\na time the man-animals continued to make their mouth-noises. Then Grey", "One of the Indians arose and walked over to him and stooped above him.\nThe cub cowered closer to the ground. It was the unknown, objectified at", "But the cub was learning. His misty little mind had already made an\nunconscious classification. There were live things and things not alive.", "The cub's shoulder was stiff and sore, and for some time he limped from\nthe terrible slash he had received. But the world now seemed changed. He", "The other Indians laughed loudly, and urged the man on to pick up the\ncub. As the hand descended closer and closer, there raged within the cub", "happy when it is expressing itself. So the cub had no quarrel with his\nhostile environment. He was very much alive, very happy, and very proud\nof himself.", "Nor did the cub move. Every instinct of his nature would have impelled\nhim to dash wildly away, had there not suddenly and for the first time", "he wailed out his terror and his hurt. In the midst of it, he heard\nsomething. The Indians heard it too. But the cub knew what it was, and", "But the slope grew more gradual, and its base was grass-covered. Here\nthe cub lost momentum. When at last he came to a stop, he gave one last", "It was a long time before the cub left its shelter. He had learned much.\nLive things were meat. They were good to eat. Also, live things when", "After that he sat up and gazed about him, as might the first man of the\nearth who landed upon Mars. The cub had broken through the wall of the", "left her litter and went out in search of meat. In the first days after\nthe birth of the cubs, One Eye had journeyed several times back to the", "The grey cub would have died, and there would have been no story to write\nabout him, had not the she-wolf come bounding through the bushes. The", "The cub felt the prod of the life that was in him, and stood up and\nsnarled valiantly by his mother's side. But she thrust him ignominiously", "upon her and pinned her down. The cub saw little of the battle. There\nwas a tremendous snarling and spitting and screeching. The two animals", "to come down and give battle, and the cub crawled away into a thicket and\nwhimpered his disappointment and hunger.", "And then the cub saw his mother, the she-wolf, the fearless one,\ncrouching down till her belly touched the ground, whimpering, wagging her", "Then it was that a cry went up from one of the men. \"Kiche!\" was what he\nuttered. It was an exclamation of surprise. The cub felt his mother\nwilting at the sound." ], [ "\"It's a she-wolf,\" Henry whispered back, \"an' that accounts for Fatty an'\nFrog. She's the decoy for the pack. She draws out the dog an' then all", "It was the she-wolf who had first caught the sound of men's voices and\nthe whining of the sled-dogs; and it was the she-wolf who was first to", "Once he awakened, and in an opening in the circle, directly in front of\nhim, he saw the she-wolf gazing at him.", "He came out of a doze that was half nightmare, to see the red-hued she-\nwolf before him. She was not more than half a dozen feet away sitting in", "And all the while the she-wolf sat on her haunches and smiled. She was\nmade glad in vague ways by the battle, for this was the love-making of", "\"It's the she-wolf,\" Bill answered.", "CHAPTER II--THE SHE-WOLF", "stood his two rivals. They were gazing at the she-wolf, who sat smiling\nin the snow. But the elder leader was wise, very wise, in love even as", "And in the meanwhile, the she-wolf, the cause of it all, sat down\ncontentedly on her haunches and watched. She was even pleased. This was", "For two days the she-wolf and One Eye hung about the Indian camp. He was\nworried and apprehensive, yet the camp lured his mate and she was loath", "When the young leader lay in the snow and moved no more, One Eye stalked\nover to the she-wolf. His carriage was one of mingled triumph and", "to pass him. And it was he who increased the pace when he sighted the\nshe-wolf, now trotting slowly across the snow.", "And then the cub saw his mother, the she-wolf, the fearless one,\ncrouching down till her belly touched the ground, whimpering, wagging her", "In the meantime the rabbit danced above them in the air. The she-wolf\nsat down in the snow, and old One Eye, now more in fear of his mate than", "and joining in the chase. The she-wolf was one leap behind One Ear and\nholding her own.", "The she-wolf was angry. She sank her fangs into her mate's shoulder in\nreproof; and he, frightened, unaware of what constituted this new", "an Indian camp, carrying a story that was largely incomprehensible to One\nEye, but every detail of which the she-wolf knew.", "He recognised One Ear's yell of pain and terror, and he heard a wolf-cry\nthat bespoke a stricken animal. And that was all. The snarls ceased.", "awoke with a start. The she-wolf was less than a yard from him.\nMechanically, at short range, without letting go of it, he thrust a brand", "The she-wolf had by now developed a ferocious temper. Her three suitors\nall bore the marks of her teeth. Yet they never replied in kind, never" ], [ "The children welcomed White Fang with glad cries and ran to meet him. He\navoided them and passed down the porch, but they cornered him against a", "And here, in this inferno of luggage, was White Fang deserted by the\nmaster. Or at least White Fang thought he was deserted, until he smelled", "They got out of the way, gave trail to the grown dogs, and gave up meat\nto them under compulsion. But White Fang, uncompanionable, solitary,", "One of the puppies sprawled up to White Fang. They were half-brothers,\nonly they did not know it. White Fang sniffed the puppy curiously,", "and do the cruel finishing work. It was then that the white men rushed\nin, visiting their wrath heavily on the pack, while White Fang went free.", "Scott turned his back on him, and returned to help the dog-musher, who\nwas working over White Fang.", "White Fang suspected; and though the meat was proffered to him with short\ninviting thrusts of the hand, he refused to touch it. The gods were all-", "Grey Beaver refused to sell the dog. He had grown rich with his trading\nand stood in need of nothing. Besides, White Fang was a valuable animal,", "Nevertheless, White Fang was not quite satisfied with the arrangement. He\nhad no abstract ideas about justice and fair play. But there is a", "This was too much for White Fang. Fresh upon his months of mastery over\nhis own team-mates, it was beyond his self-control to stand idly by while", "bedding and the grip. But White Fang did not follow them. The master\nwas still in the cabin. After a time, Matt returned. The master came to\nthe door and called White Fang inside.", "But it was not all easy for White Fang. Running behind the carriage in\nthe outskirts of San Jose, he encountered certain small boys who made a", "White Fang did not wait. The way was clear, and that was all he had\nwanted. She took after him, never ceasing her outcry. It was the", "Scott opened his arms to her, but kept his eyes on White Fang.\n\n\"Down!\" he warned. \"Down!\"", "Dick had his way, they would have been good friends; but White Fang\nwas averse to friendship. All he asked of other dogs was to be let", "White Fang enjoyed it all. He did not love his kind, and he was shrewd\nenough to escape hurt himself. At first, the killing of the white men's", "But it can scarcely be said that White Fang was a member of the gang. He\ndid not mingle with it, but remained aloof, always himself, and was even", "insulting him. This endured for some time. The men at the saloon even\nurged the dogs on to attack White Fang. One day they openly sicked the", "slowly put out his hand, rested it on White Fang's head, and resumed the\ninterrupted patting. White Fang endured it, keeping his eyes fixed", "White Fang flattened his ears ingratiatingly, but remained where he was,\nmaking no attempt to approach.\n\n\"I'll have to take 'm ashore with me.\"" ], [ "and do the cruel finishing work. It was then that the white men rushed\nin, visiting their wrath heavily on the pack, while White Fang went free.", "The master was running up, but was too far away; and it was Collie that\nsaved the hound's life. Before White Fang could spring in and deliver", "This produced the desired effect. White Fang went wild with rage. He\ncalled up his reserves of strength, and gained his feet. As he struggled", "After the beating, White Fang was dragged back to the fort. But this\ntime Beauty Smith left him tied with a stick. One does not give up a god", "And here, in this inferno of luggage, was White Fang deserted by the\nmaster. Or at least White Fang thought he was deserted, until he smelled", "They were all on their feet now, and White Fang ran down the steps,\nlooking back for them to follow. For the second and last time in his\nlife he had barked and made himself understood.", "slowly put out his hand, rested it on White Fang's head, and resumed the\ninterrupted patting. White Fang endured it, keeping his eyes fixed", "Fang's throat. The bull-dog missed by a hair's-breadth, and cries of\npraise went up as White Fang doubled suddenly out of danger in the\nopposite direction.", "It was the beginning of the end for White Fang--the ending of the old\nlife and the reign of hate. A new and incomprehensibly fairer life was", "All this the two men saw in the first instant. The next instant Weedon\nScott had White Fang by the throat and was dragging him clear. White", "White Fang no longer hesitated. He turned and leaped silently among his\nenemies. All three faced him. There was a great snarling and growling,", "White Fang did not wait. The way was clear, and that was all he had\nwanted. She took after him, never ceasing her outcry. It was the", "Night had fallen. The snow was flying more thickly, and White Fang,\nwhimpering softly to himself as he stumbled and limped along, came upon a", "He turned to White Fang. \"Come on, you wolf. It's you that'll have to\ncome inside.\"", "White Fang emerged from the car. He was astonished. The nightmare city\nwas gone. The car had been to him no more than a room in a house, and", "\"He's trying to speak, I do believe,\" Beth announced.\n\nAt this moment speech came to White Fang, rushing up in a great burst of\nbarking.", "Came the day when Grey Beaver, deciding that the liability of her running\naway was past, released Kiche. White Fang was delighted with his", "It was at the cutting-up of a moose, fresh-killed, that White Fang\nlearned of the changed relations in which he stood to the dog-world. He", "Scott turned his back on him, and returned to help the dog-musher, who\nwas working over White Fang.", "White Fang did not need the encouragement. The return of the love-master\nwas enough. Life was flowing through him again, splendid and" ], [ "raged in the court-room until dragged down by half a dozen of his blue-\ncoated enemies. To him, Judge Scott was the keystone in the arch of", "injustice, and upon Judge Scott he emptied the vials of his wrath and\nhurled the threats of his revenge yet to come. Then Jim Hall went to his\nliving death . . . and escaped.", "\"God knows I don't want to kill him or have him killed,\" Scott answered,\nputting away the revolver. \"We'll let him run loose and see what\nkindness can do for him. And here's a try at it.\"", "Judge Scott did not know all things, and he did not know that he was\nparty to a police conspiracy, that the evidence was hatched and perjured,", "Weedon Scott pressed a button, and the staircase and downstairs hall were\nflooded with light. Then he and Judge Scott, revolvers in hand,", "All this was a matter of development, and took time. Next in his regard,\nafter the children, was Judge Scott. There were two reasons, possibly,", "that Jim Hall was guiltless of the crime charged. And Jim Hall, on the\nother hand, did not know that Judge Scott was merely ignorant. Jim Hall", "Judge Scott imposed upon him a sentence of fifty years.", "\"It would be a mercy to kill him,\" Scott insisted. \"He's untamable.\"", "\"But he mustn't lose any chance that might be of help to him,\" Judge\nScott exclaimed. \"Never mind expense. Put him under the X-ray--anything.", "In the meantime the newspapers were read at Sierra Vista, not so much\nwith interest as with anxiety. The women were afraid. Judge Scott pooh-", "\"Jim Hall,\" said Judge Scott, and father and son looked significantly at\neach other.", "ground outside, whence he sauntered gravely to the house. He had learned\nthe law. And on the porch, before the delighted family, Judge Scott,", "\"He's a downright murderer, I know,\" was the dog-musher's comment.\n\nWeedon Scott looked at him suspiciously.\n\n\"It would never do,\" he said decisively.", "the doom of fifty years of living death was uttered by Judge Scott, that\nJim Hall, hating all things in the society that misused him, rose up and", "Weedon Scott had set himself the task of redeeming White Fang--or rather,\nof redeeming mankind from the wrong it had done White Fang. It was a", "He did not finish his sentence. White Fang stood before him, growling\nfiercely.\n\n\"Go away! Lie down, sir!\" Judge Scott commanded.", "many persons to be considered. There was Judge Scott, and there was his\nwife. There were the master's two sisters, Beth and Mary. There was his", "\"He's all in, poor devil,\" muttered the master.\n\n\"We'll see about that,\" asserted the Judge, as he started for the\ntelephone.", "\"White man's dogs would have no show against him,\" Scott went on. \"He'd\nkill them on sight. If he didn't bankrupt me with damage suits, the\nauthorities would take him away from me and electrocute him.\"" ], [ "which was the name of Judge Scott's place, White Fang quickly began to\nmake himself at home. He had no further serious trouble with the dogs.", "White Fang received the nursing. Judge Scott's suggestion of a trained\nnurse was indignantly clamoured down by the girls, who themselves", "Scott opened his arms to her, but kept his eyes on White Fang.\n\n\"Down!\" he warned. \"Down!\"", "Fang and them. Perhaps they sensed his wild-wood breed, and\ninstinctively felt for him the enmity that the domestic dog feels for the", "\"It's all right, mother,\" Scott was saying as he kept tight hold of White\nFang and placated him. \"He thought you were going to injure me, and he", "\"The Blessed Wolf!\" chorused the women.\n\nJudge Scott surveyed them triumphantly.", "Weedon Scott strode half across the room toward him, at the same time\ncalling him. White Fang came to him, not with a great bound, yet", "behind him. Scott turned to see. Sitting on the deck several feet away\nand watching wistfully was White Fang.", "Fang. There was no hope for the mastiff from the first. He was too\nponderous and slow. In the end, while Beauty Smith beat White Fang back", "Scott, who had been patting White Fang, suddenly bent closer and pointed\nout fresh-made cuts on his muzzle, and a gash between the eyes.", "\"What d'ye think?\" Scott queried eagerly. Then the hope died down as he\nadded, shaking his head, \"We've had him two weeks now, and if anything\nhe's wilder than ever at the present moment.\"", "them as they bent over him, and the tail was perceptibly agitated in a\nvain effort to wag. Weedon Scott patted him, and his throat rumbled an", "White Fang turned to the love-master's wife. She screamed with fright as\nhe seized her dress in his teeth and dragged on it till the frail fabric\ntore away. By this time he had become the centre of interest.", "But Weedon Scott did not agree with his father. \"I'll tell you what I'll\ndo,\" he challenged finally. \"I'll lock White Fang in with the chickens\nall afternoon.\"", "Weedon Scott had set himself the task of redeeming White Fang--or rather,\nof redeeming mankind from the wrong it had done White Fang. It was a", "Fang. But the next moment his footing would be lost and he would be\ndragging around in the whirl of one of White Fang's mad gyrations.", "of them, women, perpetrated the hostile act of clutching the master\naround the neck. White Fang, however, was beginning to tolerate this", "Growling savagely, White Fang sprang out of the corner, overturning the\nboy and the girl. The mother called them to her and comforted them,\ntelling them not to bother White Fang.", "Fang knew who was coming and began to bristle. He had been lying down in\nan abandon of comfort, but he arose quickly, and, as the man arrived,", "Scott turned his back on him, and returned to help the dog-musher, who\nwas working over White Fang." ], [ "have gone with him and eventually found his way into the pack amongst his\nwild brethren. As it was, he ran the young wolf down and killed and ate\nhim.", "\"It is not strange, Salmon Tongue,\" Grey Beaver answered. \"It was the\ntime of the famine, and there was no meat for the dogs.\"\n\n\"She has lived with the wolves,\" said a third Indian.", "He made one desperate attempt to pull out on the trail. But the moment\nhe left the protection of the fire, the boldest wolf leaped for him, but", "The battle began fairly, but it did not end fairly. There was no telling\nwhat the outcome would have been, for the third wolf joined the elder,", "But there was another sound. Far and faint it was, in the remote\ndistance, the cry of the hungry wolf-pack as it took the trail of other\nmeat than the man it had just missed.", "When the young leader lay in the snow and moved no more, One Eye stalked\nover to the she-wolf. His carriage was one of mingled triumph and", "But he was not destined to enjoy that bed. Before his eyes closed the\nwolves had drawn too near for safety. It no longer required an effort of", "But at front and rear, unawed and indomitable, toiled the two men who\nwere not yet dead. Their bodies were covered with fur and soft-tanned", "would have eaten him had she not herself been killed and eaten. And so\nit went. The law was being lived about him by all live things, and he", "All night, with burning brands, he fought off the hungry pack. When he\ndozed despite himself, the whimpering and snarling of the dogs aroused", "The dogs had lain down in the snow, and he walked past them to join his\npartner in the sled. Together they watched the strange animal that had\npursued them for days and that had already accomplished the destruction\nof half their dog-team.", "gods, which had now become a shambles, and fled into the forest, where,\nin the end, they starved to death or were eaten by wolves.", "shocked wider awake. Something had happened. He could not understand at\nfirst. Then he discovered it. The wolves were gone. Remained only the", "\"The wolf's nailed somebody,\" Matt said.\n\nA wild scream of fear and anguish hastened them.\n\n\"Bring a light!\" Scott shouted, as he sprang outside.", "And then he awoke to find the howling real. There was a great snarling\nand yelping. The wolves were rushing him. They were all about him and", "to his feet. With a flaming brand in each hand, he sprang to the edge of\nthe fire. The wolves had been driven back. On every side, wherever the", "In the meantime the rabbit danced above them in the air. The she-wolf\nsat down in the snow, and old One Eye, now more in fear of his mate than", "\"Red she-wolf. . . . Come in with the dogs at feedin' time. . . . First\nshe ate the dog-food. . . . Then she ate the dogs. . . . An' after that\nshe ate Bill. . . . \"", "With night came horror. Not only were the starving wolves growing\nbolder, but lack of sleep was telling upon Henry. He dozed despite", "meat. On the contrary, they devoured their own meat hurriedly, for fear\nthat he would take it away from them. White Fang knew the law well: _to" ], [ "\"Weedon Scott,\" some one answered.\n\n\"And who in hell is Weedon Scott?\" the faro-dealer demanded.", "Weedon Scott pressed a button, and the staircase and downstairs hall were\nflooded with light. Then he and Judge Scott, revolvers in hand,", "Weedon Scott debated with himself for a while, and then said more gently:\n\"You are right, Matt. I don't know my own mind, and that's what's the\ntrouble.\"", "Weedon Scott listened. Through the door came a low, anxious whine, like\na sobbing under the breath that had just grown audible. Then came the", "Weedon Scott had set himself the task of redeeming White Fang--or rather,\nof redeeming mankind from the wrong it had done White Fang. It was a", "Weedon Scott stepped in. The two men shook hands. Then Scott looked\naround the room.", "smashed furniture, partly on his side, his face hidden by an arm, lay a\nman. Weedon Scott bent over, removed the arm and turned the man's face", "A recrudescence of anger glinted in Weedon Scott's grey eyes, and he\nmuttered savagely, \"The beast!\"", "But Weedon Scott was not listening. He was thinking rapidly. The\n_Aurora's_ whistle hooted a final announcement of departure. Men were", "Weedon Scott did not hear. He was squatting down on his heels, face to\nface with White Fang and petting him--rubbing at the roots of the ears,", "Weedon Scott smiled with a superior air, gained his feet, and walked over\nto White Fang. He talked soothingly to him, but not for long, then", "But this did not satisfy Weedon Scott. The other seemed to be judging\nhim in a non-committal sort of way.", "Weedon Scott strode half across the room toward him, at the same time\ncalling him. White Fang came to him, not with a great bound, yet", "There was a grunt from Weedon Scott's bunk, and a stir of blankets.\n\n\"From the way he cut up the other time you went away, I wouldn't wonder\nthis time but what he died.\"", "them as they bent over him, and the tail was perceptibly agitated in a\nvain effort to wag. Weedon Scott patted him, and his throat rumbled an", "\"You mean . . .?\"\n\nWeedon nodded his head. \"I mean just that. You'd have a dead Dick\ninside one minute--two minutes at the farthest.\"", "\"I do believe that wolf's on to you,\" the dog-musher said.\n\nWeedon Scott looked across at his companion with eyes that almost\npleaded, though this was given the lie by his words.", "\"He's a downright murderer, I know,\" was the dog-musher's comment.\n\nWeedon Scott looked at him suspiciously.\n\n\"It would never do,\" he said decisively.", "\"Weedon's back,\" Weedon's mother announced.", "dawning. It required much thinking and endless patience on the part of\nWeedon Scott to accomplish this. And on the part of White Fang it" ], [ "knew that the wolf-pack, One Ear, and Bill were coming together. All too\nquickly, far more quickly than he had expected, it happened. He heard a", "A few minutes later, Henry, who was now travelling behind the sled,\nemitted a low, warning whistle. Bill turned and looked, then quietly", "Henry nodded his consent. Bill cautiously slipped the gun from under the\nsled-lashing. The gun was on the way to his shoulder, but it never got", "With night came horror. Not only were the starving wolves growing\nbolder, but lack of sleep was telling upon Henry. He dozed despite", "At the conclusion of one such panic, when he and Henry had got the dogs\nback in the traces, Bill said:\n\n\"I wisht they'd strike game somewheres, an' go away an' leave us alone.\"", "Henry leaped out of the blankets and to the dogs. He counted them with\ncare, and then joined his partner in cursing the power of the Wild that\nhad robbed them of another dog.", "Henry sat down on the sled and watched. There was nothing else for him\nto do. Bill had already gone from sight; but now and again, appearing", "In the meantime, Bill had bethought himself of the rifle. But it was\njammed beneath the overturned sled, and by the time Henry had helped him", "Bill had finished his pipe and was helping his companion to spread the\nbed of fur and blanket upon the spruce boughs which he had laid over the\nsnow before supper. Henry grunted, and began unlacing his moccasins.", "The fire crackled. A log fell apart with a loud spluttering noise. At\nthe sound of it the strange animal leaped back into the darkness.\n\n\"Henry, I'm a-thinkin',\" Bill announced.", "But at front and rear, unawed and indomitable, toiled the two men who\nwere not yet dead. Their bodies were covered with fur and soft-tanned", "But there was another sound. Far and faint it was, in the remote\ndistance, the cry of the hungry wolf-pack as it took the trail of other\nmeat than the man it had just missed.", "\"Henry,\" said the other, munching with deliberation the beans he was\neating, \"did you happen to notice the way them dogs kicked up when I was\na-feedin' 'em?\"", "He made one desperate attempt to pull out on the trail. But the moment\nhe left the protection of the fire, the boldest wolf leaped for him, but", "All night, with burning brands, he fought off the hungry pack. When he\ndozed despite himself, the whimpering and snarling of the dogs aroused", "Henry grunted with an intonation that was not all sympathy, and for a\nquarter of an hour they sat on in silence, Henry staring at the fire, and\nBill at the circle of eyes that burned in the darkness just beyond the\nfirelight.", "\"The wolf's nailed somebody,\" Matt said.\n\nA wild scream of fear and anguish hastened them.\n\n\"Bring a light!\" Scott shouted, as he sprang outside.", "shocked wider awake. Something had happened. He could not understand at\nfirst. Then he discovered it. The wolves were gone. Remained only the", "and do the cruel finishing work. It was then that the white men rushed\nin, visiting their wrath heavily on the pack, while White Fang went free.", "He awoke once and saw in front of him, not a dozen feet away, a big grey\nwolf, one of the largest of the pack. And even as he looked, the brute" ], [ "White Fang learned rapidly the ways of the camp. He knew the injustice\nand greediness of the older dogs when meat or fish was thrown out to be", "life, as it became White Fang's chief torment.", "and do the cruel finishing work. It was then that the white men rushed\nin, visiting their wrath heavily on the pack, while White Fang went free.", "It was at Fort Yukon that White Fang saw his first white men. As\ncompared with the Indians he had known, they were to him another race of", "There was no escape for White Fang. The only way out was between the two\ntepees, and this the boy guarded. Holding his club prepared to strike,", "White Fang had seen the camp-dogs toiling in the harness, so that he did\nnot resent overmuch the first placing of the harness upon himself. About", "against him. These were trapped by the Indians for the purpose, and a\nfight between White Fang and a wolf was always sure to draw a crowd.", "The last dog had been driven back. The hubbub died down. And White Fang\nlicked his hurts and meditated upon this, his first taste of pack-cruelty", "And White Fang just as bitterly hated them back. Being sled-leader was\nanything but gratifying to him. To be compelled to run away before the", "But it was not all easy for White Fang. Running behind the carriage in\nthe outskirts of San Jose, he encountered certain small boys who made a", "White Fang became hated by man and dog. During this period of his\ndevelopment he never knew a moment's security. The tooth of every dog", "The dog-musher secured a club and went over to the chained animal. White\nFang watched the club after the manner of a caged lion watching the whip\nof its trainer.", "It was as Matt had said. White Fang had ceased eating, lost heart, and\nallowed every dog of the team to thrash him. In the cabin he lay on the", "was in his way. He spurned him savagely with his foot. In that moment\nWhite Fang's free nature flashed forth again, and he sank his teeth into\nthe moccasined foot.", "White Fang and began savagely to kick him. There were hisses from the\ncrowd and cries of protest, but that was all. While this went on, and", "After the beating, White Fang was dragged back to the fort. But this\ntime Beauty Smith left him tied with a stick. One does not give up a god", "When the steamboat arrived at Dawson, White Fang went ashore. But he\nstill lived a public life, in a cage, surrounded by curious men. He was", "life. Even the big beating given him in his puppyhood by Grey Beaver was\nmild compared with this.", "was White Fang. Fear surged through him again. For the first time he\nwas being really man-handled. The occasional blows of sticks and stones", "The younger man's excitement and apprehension for White Fang was growing.\nHe struck Cherokee about the head savagely again and again. But that did" ], [ "But the cub was learning. His misty little mind had already made an\nunconscious classification. There were live things and things not alive.", "chickens that belonged to other gods. Then there were cats, and rabbits,\nand turkeys; all these he must let alone. In fact, when he had but", "The other kind included all live things that moved. But the other kind\nwas divided. One portion was what his own kind killed and ate. This", "Also, he must watch out for the live things. The things not alive\nremained always in one place, but the live things moved about, and there", "Before him, sitting silently on their haunches, were five live things,\nthe like of which he had never seen before. It was his first glimpse of", "Wild, was shoved in through the door of the pen. And on still another\nday two dogs were set against him at the same time. This was his", "In the Northland, the only domesticated animal was the dog. All other\nanimals lived in the Wild, and were, when not too formidable, lawful", "Like most creatures of the Wild, he early experienced famine. There came\na time when not only did the meat-supply cease, but the milk no longer", "forty souls of them, and all heavily burdened with camp equipage and\noutfit. Also there were many dogs; and these, with the exception of the", "out of which they had come, and which they had deserted and betrayed.\nGeneration by generation, down all the generations, had this fear of the\nWild been stamped into their natures. For centuries the Wild had stood", "In the Wild the time of a mother with her young is short; but under the\ndominion of man it is sometimes even shorter. Thus it was with White", "There was food in plenty. The bull weighed over eight hundred\npounds--fully twenty pounds of meat per mouth for the forty-odd wolves of", "all wild creatures that the wolf-cub was approaching. But as birds flew\nin the air, squirrels could climb trees, and the cub could only try to", "many merciless fangs. So run away he did, violating his own nature and\npride with every leap he made, and leaping all day long.", "upright against a tree and trying his teeth on the bark. One Eye\napproached carefully but hopelessly. He knew the breed, though he had\nnever met it so far north before; and never in his long life had", "Only a few seconds elapsed before he was on his feet again. He could now\nsee the man-animals driving back the dogs with clubs and stones,", "for terror and destruction. And during all this time free licence had\nbeen theirs, from their masters, to kill the things of the Wild. In\ndoing this they had protected both themselves and the gods whose", "To man has been given the grief, often, of seeing his gods overthrown and\nhis altars crumbling; but to the wolf and the wild dog that have come in", "All night, with burning brands, he fought off the hungry pack. When he\ndozed despite himself, the whimpering and snarling of the dogs aroused", "The dogs had lain down in the snow, and he walked past them to join his\npartner in the sled. Together they watched the strange animal that had\npursued them for days and that had already accomplished the destruction\nof half their dog-team." ], [ "White Fang.", "He turned to White Fang. \"Come on, you wolf. It's you that'll have to\ncome inside.\"", "The dog-musher secured a club and went over to the chained animal. White\nFang watched the club after the manner of a caged lion watching the whip\nof its trainer.", "It was at the cutting-up of a moose, fresh-killed, that White Fang\nlearned of the changed relations in which he stood to the dog-world. He", "The dog-musher indicated White Fang with a backward thrust of his thumb.\n\n\"Wolf or dog, it's all the same--he's ben tamed 'ready.\"\n\n\"No!\"", "White Fang was in the process of finding himself. In spite of the\nmaturity of his years and of the savage rigidity of the mould that had", "After a time, White Fang heard strange noises approaching. He was quick\nin his classification, for he knew them at once for man-animal noises. A", "together. Once, the man pointed at him, and White Fang snarled back as\nthough the hand were just descending upon him instead of being, as it", "And so it was with White Fang. The man-animals were gods unmistakable\nand unescapable. As his mother, Kiche, had rendered her allegiance to", "And here, in this inferno of luggage, was White Fang deserted by the\nmaster. Or at least White Fang thought he was deserted, until he smelled", "little dog and much wolf. His fangs be white, and White Fang shall be\nhis name. I have spoken. He is my dog. For was not Kiche my brother's", "White Fang was sick. A soft southland dog would have died under it, but\nnot he. His school of life had been sterner, and he was himself of", "White Fang was in splendid condition. His hunting had been good, and for\na week he had eaten his fill. He was even gorged from his latest kill.", "White Fang had never seen dogs before, but at sight of them he felt that\nthey were his own kind, only somehow different. But they displayed", "was White Fang. Fear surged through him again. For the first time he\nwas being really man-handled. The occasional blows of sticks and stones", "One of the puppies sprawled up to White Fang. They were half-brothers,\nonly they did not know it. White Fang sniffed the puppy curiously,", "If ever a creature was the enemy of its kind, White Fang was that\ncreature. He asked no quarter, gave none. He was continually marred and", "White Fang enjoyed it all. He did not love his kind, and he was shrewd\nenough to escape hurt himself. At first, the killing of the white men's", "This produced the desired effect. White Fang went wild with rage. He\ncalled up his reserves of strength, and gained his feet. As he struggled", "\"He's trying to speak, I do believe,\" Beth announced.\n\nAt this moment speech came to White Fang, rushing up in a great burst of\nbarking." ], [ "That night, when all was still, White Fang remembered his mother and\nsorrowed for her. He sorrowed too loudly and woke up Grey Beaver, who", "after it, deaf to the sharp cries of Grey Beaver to return. Even a man-\nanimal, a god, White Fang ignored, such was the terror he was in of\nlosing his mother.", "scored on the newcomer, until White Fang, yelping shamelessly, fled to\nthe protection of his mother. It was the first of the many fights he was", "Growling savagely, White Fang sprang out of the corner, overturning the\nboy and the girl. The mother called them to her and comforted them,\ntelling them not to bother White Fang.", "Twilight drew down and night came on, and White Fang lay by his mother's\nside. His nose and tongue still hurt, but he was perplexed by a greater", "White Fang did not wait. The way was clear, and that was all he had\nwanted. She took after him, never ceasing her outcry. It was the", "But it was not Kiche's fault. A wolf-mother was not made to remember her\ncubs of a year or so before. So she did not remember White Fang. He was", "intent on driving him away altogether from the vicinity. And White Fang\nallowed himself to be driven away. This was a female of his kind, and it", "Of all this White Fang knew nothing. But between him and Alice, the\nmaster's wife, there existed a secret. Each night, after Sierra Vista", "little dog and much wolf. His fangs be white, and White Fang shall be\nhis name. I have spoken. He is my dog. For was not Kiche my brother's", "White Fang.", "WHITE FANG\n\n\nPART I\n\n\nCHAPTER I--THE TRAIL OF THE MEAT", "And so it was with White Fang. The man-animals were gods unmistakable\nand unescapable. As his mother, Kiche, had rendered her allegiance to", "of scarlet cloth, a bearskin, twenty cartridges, and Kiche, went to pay\nthe debt. White Fang saw his mother taken aboard Three Eagles' canoe,", "little difference from the wolf when they discovered the cub and his\nmother. There was a rush. White Fang bristled and snarled and snapped", "One of the puppies sprawled up to White Fang. They were half-brothers,\nonly they did not know it. White Fang sniffed the puppy curiously,", "He turned to White Fang. \"Come on, you wolf. It's you that'll have to\ncome inside.\"", "In the late spring a great trouble came to White Fang. Without warning,\nthe love-master disappeared. There had been warning, but White Fang was", "Kiche's greeting of her grown son was anything but affectionate. But\nWhite Fang did not mind. He had outgrown his mother. So he turned tail", "And here, in this inferno of luggage, was White Fang deserted by the\nmaster. Or at least White Fang thought he was deserted, until he smelled" ], [ "Weedon Scott had set himself the task of redeeming White Fang--or rather,\nof redeeming mankind from the wrong it had done White Fang. It was a", "Weedon Scott strode half across the room toward him, at the same time\ncalling him. White Fang came to him, not with a great bound, yet", "All this the two men saw in the first instant. The next instant Weedon\nScott had White Fang by the throat and was dragging him clear. White", "Weedon Scott did not hear. He was squatting down on his heels, face to\nface with White Fang and petting him--rubbing at the roots of the ears,", "Weedon Scott smiled with a superior air, gained his feet, and walked over\nto White Fang. He talked soothingly to him, but not for long, then", "Weedon Scott had believed that he was quick enough to avoid any snap or\nslash. But he had yet to learn the remarkable quickness of White Fang,\nwho struck with the certainty and swiftness of a coiled snake.", "visitor to the cabin fought him off with a club until Weedon Scott came\nto the rescue. But White Fang soon learned to differentiate between", "And so, because he needed a god and because he preferred Weedon Scott to\nBeauty Smith, White Fang remained. In acknowledgment of fealty, he", "remoulding it into fairer form. Weedon Scott was in truth this thumb. He\nhad gone to the roots of White Fang's nature, and with kindness touched", "As White Fang watched Weedon Scott approach, he bristled and snarled to\nadvertise that he would not submit to punishment. Twenty-four hours had", "As Matt had pleaded for White Fang when he had been bitten, it was now\nWeedon Scott's turn to plead.", "hostile act! The next moment Weedon Scott had torn loose from the\nembrace and closed with White Fang, who had become a snarling, raging\ndemon.", "But Weedon Scott did not agree with his father. \"I'll tell you what I'll\ndo,\" he challenged finally. \"I'll lock White Fang in with the chickens\nall afternoon.\"", "\"All right.\" Weedon Scott pondered for a moment. \"And if, at the end of\nthe afternoon White Fang hasn't harmed a chicken, for every ten minutes", "and do the cruel finishing work. It was then that the white men rushed\nin, visiting their wrath heavily on the pack, while White Fang went free.", "The gang-plank was hauled in, and the _Aurora_ swung out from the bank.\nWeedon Scott waved a last good-bye. Then he turned and bent over White\nFang, standing by his side.", "Scott opened his arms to her, but kept his eyes on White Fang.\n\n\"Down!\" he warned. \"Down!\"", "into the harness and make him haul sled with the other dogs. But Matt\nfailed. It was not until Weedon Scott put the harness on White Fang and", "behind him. Scott turned to see. Sitting on the deck several feet away\nand watching wistfully was White Fang.", "Scott turned his back on him, and returned to help the dog-musher, who\nwas working over White Fang." ], [ "\"Couldn't see. But it had four legs an' a mouth an' hair an' looked like\nany dog.\"\n\n\"Must be a tame wolf, I reckon.\"", "A moment later, when he had recovered himself, he said, \"I always\ninsisted that wolf was a dog. Look at 'm!\"", "\"An if I get a chance at it, that wolf that's a dog'll be jes' meat,\"\nBill declared. \"We can't afford to lose no more animals.\"", "than massive. His coat was the true wolf-grey, and to all appearances he\nwas true wolf himself. The quarter-strain of dog he had inherited from", "fires of man, the Wild would have moulded him into a true wolf. But the\ngods had given him a different environment, and he was moulded into a dog", "The months went by, binding stronger and stronger the covenant between\ndog and man. This was the ancient covenant that the first wolf that came", "The animal was certainly not cinnamon-coloured. Its coat was the true\nwolf-coat. The dominant colour was grey, and yet there was to it a faint", "have gone with him and eventually found his way into the pack amongst his\nwild brethren. As it was, he ran the young wolf down and killed and ate\nhim.", "The battle began fairly, but it did not end fairly. There was no telling\nwhat the outcome would have been, for the third wolf joined the elder,", "\"This be the sign of it,\" Grey Beaver went on. \"It is plain that his\nmother is Kiche. But his father was a wolf. Wherefore is there in him", "That night he lifted the long wolf-howl. As he had howled, in his puppy\ndays, when he fled back from the Wild to the village to find it vanished", "feared by it. It is true, he worked with it. He picked the quarrel with\nthe strange dog while the gang waited. And when he had overthrown the", "\"It is not strange,\" an Indian was saying. \"Her father was a wolf. It\nis true, her mother was a dog; but did not my brother tie her out in the", "Under the tutelage of the mad god, White Fang became a fiend. He was\nkept chained in a pen at the rear of the fort, and here Beauty Smith", "He came out of a doze that was half nightmare, to see the red-hued she-\nwolf before him. She was not more than half a dozen feet away sitting in", "\"It is not strange, Salmon Tongue,\" Grey Beaver answered. \"It was the\ntime of the famine, and there was no meat for the dogs.\"\n\n\"She has lived with the wolves,\" said a third Indian.", "All night, with burning brands, he fought off the hungry pack. When he\ndozed despite himself, the whimpering and snarling of the dogs aroused", "The lynx was dead. But the she-wolf was very weak and sick. At first\nshe caressed the cub and licked his wounded shoulder; but the blood she", "An outcast himself from the pack of the part-grown dogs, his sanguinary\nmethods and remarkable efficiency made the pack pay for its persecution", "fear of the Wild, and especially of the wolf, was unusually keen. White\nFang was to her a wolf, the hereditary marauder who had preyed upon her" ] ]

[ "Why does White Fang's mother chase him away when he reunites with her?", "Why does the wolf pack stalking Henry scatter?", "Why does the wolf pack split up?", "How many siblings did White Fang have?", "How does Kiche get revenge for her mate's death?", "Why does the puppy pack in the Indian village attack White Fang?", "What is Lip-lip's ultimate fate?", "Why did Gray Beaver travel to Fort Yukon?", "Why did Judge Hall sentence Jim Hall to prison?", "From what town are Bill and Henry from?", "What is stalking Bill and Henry?", "What ends the famine among the pack of wolves?", "What river are the five cubs born?", "Who does the cub come across ?", "Who recognizes the she-wolfe?", "Who does not accept white fang?", "Who rescues white fang?", "Who tries to kill Judge Scott?", "What do the women of Scott's estate name Fang?", "Which characters are eaten by the wolves?", "Who is Weedon Scott?", "What were Bill and Henry doing when the pack of wolves struck ?", "Why was White Fang's life harsh in the Indian camp?", "How many types of wild animals are mentioned?", "What type of animal is White Fang?", "What is the name of White Fang's mother?", "From what did Weedon Scott rescue White Fang?", "What created the dog-wolf hybrid at the end of the story?" ]

[ [ "She has a new litter of cubs.", "She has new cubs." ], [ "They heard a group of people approaching.", "large group of people approaching" ], [ "They bring down a moose and are able to sate their hunger.", "The famine is finished." ], [ "Four.", "Four" ], [ "She kills the lynx's kittens.", "She kills all the lynx's kittens to feed her cub." ], [ "They see him as different from them.", "They see him as a wolf." ], [ "White Fang kills him.", "He is killed." ], [ "So he could trade with the gold hunters.", "So he could trade with gold-hunters." ], [ "He was railroaded into doing it.", "He tried to kill Judge Scott" ], [ "Fort McGurry", "Yukon Territory" ], [ "A pack of hungry wolves", "A large pack of wolves." ], [ "A moose", "The pack brings in a moose" ], [ "Mackenzie River", "Mackenzie River" ], [ "Native americans", "five Native Americans" ], [ "Grey Beaver", "Grey Beaver" ], [ "The puppy pack", "The puppy pack" ], [ "Scott", "Grey Beaver" ], [ "Jim Hall", "Jim Hall" ], [ "The Blessed wolf.", "The Blessed Wolf" ], [ "Bill and the sled dogs.", "Bill and their dogs" ], [ "A gold hunter.", "Weedon Scott is a rich, young gold-hunter." ], [ "They were delivering a coffin.", "They are on a journey to deliver a coffin." ], [ "The dogs never accepted him as part of their family.", "The other pups won't accept him because he is part wolf." ], [ "Three - Dogs, wolves and lynx.", "three" ], [ "A wolf.", "A wolf cub who is part dog." ], [ "Kiche.", "Kiche" ], [ "From a fight with a bulldog named Cherokee.", "A dog fight" ], [ "White Fang fathered pups with the sheep-dog Collie.", "White Fang and a sheep-dog, Collie." ] ]

[ [ "you with guns. So I say, well, if you\n want proof he's getting paid for\n selling them, let me bring the money\n in.", "over to guns. You can sell guns\n wherever there's a demand. No one\n gives a shit. He acts like he's this\n big international arms dealer, when,", "Then how do you know he sells guns?\n \n JACKIE\n He told me. Besides, why else would", "an A.T.F. man be after him?\n \n NICOLET\n How can you help us?", "Yeah, well, it's not a point of view\n that A.T.F. shares. Once we make it\n evidence, it belongs to us. You are", "A.T.F. man, Ray Nicolet, moves down the hallway of the\n big building... ten heads for the office of Mark Dargus.", "money out of Mexico, into America, in\n your hands, and I'm managing to do\n all this under the nose of the cops.\n That makes me your manager, and", "run. They watch it. See how it works.\n Then we do a second delivery, when I\n bring in the half mill.\n \n ORDELL", "MAX\n Well, if the A.T.F. guy is the one\n who wants you, that'll only interest\n him up to a point.", "INT. NICOLET'S OFFICE (A.T.F. HEADQUARTERS) - DAY\n \n Jackie, still dressed in her cool black suit, sits in a", "Hi, Jackie. It's Max. I was just\n calling to find out how everything\n went today with A.T.F. If you want to", "I told them you got a half a million\n dollars in Mexico, and you want me to\n bring it here.\n \n Ordell freaks.", "Ask A.T.F. They might give you\n permission.\n \n JACKIE\n Yeah, if I cooperate.", "money. He knows you're watching him,\n and he's paranoid. He's keeping his\n stash where it is, but he wants to", "\"MONEY EXCHANGE 10,000\"\n \n Over this card, we hear an airplane landing.\n \n FADE UP:", "Ordell gives up and takes an envelope out of his pocket.\n \n ORDELL\n Okay, man. I got your money. But", "Ordell, he don't give a shit about\n the money. Money won't convict him,\n guns will. Yeah, sure, if it falls in", "JACKIE\n He always just picked it up at my\n place. But with A.T.F. involved, I", "for?\n \n ORDELL\n C'mon, you know how they do. Black\n man comes in with ten thousand, they", "Dargus looks up at her.\n \n DARGUS\n I'd say there's about, oh, fifty\n thousand dollars here. What would you" ], [ "JACKIE (CONT'D)\n Come on, Max. I won't hurt you.\n \n He smiles and gets up from the desk.", "JACKIE\n Oh, are you? Does she know that?\n \n MAX\n No...", "JACKIE (CONT'D)\n 'd feel a whole lot better if you\n took some more money.\n \n MAX", "JACKIE AND MAX ON PHONE\n \n JACKIE\n You said it yourself. Ray wants", "Dargus reaches in and pulls out the envelope containing\n the forty-thousand marked dollars.\n \n Max looks at Jackie.", "INT. JACKIE'S APARTMENT - NIGHT\n \n Jackie on the phone with Max, dressed for bed (long t-\n shirt and panties).", "Max sees Dargus come over, bending on one nee next to\n Ordell's body.\n \n Max looks over at Jackie, still behind the desk. She", "MAX (CONT'D)\n Will Ordell go for that?\n \n JACKIE\n I'm helping him bring his money into", "MAX\n Tell him you want to see him?\n \n JACKIE\n Tell him I want to give him his\n money.", "You talk them into it?\n \n JACKIE\n They seem to like the idea.\n \n MAX", "Jackie moves over to the mirror and checks herself out.\n \n Max looks back to the jewelry display case, saying under\n his breath;", "MAX\n Well, Jackie, you got caught, you're\n gonna have to give 'em something.\n \n JACKIE", "JACKIE (O.S.)\n Knock knock.\n \n Max looks up and sees Jackie Brown, standing in the", "Max sees; Jackie sitting at his desk in the dark.\n \n Ordell sees this, too and moves past Max.", "MAX\n Hey, you.\n \n Jackie walks toward him.\n \n JACKIE", "Show a willingness to be helpful. You\n want to stay out of jail, don't you?\n \n Max looks at Jackie thinking about something.", "(smiling)\n You'll get over that.\n \n Jackie smiles.\n \n MAX (CONT'D)", "Jackie leaves the kitchen.\n \n Max's eyes follow her to the living room.\n \n JACKIE (CONT'D)", "JACKIE\n That's him. How do you know 'em?\n \n MAX\n I wrote him on Monday. They found him", "Jackie explaining the plan to Ordell.\n \n JACKI\n ... I make two deliveries. The first\n one with ten thousand, like a dry" ], [ "Dargus shoots Ordell, Ordell drops.\n \n \n BACK TO OFFICE\n \n Max smiles back.", "Ordell puts one more shot in his head, BAM, tosses the\n weapon on top of the dead body and closes the trunk.", "Max looks down and sees Ordell's head by his shoes, look\n of panic still on his face, dead as fried chicken.", "Trunk opens showing Beaumont shot in the chest with half\n his head blown off.\n \n Louis looks inside, see Beaumont, looks at Ordell, then", "Ordell hangs up the phone.\n \n CUT TO:", "ORDELL\n So what, you left her there.\n \n LOUIS\n I shot her.", "Ordell leaves.\n \n Jackie shuts the door, and leaves FRAME.\n \n FADE TO BLACK", "Max sees; Ordell almost jumps, his arm goes to the\n Beretta in his pants...\n \n ... just as Dargus raises his gun and SHOOTS him three", "It's very possible Ordell's killed\n somebody.\n \n JACKIE\n I ain't goin' to jail, and I ain't", "Ordell still doesn't say anything... then says;\n \n ORDELL\n You shot Melanie?", "Ordell's Beaumont problem is solved. He climbs back into\n the cab, turns on the engine. We hear the old-school R&B\n song come back on, but VERY LOW.", "She looks down at the dead Ordell with no expression,\n just light up another Davidoff.\n \n Dargus looks up at Max;", "Ordell, he don't give a shit about\n the money. Money won't convict him,\n guns will. Yeah, sure, if it falls in", "Ordell gets out, sticks the snubby in his pants, and\n walks to the back of the Olds. He sticks his key in the\n trunk and says;", "his coat. Ordell brings his Beretta up at Max.\n \n ORDELL\n You better freeze, motherfucker!", "Jackie sits down on the couch, holding a gun in each\n hand, both pointed dead at Ordell.\n \n A coffee table lays between them.", "Ordell hangs up. Back in control. He looks to the TV. One\n of the COMEDIANS cracks a joke. Ordell laughs.", "Where you shot her.\n \n LOUIS\n That's right.\n \n ORDELL", "Ordell gives up and takes an envelope out of his pocket.\n \n ORDELL\n Okay, man. I got your money. But", "Ordell shrugs it off, and digs into the shopping bag. He\n pulls out the towels and sees forty-thousand dollars on\n top of a bunch of paperbacks. His stomach drops. He just" ], [ "Jackie holds the door open for him.\n \n \n INT. JACKIE'S APARTMENT - NIGHT", "Everything looks normal. The saleswoman is behind the\n register ringing up Jackie's purchase. The few customers\n there are doing customer stuff.", "JACKIE (CONT'D)\n Well, you did. Thank you.\n \n She takes a drag on her Davidoff.", "Jackie gets out of the Honda with her flight bag. She\n goes to her hatchback, takes a Robinson's/May bag, lines\n the first half of the bag with old paperbacks.", "Jackie smiles. They all fall in step towards Jackie's\n Honda.\n \n \n INT. JACKIE'S HONDA - DAY", "JACKIE\n What are you doing?\n \n Pointing to a small mike on his lapel.", "Jackie looks up and sees a skinny YOUNG GIRL, black,\n quite pretty, no older than twenty.", "You know, I can't really feel too\n sorry for you in that department.\n \n Jackie smiles.", "face. He can't stop thinking about Jackie. During the\n night she'd have a gleam in her eyes, the look saying;\n \"WE COULD HAVE FUN\". Unless she was appraising kinda him", "She answers the phone.\n \n JACKIE\n Hello.", "JACKIE\n The usual things. I'm a flight\n attendant with Cabo Air.", "JACKIE\n Have a seat.\n \n The Young Girl does.\n \n Jackie looks at her tray of food.", "JACKIE (CONT'D)\n Come on, Max. I won't hurt you.\n \n He smiles and gets up from the desk.", "INT. ROBINSON'S/MAY - DESIGNER CLOTHES - DAY\n \n Jackie, in her Cabo Air uniform, walks up to a young", "INT. JACKIE'S APARTMENT - NIGHT\n \n Jackie on the phone with Max, dressed for bed (long t-\n shirt and panties).", "The camera picks Jackie up through the window, walking\n into the place and going up to the bar...\n \n A female bartender in her mid-twenties, wearing a plaid", "HIM, up to Jackie's ground-floor apartment door.\n \n He gives it a soft knock with one knuckle. He waits a\n moment, then Jackie opens the door.", "Jackie leaves the kitchen.\n \n Max's eyes follow her to the living room.\n \n JACKIE (CONT'D)", "Jackie gets up from her chair, walks over to the desk,\n unzips the bag, takes out the manila envelope and drops\n it on the desk.", "Jackie moves over to the mirror and checks herself out.\n \n Max looks back to the jewelry display case, saying under\n his breath;" ], [ "Ordell's living in Long Beach with a\n woman junkie.\n \n JACKIE", "Ordell hangs up the phone.\n \n CUT TO:", "Ordell's on the phone.\n \n \n INT. COCKATOO INN", "INT. MELANIE'S APARTMENT - DAY\n \n Ordell and Jackie sit on stools around the kitchen", "They served two years together almost\n twenty years ago in Soledad. But he\n doesn't live in Hermosa Beach.\n Ordell's got him staying at a house", "Ordell turn to a glassy-eyed black female junkie nodding\n on the couch named RAYNELLE. The filthy apartment we're\n in belongs to her.", "was with Ordell at an apartment in\n Hermosa Beach. I don't know if he\n lives there, but I can find out.", "INT. OLDSMOBILE (PARKED) - NIGHT\n \n Ordell is sitting parked in the comfy-cozy cab of the", "Ordell says to her in the doorway;\n \n ORDELL (CONT'D)\n Hope you don't mind keeping him", "INT. FILTHY APARTMENT - NIGHT\n \n Ordell and Raynelle sit on the couch watching Def Comedy", "Ordell sits down on the couch. Melanie's reading\n \"Movieline Inside\" magazine.\n \n ORDELL", "MELANIE (CONT'D)\n It's for you.\n \n Before Ordell knows it, Melanie is back in the reclining", "Ordell steps inside. He moves over by a halogen lamp in\n the living room.\n \n ORDELL\n You got some booze?", "Ordell gets out, sticks the snubby in his pants, and\n walks to the back of the Olds. He sticks his key in the\n trunk and says;", "Ordell in the kitchen doorway.\n \n JACKIE\n Beaumont Livingston.\n \n ORDELL", "Ordell almost steps into a store to get out of view.\n \"What the fuck is Max Cherry doing here?\"", "Ordell takes the receiver.\n \n \n INT. TOYOTA (MOVING) - DAY", "Ordell shrugs it off, and digs into the shopping bag. He\n pulls out the towels and sees forty-thousand dollars on\n top of a bunch of paperbacks. His stomach drops. He just", "ORDELL\n You go wait in the car. Wait a\n minute.\n \n Ordell pulls out a heavy-duty keychain with a shitload of", "Ordell lights up a cigarette. (Viceroy).\n \n He notices a picture on the wall of Max with his arm" ], [ "He killed a guy who works for him the\n other day.\n \n JACKIE\n Beaumont Livingston?", "behind it. The door opens, and Max Cherry emerges,\n zipping up his pants with a TV guide in his hand.\n \n He looks up and stops dead.", "Max Cherry.\n \n Ordell has to look away from Louis, takes a beat, then\n looks back.", "Max hangs up the phone.\n \n MAX\n (to Ordell)\n Beaumont Livingston.", "INT. MAX CHERRY'S OFFICE - DAY\n \n Max Cherry sits behind his desk. WINSTON POWELL, the big", "much, so he starts throwing his look around when he sees\n something that stops him cold.\n \n \n MAX CHERRY", "racks it again, CLICK then BAM. Beaumont is shot hard in\n the chest. He goes back into he trunk.", "ORDELL\n Livingston, huh?\n \n MAX\n On his prior, he served nine months,", "Give it to the bail bondsman, Max\n Cherry. He'll take care of it.\n \n ORDELL", "He gingerly approaches it, opens the door and climbs\n inside.\n \n \n INT. MAX CHERRY'S OFFICE - DAY", "Trunk opens showing Beaumont shot in the chest with half\n his head blown off.\n \n Louis looks inside, see Beaumont, looks at Ordell, then", "\"MAX CHERRY\"\n \n FADE UP ON:", "The voice belong to MAX CHERRY, bail bondsman. Max, a\n regular-Joe-type white guy in his fifties, sits behind\n his desk talking on the phone. His eyes raise as he sees", "having just watched their matinee. Max Cherry is among\n them. He exits the theater, and strolls through the mall.", "Ordell doesn't say anything.\n \n MAX (CONT'D)\n The bond collateral on Beaumont\n Livingston you moved over to cover", "INT. MAX CHERRY'S OFFICE - DAY\n \n The bathroom door in Max's office. We hear a toilet flush", "Max Cherry? You and him friends now?\n You tell him about this shit?\n \n JACKIE\n He won't know where the money came", "Beaumont worked for you.\n \n ORDELL\n That's what the police thought. I", "MAX\n Hi, I'm Max Cherry. Your bail\n bondsman.", "Max, doing what he's doing, looks up and sees Louis\n staring at him across the floor. Max smiles and gives\n Louis a wave before turning his back to him and continues" ], [ "INT. DEL AMO MALL - DAY\n \n Jackie enters the mall. She looks at the people buzzing", "Jackie explaining the plan to Ordell.\n \n JACKI\n ... I make two deliveries. The first\n one with ten thousand, like a dry", "main mall. The calm, cool stride we're used to with\n Jackie is completely gone.\n \n She stops, looks around, head darting from one direction", "Jackie gets out of the Honda with her flight bag. She\n goes to her hatchback, takes a Robinson's/May bag, lines\n the first half of the bag with old paperbacks.", "Everything looks normal. The saleswoman is behind the\n register ringing up Jackie's purchase. The few customers\n there are doing customer stuff.", "Jackie leave the Young Girl and with Broadway bag in\n hand, walk out of the food court.\n \n Max watches her walk down the mall when two young men in", "Jackie slides the Robinson's/May bag with money under the\n stall.\n \n Melanie sees the money on top and stops talking.", "INT. DEL AMO MALL - DAY\n \n ... Jackie walks out of Robinson's/May hurriedly into the", "Jackie and Ordell sit at a table in the food court. She\n drinks an iced tea from Teriyaki Donut. A collection of\n Broadway shopping bags sit on the table.", "comes sliding underneath the stall.\n \n Jackie picks up her Robinson's/May bag, filled with\n books, towels and the marked forty-thousand dollars.", "She and Louis disappear.\n \n He sees Jackie come out of the fitting room, go over to\n Amy and buy the dress. Jackie goes into her act, acting", "Louis looks over at the fitting room. Jackie is going\n inside it, and the saleswoman is walking away towards\n him.", "JACKIE\n I was thinkin' the Del Amo Mall. In\n the food court.\n \n ORDELL", "Jackie didn't trust Melanie. She'd\n already tried to get Jackie to go in\n with her, split the half million\n amongst themselves. What she did was", "We hear the SOUND of Melanie leaving.\n \n Jackie then transfers the half of a million dollars out\n of her flight bag into Melanie's Robinson's/May bag. She", "Jackie moves over to the mirror and checks herself out.\n \n Max looks back to the jewelry display case, saying under\n his breath;", "Thanks, I won't.\n \n She goes off.\n \n He looks towards Designer Clothes and sees Jackie walking", "Dargus reaches in and pulls out the envelope containing\n the forty-thousand marked dollars.\n \n Max looks at Jackie.", "Jackie holds the door open for him.\n \n \n INT. JACKIE'S APARTMENT - NIGHT", "EXT. DEL AMO MALL PARKING LOT - DAY\n \n Jackie's car pulls up to a lined parking space in the" ], [ "Ordell hangs up the phone.\n \n CUT TO:", "They served two years together almost\n twenty years ago in Soledad. But he\n doesn't live in Hermosa Beach.\n Ordell's got him staying at a house", "Max hangs up the phone.\n \n MAX\n (to Ordell)\n Beaumont Livingston.", "It's very possible Ordell's killed\n somebody.\n \n JACKIE\n I ain't goin' to jail, and I ain't", "MELANIE\n With Ordell?\n \n LOUIS\n We had done time together already.", "Ordell looks at him. Louis didn't burn him.\n \n \n CLOSEUP ORDELL", "Ordell just looks at him.\n \n LOUIS (CONT'D)\n I expect she's dead.", "ORDELL\n It's Ordell. We got a bit of a change\n in plans here. Nothing to worry 'bout\n - everything's the same - except for", "Ordell's on the phone.\n \n \n INT. COCKATOO INN", "Ordell, he don't give a shit about\n the money. Money won't convict him,\n guns will. Yeah, sure, if it falls in", "A stressed Louis drives the Toyota, calling Ordell on\n Ordell's tiny cellular.\n \n LOUIS\n It's Louis.", "Ordell turn to a glassy-eyed black female junkie nodding\n on the couch named RAYNELLE. The filthy apartment we're\n in belongs to her.", "Ordell's living in Long Beach with a\n woman junkie.\n \n JACKIE", "MELANIE (CONT'D)\n It's for you.\n \n Before Ordell knows it, Melanie is back in the reclining", "Ordell. They talkin' like they\n serious 'bout me doin' that machine\n gun time.\n \n ORDELL", "Beaumont¢Ordell. What's the problem?\n (pause)\n What the fuck you doin' in jail?\n (pause)", "(imitating Ordell's\n voice)\n \"You may leave us now.\" It's all part\n of his pathetic attempt to be \"the", "Ordell looks at him.\n \n ORDELL\n What the fuck happened to you, man?", "Ordell in the kitchen doorway.\n \n JACKIE\n Beaumont Livingston.\n \n ORDELL", "Ordell approach him.\n \n MAX (CONT'D)\n (on phone)\n Just overnight is all. Tomorrow I'll" ], [ "INT. MELANIE'S APARTMENT - DAY\n \n Ordell and Jackie sit on stools around the kitchen", "INT. MELANIE'S APARTMENT - HALLWAY - DAY\n \n Ordell walks Jackie to the elevator.\n \n ORDELL", "Jackie explaining the plan to Ordell.\n \n JACKI\n ... I make two deliveries. The first\n one with ten thousand, like a dry", "Ordell goes through FRAME, out the door, Jackie steps\n into FRAME, and talks with him.\n \n JACKIE", "Ordell's gloved fingertips move up her collarbone to her\n throat, gently touching her skin. Jackie locks eyes with\n his, but still shows no fear.", "Jackie doesn't answer. She just walks up to Ordell\n handing him his yellow drink in the darkness. Ordell\n takes it, continues to look at Jackie.", "Jackie nods 'yes', as she sips her beer.\n \n MELANIE (CONT'D)\n I tell you. If Ordell ever sent me to", "Ordell's living in Long Beach with a\n woman junkie.\n \n JACKIE", "Do Max Cherry and Jackie Brown know\n each other?\n \n ORDELL\n Hell, yes, they know each other. He", "JACKIE\n Yeah.\n \n Ordell turns the halogen lamp to dim.\n \n ORDELL", "Jackie and Ordell sit at a table in the food court. She\n drinks an iced tea from Teriyaki Donut. A collection of\n Broadway shopping bags sit on the table.", "EXT. CHERRY BAIL BONDS - NIGHT\n \n They both get out of the Cadillac. Ordell sticks his gun\n in his pants.", "JACKIE\n All your money's in Mexico.\n \n Ordell has to smile at the woman.", "Jackie sits down on the couch, holding a gun in each\n hand, both pointed dead at Ordell.\n \n A coffee table lays between them.", "We follow with Ordell out of the food court, when he\n stops...\n \n ... He see Max Cherry strolling through the mall.", "Jackie on the phone with Ordell, sitting behind Max's\n desk.\n \n JACKIE", "Ordell almost steps into a store to get out of view.\n \"What the fuck is Max Cherry doing here?\"", "Max sees; Ordell moves past him... then he sees the\n bathroom door on the left side of the desk open, throwing\n light into the room, onto Jackie and the figure who steps", "Max sees; Jackie sitting at his desk in the dark.\n \n Ordell sees this, too and moves past Max.", "JACKIE\n Right. Everything's the same except\n one change. Ordell thinks it's just\n too hot right now to bring in all his" ], [ "Jackie explaining the plan to Ordell.\n \n JACKI\n ... I make two deliveries. The first\n one with ten thousand, like a dry", "JACKIE\n All your money's in Mexico.\n \n Ordell has to smile at the woman.", "have over half-a-million. If you\n thought of cutting Ordell out, I sure\n as hell wouldn't blame you.\n \n Jackie smiles.", "does for Ordell?\n \n JACKIE\n I imagine shit needs to be done.\n \n NICOLET", "Jackie doesn't answer. She just walks up to Ordell\n handing him his yellow drink in the darkness. Ordell\n takes it, continues to look at Jackie.", "It's very possible Ordell's killed\n somebody.\n \n JACKIE\n I ain't goin' to jail, and I ain't", "Ordell's gloved fingertips move up her collarbone to her\n throat, gently touching her skin. Jackie locks eyes with\n his, but still shows no fear.", "Jackie nods 'yes', as she sips her beer.\n \n MELANIE (CONT'D)\n I tell you. If Ordell ever sent me to", "JACKIE\n I told them Ordell's changed the\n amount he's bringing in.\n \n MAX", "JACKIE\n Right. Everything's the same except\n one change. Ordell thinks it's just\n too hot right now to bring in all his", "his being nice to you have to do with\n him wanting Ordell's money?\n \n JACKIE\n He's setting me up to make a", "ORDELL\n Okay, so it was Jackie Brown.\n \n LOUIS\n If she's got it, why didn't she take", "MAX (CONT'D)\n Will Ordell go for that?\n \n JACKIE\n I'm helping him bring his money into", "JACKIE\n Yeah.\n \n Ordell turns the halogen lamp to dim.\n \n ORDELL", "negotiating for you.\n \n JACKIE\n I want to talk to them first. I know\n more now about Ordell's money.", "JACKIE (CONT'D)\n Sheronda, can I ask you a question?\n Are you and Ordell married?\n \n Without raising her head.", "JACKIE\n I didn't tell 'em anything.\n \n Ordell moves slowly towards Jackie.\n \n ORDELL", "He takes his hand out, it's holding stack of bills\n wrapped in a rubber band. He tosses it to Ordell, who\n catches it with his free hand.", "INT. MELANIE'S APARTMENT - DAY\n \n Ordell and Jackie sit on stools around the kitchen", "Ordell shrugs it off, and digs into the shopping bag. He\n pulls out the towels and sees forty-thousand dollars on\n top of a bunch of paperbacks. His stomach drops. He just" ], [ "It's very possible Ordell's killed\n somebody.\n \n JACKIE\n I ain't goin' to jail, and I ain't", "Max hangs up the phone.\n \n MAX\n (to Ordell)\n Beaumont Livingston.", "Ordell, he don't give a shit about\n the money. Money won't convict him,\n guns will. Yeah, sure, if it falls in", "Ordell puts one more shot in his head, BAM, tosses the\n weapon on top of the dead body and closes the trunk.", "Dargus shoots Ordell, Ordell drops.\n \n \n BACK TO OFFICE\n \n Max smiles back.", "You thought right... Now take your\n hands from around my throat, nigga.\n \n Ordell flashes his hustler's smile and lets go.", "Trunk opens showing Beaumont shot in the chest with half\n his head blown off.\n \n Louis looks inside, see Beaumont, looks at Ordell, then", "Ordell hangs up the phone.\n \n CUT TO:", "Ordell just looks at him.\n \n LOUIS (CONT'D)\n I expect she's dead.", "Max looks down and sees Ordell's head by his shoes, look\n of panic still on his face, dead as fried chicken.", "Ordell's Beaumont problem is solved. He climbs back into\n the cab, turns on the engine. We hear the old-school R&B\n song come back on, but VERY LOW.", "Ordell hangs up. Back in control. He looks to the TV. One\n of the COMEDIANS cracks a joke. Ordell laughs.", "doesn't want you mad at him, he wants\n you to tell him what you know. He\n uses you to get a line on Ordell,", "offering me a plea deal, and you know\n that. That's why you came here to\n kill me.\n \n ORDELL", "MELANIE (CONT'D)\n It's for you.\n \n Before Ordell knows it, Melanie is back in the reclining", "Ordell looks at him. Louis didn't burn him.\n \n \n CLOSEUP ORDELL", "Ordell gives up and takes an envelope out of his pocket.\n \n ORDELL\n Okay, man. I got your money. But", "Shit, your ass use'ta be beautiful.\n \n Ordell takes the bag and gets out of the car, leaving\n Louis' dead body there.", "Ordell shrugs it off, and digs into the shopping bag. He\n pulls out the towels and sees forty-thousand dollars on\n top of a bunch of paperbacks. His stomach drops. He just", "He takes his hand out, it's holding stack of bills\n wrapped in a rubber band. He tosses it to Ordell, who\n catches it with his free hand." ], [ "Ordell's gloved fingertips move up her collarbone to her\n throat, gently touching her skin. Jackie locks eyes with\n his, but still shows no fear.", "Jackie explaining the plan to Ordell.\n \n JACKI\n ... I make two deliveries. The first\n one with ten thousand, like a dry", "Jackie shakes her head from side to side.\n \n Ordell moves his thumbs from her collarbone to the middle\n of her throat.", "Jackie sits down on the couch, holding a gun in each\n hand, both pointed dead at Ordell.\n \n A coffee table lays between them.", "Jackie doesn't answer. She just walks up to Ordell\n handing him his yellow drink in the darkness. Ordell\n takes it, continues to look at Jackie.", "Ordell tries to stop the hostile back and forth.\n \n ORDELL\n Just chill the fuck out, Jackie. It", "She shoves both guns in Ordell's back.\n \n JACKIE\n I said, you understand what I'm\n saying", "It's very possible Ordell's killed\n somebody.\n \n JACKIE\n I ain't goin' to jail, and I ain't", "Shut your ass up and grab the wall!\n \n Jackie has Ordell against the wall and is frisking him\n the way a cop would. She finds the .22 pistol in his", "JACKIE\n I didn't tell 'em anything.\n \n Ordell moves slowly towards Jackie.\n \n ORDELL", "JACKIE (CONT'D)\n Sheronda, can I ask you a question?\n Are you and Ordell married?\n \n Without raising her head.", "Jackie nods 'yes', as she sips her beer.\n \n MELANIE (CONT'D)\n I tell you. If Ordell ever sent me to", "INT. MELANIE'S APARTMENT - HALLWAY - DAY\n \n Ordell walks Jackie to the elevator.\n \n ORDELL", "JACKIE\n Yeah.\n \n Ordell turns the halogen lamp to dim.\n \n ORDELL", "have over half-a-million. If you\n thought of cutting Ordell out, I sure\n as hell wouldn't blame you.\n \n Jackie smiles.", "INT. MELANIE'S APARTMENT - DAY\n \n Ordell and Jackie sit on stools around the kitchen", "My name come up?\n \n Jackie slowly shakes her head \"no.\"\n \n Ordell directly in front of Jackie, he gently places his", "does for Ordell?\n \n JACKIE\n I imagine shit needs to be done.\n \n NICOLET", "JACKIE\n Right. Everything's the same except\n one change. Ordell thinks it's just\n too hot right now to bring in all his", "On the RIGHT-HAND SIDE is Ordell with his hands barely\n touching Jackie's throat. On the LEFT-HAND SIDE is Max\n driving home in his Seville." ], [ "Jackie explaining the plan to Ordell.\n \n JACKI\n ... I make two deliveries. The first\n one with ten thousand, like a dry", "JACKIE\n All your money's in Mexico.\n \n Ordell has to smile at the woman.", "It's very possible Ordell's killed\n somebody.\n \n JACKIE\n I ain't goin' to jail, and I ain't", "have over half-a-million. If you\n thought of cutting Ordell out, I sure\n as hell wouldn't blame you.\n \n Jackie smiles.", "Beaumont smiles. So does Ordell.\n \n ORDELL (CONT'D)\n Just think, man. That Scoe's special,", "Ordell shrugs it off, and digs into the shopping bag. He\n pulls out the towels and sees forty-thousand dollars on\n top of a bunch of paperbacks. His stomach drops. He just", "Jackie nods 'yes', as she sips her beer.\n \n MELANIE (CONT'D)\n I tell you. If Ordell ever sent me to", "JACKIE\n Right. Everything's the same except\n one change. Ordell thinks it's just\n too hot right now to bring in all his", "Ordell's gloved fingertips move up her collarbone to her\n throat, gently touching her skin. Jackie locks eyes with\n his, but still shows no fear.", "JACKIE\n I didn't tell 'em anything.\n \n Ordell moves slowly towards Jackie.\n \n ORDELL", "his being nice to you have to do with\n him wanting Ordell's money?\n \n JACKIE\n He's setting me up to make a", "Ordell, he don't give a shit about\n the money. Money won't convict him,\n guns will. Yeah, sure, if it falls in", "MAX (CONT'D)\n Will Ordell go for that?\n \n JACKIE\n I'm helping him bring his money into", "INT. MELANIE'S APARTMENT - HALLWAY - DAY\n \n Ordell walks Jackie to the elevator.\n \n ORDELL", "Jackie doesn't answer. She just walks up to Ordell\n handing him his yellow drink in the darkness. Ordell\n takes it, continues to look at Jackie.", "does for Ordell?\n \n JACKIE\n I imagine shit needs to be done.\n \n NICOLET", "INT. MELANIE'S APARTMENT - DAY\n \n Ordell and Jackie sit on stools around the kitchen", "Jackie shakes her head from side to side.\n \n Ordell moves his thumbs from her collarbone to the middle\n of her throat.", "My name come up?\n \n Jackie slowly shakes her head \"no.\"\n \n Ordell directly in front of Jackie, he gently places his", "JACKIE\n Yeah.\n \n Ordell turns the halogen lamp to dim.\n \n ORDELL" ], [ "Jackie explaining the plan to Ordell.\n \n JACKI\n ... I make two deliveries. The first\n one with ten thousand, like a dry", "JACKIE\n What for?\n \n NICOLET\n Bank robbery? Do you know what he", "Jackie didn't trust Melanie. She'd\n already tried to get Jackie to go in\n with her, split the half million\n amongst themselves. What she did was", "Dargus reaches in and pulls out the envelope containing\n the forty-thousand marked dollars.\n \n Max looks at Jackie.", "JACKIE\n It's a lot of money. About a half-a-\n million dollars. All of it in Cabo in", "JACKIE\n Well, you know I'm not going to show\n him the whole amount. He'll see fifty\n thousand.", "comes sliding underneath the stall.\n \n Jackie picks up her Robinson's/May bag, filled with\n books, towels and the marked forty-thousand dollars.", "JACKIE (CONT'D)\n 'd feel a whole lot better if you\n took some more money.\n \n MAX", "JACKIE\n I told them Ordell's changed the\n amount he's bringing in.\n \n MAX", "have over half-a-million. If you\n thought of cutting Ordell out, I sure\n as hell wouldn't blame you.\n \n Jackie smiles.", "Jackie gets out of the Honda with her flight bag. She\n goes to her hatchback, takes a Robinson's/May bag, lines\n the first half of the bag with old paperbacks.", "JACKIE\n I never have. It's not my money.\n \n He puts the envelope back in the bag and feels through", "to the envelope, opens the clasp and takes out five\n rubber-banded bond packets of loot.\n \n JACKIE (CONT'D)", "We hear the SOUND of Melanie leaving.\n \n Jackie then transfers the half of a million dollars out\n of her flight bag into Melanie's Robinson's/May bag. She", "Jackie holds the door open for him.\n \n \n INT. JACKIE'S APARTMENT - NIGHT", "They reach the elevator. She presses the button.\n \n JACKIE\n And a hundred thousand if I go to", "Jackie smiles. They all fall in step towards Jackie's\n Honda.\n \n \n INT. JACKIE'S HONDA - DAY", "ten thousand was against the law, why\n not pack a hundred grand?\n \n Jackie gets exasperated.\n \n JACKIE", "Pull one more switch, up front.\n That's it. half-a-million dollars.\n Need help?\n \n JACKIE", "Jackie slides the Robinson's/May bag with money under the\n stall.\n \n Melanie sees the money on top and stops talking." ], [ "comes sliding underneath the stall.\n \n Jackie picks up her Robinson's/May bag, filled with\n books, towels and the marked forty-thousand dollars.", "Hey, look. I found it!\n \n He drives away.\n \n CUT TO:", "Max begins counting it.\n \n MAX\n Across the street a Great Western. It\n goes in a trust account. You'll need", "Then takes out of the flight bag the envelope with the\n fifty-thousand marked dollars, takes one packet of ten\n thousand, and puts it in her pocket. She lines the", "walks rapidly down an aisle of parked cars.\n \n Melanie follows close behind.\n \n We STEDICAM alongside. We walk for awhile, Louis changes", "We hear the SOUND of Melanie leaving.\n \n Jackie then transfers the half of a million dollars out\n of her flight bag into Melanie's Robinson's/May bag. She", "She and Louis disappear.\n \n He sees Jackie come out of the fitting room, go over to\n Amy and buy the dress. Jackie goes into her act, acting", "Ordell takes the receiver.\n \n \n INT. TOYOTA (MOVING) - DAY", "Jackie gets up from her chair, walks over to the desk,\n unzips the bag, takes out the manila envelope and drops\n it on the desk.", "want to move over the ten thousand\n you put down on Beaumont to the\n stewardess. That means paperwork. I\n have to get a death certificate,", "They have a bit of a staring contest before she gets up\n and gets the phone.\n \n ORDELL (CONT'D)", "He opens the door to the stall. Sitting in the corner is\n the Robinson's/May bag. He walks over to it, lifts out", "Oredell in the passenger seat, bends over to the\n backseat, grabs the shopping bag, and brings it to his\n lap. He looks like a kid at Christmas.", "... and just take it from him.\n \n \n INT. COCKATOO INN - DAY", "She leaves FRAME, and Max enters it, closing the door\n behind him. Max stands by the door, a little surprised\n and a touch pissed at the nonchalantness.", "They walk it; it's not it.\n \n Louis changes direction and cuts between some cars to the\n next one.", "Max, doing what he's doing, looks up and sees Louis\n staring at him across the floor. Max smiles and gives\n Louis a wave before turning his back to him and continues", "FADE TO BLACK\n \n \n INT. CHERRY BAIL BONDS - DAY", "money out of Mexico, into America, in\n your hands, and I'm managing to do\n all this under the nose of the cops.\n That makes me your manager, and", "Louis walks out of the office. He goes up to Ordell's\n black Mercedes. He points the little black box at it. The\n car goes BLEEP." ], [ "ORDELL\n What?\n \n LOUIS\n You know who I saw in the dress\n department?", "We PAN away and find Louis and Melanie by a dress rack,\n watching Jackie.\n \n MELANIE", "He sees Louis and Melanie squabbling.\n \n He sees Jackie disappear into the fitting room.\n \n He sees Amy leaving the fitting room entrance.", "She and Louis disappear.\n \n He sees Jackie come out of the fitting room, go over to\n Amy and buy the dress. Jackie goes into her act, acting", "Louis looks over at the fitting room. Jackie is going\n inside it, and the saleswoman is walking away towards\n him.", "Pretends to shop. She watches Louis grab Melanie.\n \n NICOLET (V.O.)\n We had our agent on you. She sees a", "a distance. \"This looks pretty good on me.\"\n \n Max hears a commotion behind him and turns to see Louis\n and Melanie hurriedly making their way towards Designer", "He watches the saleswoman walk by him, then looks back in\n time to see Melanie enter the fitting room.\n \n LOUIS", "courage, then makes her move, entering the fitting room.\n \n Max smiles to himself, \"so far so good\" he thinks. He\n throws a look towards Louis, only to see Louis staring", "Max, doing what he's doing, looks up and sees Louis\n staring at him across the floor. Max smiles and gives\n Louis a wave before turning his back to him and continues", "LOUIS AND MELANIE\n \n In Melanie's Toyota drive towards the mall. Melanie\n drives singing along with Kate Bush on her car stereo.", "Max continues his fake browsing.\n \n He sees Melanie come out of the fitting room carrying a\n Robinson's/May bag close to her chest.", "EXT. PARKING LOT - DEL AMO MALL - DAY\n \n Louis, clutching the shopping bag close to his chest,", "ORDELL\n You see Max Cherry in the dress\n department. We're about to be handed\n half-a-million dollars - Man, look at", "EXT. PARKING LOT - DEL AMO MALL - DAY\n \n Louis and Melanie pull up to a lined parking space in", "ORDELL\n She saw you with Sheronda. So Simone\n goes to the dress department with her\n Robinson's/May bag.", "Nooo, that's towards Sears. We came\n in through Bullocks. I know where it\n is. Want to follow me, Lou-is?", "Max is looking at dresses, paying no attention to the\n fitting room.\n \n He thinks, 'what the fuck is Max Cherry doing here?'", "around. Any one of them could be surveillance.\n \n She calmly walks down the mall, then turns into the\n Roinson's/May store.", "walks rapidly down an aisle of parked cars.\n \n Melanie follows close behind.\n \n We STEDICAM alongside. We walk for awhile, Louis changes" ], [ "Ordell called and wants to meet me\n and I'm scared.\n \n MAX\n We get Ordell to come to my office.", "Ordell almost steps into a store to get out of view.\n \"What the fuck is Max Cherry doing here?\"", "Max looks at Ordell, getting his drift, then says;\n \n MAX\n So, you want a ten-thousand dollar", "Ordell approach him.\n \n MAX (CONT'D)\n (on phone)\n Just overnight is all. Tomorrow I'll", "As Ordell watches, he sees Max head towards the food\n court.\n \n MAX\n walks into the food court. He stands", "Max looks at Winston.\n \n MAX\n You're right, that was Ordell. You\n have time, you think you could find", "motions for Ordell to take a seat.\n \n MAX (CONT'D)\n (on phone)", "MAX\n That's Ordell's.\n \n JACKIE\n They've confiscated all his other", "Max sees; Ordell moves past him... then he sees the\n bathroom door on the left side of the desk open, throwing\n light into the room, onto Jackie and the figure who steps", "of Ordell. Max goes back to counting the money. Ordell\n reads the first agreement then says;\n \n ORDELL (CONT'D)", "Max sees; Jackie sitting at his desk in the dark.\n \n Ordell sees this, too and moves past Max.", "We follow with Ordell out of the food court, when he\n stops...\n \n ... He see Max Cherry strolling through the mall.", "his coat. Ordell brings his Beretta up at Max.\n \n ORDELL\n You better freeze, motherfucker!", "get you out, I promise. But it means\n I gotta pick you up tonight.\n \n Ordell motion to the chair in front of Max's desk. Max", "Jackie on the phone with Ordell, sitting behind Max's\n desk.\n \n JACKIE", "MAX\n You have it with you?\n \n Ordell picks up his Lakers bag and puts it in the empty\n chair next to him.", "Max throws a look past Ordell to Louis.\n \n ORDELL (CONT'D)\n Oh, that's just my white friend,", "MAX (CONT'D)\n Will Ordell go for that?\n \n JACKIE\n I'm helping him bring his money into", "BACK TO ORDELL AND MAX\n \n The song plays LOUD. Ordell moves his head to the music\n slightly. Mak sits silently in the passenger seat,", "Max sees Dargus come over, bending on one nee next to\n Ordell's body.\n \n Max looks over at Jackie, still behind the desk. She" ], [ "The third person watching the video is the person who\n lives in this apartment, MELANIE RALSTON. Melanie, thirty-", "MELANIE (CONT'D)\n It's for you.\n \n Before Ordell knows it, Melanie is back in the reclining", "Who's the other one?\n \n JACKIE\n White girl named Melanie Ralston.\n Another girlfriend of Ordell's.", "man.\" You know Mr. Walker don't you?\n \n Jackie nods \"yes.\"\n \n MELANIE (CONT'D)", "gives her a look that says: \"I'm not on your side, bitch.\n So knock it of.\"\n \n Melanie sees this and takes her foot away.", "Melanie notices the change.\n \n MELANIE (CONT'D)\n Hey, hey, hey. I think somebody's got", "Jackie looks at her a moment.\n \n JACKIE\n Sure.\n \n MELANIE", "CUT TO:\n \n \n INT. MELANIE'S BEACH APARTMENT - DAY", "She rings the doorbell.\n \n The door opens, she sees Melanie (for the first time) on", "LOUIS\n What does that mean?\n \n ORDELL\n You can't trust Melanie. But you can", "Pissed, he leaves FRAME. Melanie, wearing her Melanie\n smirk, follows behind.", "Melanie smiles.\n \n MELANIE\n It's that late?", "Can I ask you about Melanie?\n \n ORDELL\n Sure.\n \n LOUIS", "MELANIE (CONT'D)\n You think I'm kidding?\n \n JACKIE", "As she does all this Melanie continues talking.\n \n MELANIE (O.S.) (CONT'D)\n We coulda worked this. You know that,", "INT. MELANIE'S APARTMENT - NIGHT\n \n EXTREME CLOSEUP - Ordell on the phone", "So far Melanie has been able to make a living out of\n lying in the sun, always finding a generous, wealthy man\n more than willing to pay her rent and pick up her tabs.", "He watches Melanie, by herself, watch Amy leave. Melanie\n watches the fitting room for a few moments. Gathering her", "Louis shoots Melanie a hard convict look.\n \n Melanie smiles at him, feeling the stare, but too much of", "(to Jackie)\n Jackie - his is Louis, Louis -\n Jackie. And the chick stompin' around\n in the other room is Melanie." ], [ "Jackie gets out of the Honda with her flight bag. She\n goes to her hatchback, takes a Robinson's/May bag, lines\n the first half of the bag with old paperbacks.", "agitated and distracted as she talks to Amy, pays with\n cash, then leaves stopping to say;\n \n JACKIE", "comes sliding underneath the stall.\n \n Jackie picks up her Robinson's/May bag, filled with\n books, towels and the marked forty-thousand dollars.", "to you.\n \n Jackie picks up Sheronda's bag and leaves.", "Thanks, I won't.\n \n She goes off.\n \n He looks towards Designer Clothes and sees Jackie walking", "Jackie didn't trust Melanie. She'd\n already tried to get Jackie to go in\n with her, split the half million\n amongst themselves. What she did was", "Jackie puts out her cigarette.\n \n JACKIE\n Okay, let's go.", "We hear the SOUND of Melanie leaving.\n \n Jackie then transfers the half of a million dollars out\n of her flight bag into Melanie's Robinson's/May bag. She", "JACKIE (CONT'D)\n 'd feel a whole lot better if you\n took some more money.\n \n MAX", "JACKIE (CONT'D)\n Well, you did. Thank you.\n \n She takes a drag on her Davidoff.", "papers for him to sign. Walk out and\n call the Sheriff's department.\n \n Jackie gets off the bed.", "Jackie slides the Robinson's/May bag with money under the\n stall.\n \n Melanie sees the money on top and stops talking.", "Jackie smiles. They all fall in step towards Jackie's\n Honda.\n \n \n INT. JACKIE'S HONDA - DAY", "She and Louis disappear.\n \n He sees Jackie come out of the fitting room, go over to\n Amy and buy the dress. Jackie goes into her act, acting", "They reach the elevator. She presses the button.\n \n JACKIE\n And a hundred thousand if I go to", "JACKIE\n I never have. It's not my money.\n \n He puts the envelope back in the bag and feels through", "JACKIE\n I think maybe I have more options\n than I thought.\n \n DISSOLVE TO:", "JACKIE (CONT'D)\n Melanie burst in the dressing room\n and took the money!\n \n CUT TO:", "Jackie leaves the kitchen.\n \n Max's eyes follow her to the living room.\n \n JACKIE (CONT'D)", "JACKIE\n It's a lot of money. About a half-a-\n million dollars. All of it in Cabo in" ], [ "JACKIE (CONT'D)\n Well, you did. Thank you.\n \n She takes a drag on her Davidoff.", "Jackie gets out of the Honda with her flight bag. She\n goes to her hatchback, takes a Robinson's/May bag, lines\n the first half of the bag with old paperbacks.", "face. He can't stop thinking about Jackie. During the\n night she'd have a gleam in her eyes, the look saying;\n \"WE COULD HAVE FUN\". Unless she was appraising kinda him", "Jackie holds the door open for him.\n \n \n INT. JACKIE'S APARTMENT - NIGHT", "JACKIE\n What are you doing?\n \n Pointing to a small mike on his lapel.", "Jackie looks up and sees a skinny YOUNG GIRL, black,\n quite pretty, no older than twenty.", "JACKIE (CONT'D)\n Put both hands behind our head.\n \n Ordell does...", "You know, I can't really feel too\n sorry for you in that department.\n \n Jackie smiles.", "JACKIE\n Have a seat.\n \n The Young Girl does.\n \n Jackie looks at her tray of food.", "Jackie smiles. They all fall in step towards Jackie's\n Honda.\n \n \n INT. JACKIE'S HONDA - DAY", "The camera picks Jackie up through the window, walking\n into the place and going up to the bar...\n \n A female bartender in her mid-twenties, wearing a plaid", "JACKIE\n Uh-huh.\n \n NICOLET\n Was she there?", "JACKIE (CONT'D)\n Come on, Max. I won't hurt you.\n \n He smiles and gets up from the desk.", "Jackie didn't trust Melanie. She'd\n already tried to get Jackie to go in\n with her, split the half million\n amongst themselves. What she did was", "JACKIE\n Oh, are you? Does she know that?\n \n MAX\n No...", "Jackie paces in front of him, white wine in one hand,\n Davidoff in the other, going over the details of\n tomorrow. One could notice a slight change in Jackie.", "JACKIE\n The usual things. I'm a flight\n attendant with Cabo Air.", "JACKIE\n It never was, so I'm not gonna start\n worrying about it now. Look, Ray more\n or less believes my story, and he", "MAX (CONT'D)\n (low)\n And away we go.\n \n Jackie looks at her reflection in the mirror. Then she", "Jackie. She smiles and steps OUT OF FRAME.\n \n END OF SHOT\n \n Jackie hears behind her;" ], [ "Then how do you know he sells guns?\n \n JACKIE\n He told me. Besides, why else would", "You ever see him sell guns?\n \n JACKIE\n No.\n \n NICOLET", "Jackie sits down on the couch, holding a gun in each\n hand, both pointed dead at Ordell.\n \n A coffee table lays between them.", "JACKIE\n Mark...\n (raising her voice)\n ... he's got a gun!", "money?\n \n JACKIE\n He sells guns.\n \n NICOLET", "suspect. It doesn't matter who brings\n him in, he's gonna name you as an\n accessory.\n \n Jackie lights up a Davidoff.", "over to guns. You can sell guns\n wherever there's a demand. No one\n gives a shit. He acts like he's this\n big international arms dealer, when,", "JACKIE\n What for?\n \n NICOLET\n Bank robbery? Do you know what he", "Jackie explaining the plan to Ordell.\n \n JACKI\n ... I make two deliveries. The first\n one with ten thousand, like a dry", "JACKIE\n Right. Everything's the same except\n one change. Ordell thinks it's just\n too hot right now to bring in all his", "JACKIE\n Yeah.\n \n Ordell turns the halogen lamp to dim.\n \n ORDELL", "Ordell turns back to Jackie and smiles, holding up his\n screwdriver.\n \n ORDELL (CONT'D)", "JACKIE\n Plus the same deal as before.\n \n ORDELL\n I can do that.", "Jackie smiles. They all fall in step towards Jackie's\n Honda.\n \n \n INT. JACKIE'S HONDA - DAY", "JACKIE\n You want your gun, don't you? Come\n in. I'll go get it.", "JACKIE\n Ray Nicolet with Alcohol, Tobacco,\n and Firearms.\n \n Max puts it together.", "JACKIE\n Thanks, but I have my own now.\n \n MAX\n You went out this morning and bought", "JACKIE\n It wasn't mine.\n \n Ordell has to stop and think.\n \n Jackie makes screwdriver.", "Jackie sitting behind the desk. She opens the drawer to\n her right, Max's .38 sits there. She closes the drawer.", "Nicolet, Dargus, and two other plainclothes cops, come\n running out of a store towards Jackie. As they reach her,\n a frantic Jackie yells;" ], [ "to you.\n \n Jackie picks up Sheronda's bag and leaves.", "papers for him to sign. Walk out and\n call the Sheriff's department.\n \n Jackie gets off the bed.", "Jackie leaves the kitchen.\n \n Max's eyes follow her to the living room.\n \n JACKIE (CONT'D)", "Jackie puts out her cigarette.\n \n JACKIE\n Okay, let's go.", "Jackie smiles. They all fall in step towards Jackie's\n Honda.\n \n \n INT. JACKIE'S HONDA - DAY", "Jackie gets out of the Honda with her flight bag. She\n goes to her hatchback, takes a Robinson's/May bag, lines\n the first half of the bag with old paperbacks.", "Thanks, I won't.\n \n She goes off.\n \n He looks towards Designer Clothes and sees Jackie walking", "another one, then. Thanks, anyway.\n \n Jackie turns to leave.\n \n MELANIE", "Jackie paces in front of him, white wine in one hand,\n Davidoff in the other, going over the details of\n tomorrow. One could notice a slight change in Jackie.", "Jackie leave the Young Girl and with Broadway bag in\n hand, walk out of the food court.\n \n Max watches her walk down the mall when two young men in", "face. He can't stop thinking about Jackie. During the\n night she'd have a gleam in her eyes, the look saying;\n \"WE COULD HAVE FUN\". Unless she was appraising kinda him", "agitated and distracted as she talks to Amy, pays with\n cash, then leaves stopping to say;\n \n JACKIE", "Pause between them.\n \n JACKIE\n I'm leaving, I have my things in my", "Dargus stands up and says to Jackie;\n \n DARGUS\n Let me have a word outside with Agent", "beer.\n \n Jackie leaves.\n \n \n CLOSEUP MELANIE", "They both leave, leaving Jackie all by herself in the\n room, smoking.\n \n They both come back in.", "JACKIE (CONT'D)\n Well, you did. Thank you.\n \n She takes a drag on her Davidoff.", "Jackie shakes her head \"no!\"\n \n JACKIE\n Let's get realistic, baby. Sooner or\n later they're gonna get around to", "Where're you going?\n \n JACKIE\n Spain.\n \n MAX", "sitting down, bends sideways to glance under the table.\n \n JACKIE (CONT'D)\n Then when I leave, well, you know." ], [ "make a case, then take him federal.\n You know what Ordell's into?\n \n JACKIE\n I have a pretty good idea. Ordell", "Ordell hangs up the phone.\n \n CUT TO:", "We've been following Mr. Gara, and\n he's definitely working for Ordell.\n \n FLASH ON:", "Ordell hangs up. Back in control. He looks to the TV. One\n of the COMEDIANS cracks a joke. Ordell laughs.", "Ordell almost steps into a store to get out of view.\n \"What the fuck is Max Cherry doing here?\"", "Ordell's on the phone.\n \n \n INT. COCKATOO INN", "The phone rings again.\n \n Ordell looks at Melanie.\n \n Melanie looks at Ordell.", "Ordell shrugs it off, and digs into the shopping bag. He\n pulls out the towels and sees forty-thousand dollars on\n top of a bunch of paperbacks. His stomach drops. He just", "Ordell just looks at him.\n \n LOUIS (CONT'D)\n I expect she's dead.", "Ordell takes the receiver.\n \n \n INT. TOYOTA (MOVING) - DAY", "of Ordell. Max goes back to counting the money. Ordell\n reads the first agreement then says;\n \n ORDELL (CONT'D)", "Ordell, he don't give a shit about\n the money. Money won't convict him,\n guns will. Yeah, sure, if it falls in", "Max throws a look past Ordell to Louis.\n \n ORDELL (CONT'D)\n Oh, that's just my white friend,", "He takes his hand out, it's holding stack of bills\n wrapped in a rubber band. He tosses it to Ordell, who\n catches it with his free hand.", "favor and be there when I get there.\n \n He hangs up the phone.\n \n Ordell sits in front of the desk, smiling at him and", "MAX\n That's Ordell's.\n \n JACKIE\n They've confiscated all his other", "They have a bit of a staring contest before she gets up\n and gets the phone.\n \n ORDELL (CONT'D)", "INT. OLDSMOBILE (PARKED) - NIGHT\n \n Ordell is sitting parked in the comfy-cozy cab of the", "Ordell gets out, sticks the snubby in his pants, and\n walks to the back of the Olds. He sticks his key in the\n trunk and says;", "As he approaches, the power window on the driver's side\n comes down, revealing a comfortable Ordell sitting back\n in his seat looking up at Louis." ], [ "I told them you got a half a million\n dollars in Mexico, and you want me to\n bring it here.\n \n Ordell freaks.", "Jackie explaining the plan to Ordell.\n \n JACKI\n ... I make two deliveries. The first\n one with ten thousand, like a dry", "Ordell shrugs it off, and digs into the shopping bag. He\n pulls out the towels and sees forty-thousand dollars on\n top of a bunch of paperbacks. His stomach drops. He just", "Max looks at Ordell, getting his drift, then says;\n \n MAX\n So, you want a ten-thousand dollar", "Ordell, he don't give a shit about\n the money. Money won't convict him,\n guns will. Yeah, sure, if it falls in", "He takes his hand out, it's holding stack of bills\n wrapped in a rubber band. He tosses it to Ordell, who\n catches it with his free hand.", "Ordell gives up and takes an envelope out of his pocket.\n \n ORDELL\n Okay, man. I got your money. But", "JACKIE\n All your money's in Mexico.\n \n Ordell has to smile at the woman.", "of Ordell. Max goes back to counting the money. Ordell\n reads the first agreement then says;\n \n ORDELL (CONT'D)", "JACKIE\n I told them Ordell's changed the\n amount he's bringing in.\n \n MAX", "Beaumont smiles. So does Ordell.\n \n ORDELL (CONT'D)\n Just think, man. That Scoe's special,", "Ordell approach him.\n \n MAX (CONT'D)\n (on phone)\n Just overnight is all. Tomorrow I'll", "MAX\n That's Ordell's.\n \n JACKIE\n They've confiscated all his other", "Ordell opens the glove box and takes out the Beretta. He\n smells the end of the barrel. He releases the magazine.\n \n LOUIS (CONT'D)", "ORDELL\n You go wait in the car. Wait a\n minute.\n \n Ordell pulls out a heavy-duty keychain with a shitload of", "Ordell hangs up the phone.\n \n CUT TO:", "Ordell takes the receiver.\n \n \n INT. TOYOTA (MOVING) - DAY", "Ordell gets out, sticks the snubby in his pants, and\n walks to the back of the Olds. He sticks his key in the\n trunk and says;", "Floyd comes back with Ordell's screwdriver.\n \n FLOYD\n Three twenty-five.", "JACKIE\n Right. Everything's the same except\n one change. Ordell thinks it's just\n too hot right now to bring in all his" ], [ "You know the motherfucker's a bail\n bondsman, don't ya? You know every\n last one of them motherfuckers is\n crooked as hell?", "The voice belong to MAX CHERRY, bail bondsman. Max, a\n regular-Joe-type white guy in his fifties, sits behind\n his desk talking on the phone. His eyes raise as he sees", "Give it to the bail bondsman, Max\n Cherry. He'll take care of it.\n \n ORDELL", "INT. CHERRY BAIL BONDS - DAY\n \n Inside Cherry Bail Bonds, looking out through the picture", "MAX\n Hi, I'm Max Cherry. Your bail\n bondsman.", "Miss Brown... I'm Max Cherry. I'm\n your bail bondsman.\n \n She takes the card and shakes his hand saying nothing.", "INT. CHERRY BAIL BONDS - NIGHT\n \n Max in his office on the phone.", "Especially now, since I'm getting out\n of the bail bonds business.\n \n Jackie looks at him, \"wow, that was a statement,\" but she", "Cherry Bail Bonds.\n \n ORDELL\n Let me speak to Max Cherry.", "EXT. CHERRY BAIL BONDS - DAY\n \n The store front window of Cherry Bail Bonds in Inglewood,", "INT. CHERRY BAIL BONDS - DAY\n \n Winston behind his desk, on the phone.\n \n WINSTON", "Hello.\n \n \n INT. CHERRY BAIL BONDS - NIGHT", "bring in fifty thousand for bail in\n case he needs it.\n \n CUT TO:", "People talk to Winston. He's street,\n same as them, they trust him. They\n get busted, they know somebody who\n can bond them out. I thought I might", "Don't you know all them bail bondsmen\n are crooks...\n \n ... the door shuts.", "FADE TO BLACK\n \n \n INT. CHERRY BAIL BONDS - DAY", "EXT. CHERRY BAIL BONDS - NIGHT\n \n They both get out of the Cadillac. Ordell sticks his gun\n in his pants.", "(back on the line)\n Hello, this is Max Cherry. Cherry\n Bail Bonds. Who's this?\n (pause)", "Max puts his key in the ignition, when Jackie asks;\n \n JACKIE\n Are you really a bail bondsman?", "there. Judge gonna set your bail. I'm\n gonna pay your bail, they gonna cut\n you loose. By tomorrow night, you'll\n be back home, I promise." ], [ "Hermosa Beach, California that Ordell pays for an drops\n in and out of. She's curled up in a reclining chair,\n smoking weed from a pipe, reading Movieline Magazine and", "Who's the other one?\n \n JACKIE\n White girl named Melanie Ralston.\n Another girlfriend of Ordell's.", "Ordell turn to a glassy-eyed black female junkie nodding\n on the couch named RAYNELLE. The filthy apartment we're\n in belongs to her.", "Ordell's living in Long Beach with a\n woman junkie.\n \n JACKIE", "ORDELL\n (smiling)\n 'Cause she my fine little surfer gal.", "MELANIE (CONT'D)\n It's for you.\n \n Before Ordell knows it, Melanie is back in the reclining", "INT. MELANIE'S APARTMENT - DAY\n \n Ordell and Jackie sit on stools around the kitchen", "Ordell hangs up the phone.\n \n CUT TO:", "They served two years together almost\n twenty years ago in Soledad. But he\n doesn't live in Hermosa Beach.\n Ordell's got him staying at a house", "Ordell in the kitchen doorway.\n \n JACKIE\n Beaumont Livingston.\n \n ORDELL", "Ordell's gloved fingertips move up her collarbone to her\n throat, gently touching her skin. Jackie locks eyes with\n his, but still shows no fear.", "Ordell says to her in the doorway;\n \n ORDELL (CONT'D)\n Hope you don't mind keeping him", "INT. MELANIE'S APARTMENT - HALLWAY - DAY\n \n Ordell walks Jackie to the elevator.\n \n ORDELL", "Ordell sits down on the couch. Melanie's reading\n \"Movieline Inside\" magazine.\n \n ORDELL", "She looks down at the dead Ordell with no expression,\n just light up another Davidoff.\n \n Dargus looks up at Max;", "Jackie nods 'yes', as she sips her beer.\n \n MELANIE (CONT'D)\n I tell you. If Ordell ever sent me to", "Ordell says to Louis, but loud enough for Melanie in the\n other room to hear;\n \n ORDELL (CONT'D)", "Beaumont comes out of the apartment, sporting Nikes and a\n Queen Latifah t-shirt. He locks his front door and walks\n with Ordell to his car. They talk the whole way. We", "The phone rings again.\n \n Ordell looks at Melanie.\n \n Melanie looks at Ordell.", "was with Ordell at an apartment in\n Hermosa Beach. I don't know if he\n lives there, but I can find out." ], [ "Ordell puts one more shot in his head, BAM, tosses the\n weapon on top of the dead body and closes the trunk.", "It's very possible Ordell's killed\n somebody.\n \n JACKIE\n I ain't goin' to jail, and I ain't", "Trunk opens showing Beaumont shot in the chest with half\n his head blown off.\n \n Louis looks inside, see Beaumont, looks at Ordell, then", "Max looks down and sees Ordell's head by his shoes, look\n of panic still on his face, dead as fried chicken.", "Ordell hangs up the phone.\n \n CUT TO:", "ORDELL\n So what, you left her there.\n \n LOUIS\n I shot her.", "You thought right... Now take your\n hands from around my throat, nigga.\n \n Ordell flashes his hustler's smile and lets go.", "Ordell's Beaumont problem is solved. He climbs back into\n the cab, turns on the engine. We hear the old-school R&B\n song come back on, but VERY LOW.", "ORDELL\n You go wait in the car. Wait a\n minute.\n \n Ordell pulls out a heavy-duty keychain with a shitload of", "Ordell shrugs it off, and digs into the shopping bag. He\n pulls out the towels and sees forty-thousand dollars on\n top of a bunch of paperbacks. His stomach drops. He just", "Ordell, he don't give a shit about\n the money. Money won't convict him,\n guns will. Yeah, sure, if it falls in", "Dargus shoots Ordell, Ordell drops.\n \n \n BACK TO OFFICE\n \n Max smiles back.", "Shit, your ass use'ta be beautiful.\n \n Ordell takes the bag and gets out of the car, leaving\n Louis' dead body there.", "(imitating Ordell's\n voice)\n \"You may leave us now.\" It's all part\n of his pathetic attempt to be \"the", "Ordell gets out, sticks the snubby in his pants, and\n walks to the back of the Olds. He sticks his key in the\n trunk and says;", "She looks down at the dead Ordell with no expression,\n just light up another Davidoff.\n \n Dargus looks up at Max;", "Ordell almost steps into a store to get out of view.\n \"What the fuck is Max Cherry doing here?\"", "Ordell leaves.\n \n Jackie shuts the door, and leaves FRAME.\n \n FADE TO BLACK", "Ordell turn to a glassy-eyed black female junkie nodding\n on the couch named RAYNELLE. The filthy apartment we're\n in belongs to her.", "MELANIE (CONT'D)\n It's for you.\n \n Before Ordell knows it, Melanie is back in the reclining" ], [ "Young plainclothes cop, MARK DARGUS, walks up to her,\n holding open his I.D. case.\n \n DARGUS", "DARGUS\n Help us do what?\n \n JACKIE\n Help you get Ordell Robbie.", "INT. DARGUS OFFICE - DAY\n \n DARGUS (O.S.)", "DARGUS\n Why were you with him?\n \n MAX\n I went to give him his refund, so he", "DARGUS\n You have the right to say \"no.\" And I\n have the right to make you wait here\n with Ray while I go get a warrant.", "Dargus looks up at Max;\n \n DARGUS (CONT'D)\n Does he have the marked bills on him?", "Hi, I'm Detective Mark Dargus.\n L.A.P.D. can I ask what you have in\n that bag?", "DARGUS\n What's her name?\n \n JACKIE\n He wouldn't say. You gonna follow", "DARGUS\n What's this?\n \n JACKIE\n That's my diet shit.", "DARGUS\n Yes, I do, your honor. Based on the\n defendant's prior conviction and the\n extreme possibility of flight due to", "DARGUS\n That's correct, your honor.\n \n JUDGE\n You have a recommendation for bail?", "Dargus looks up at her.\n \n DARGUS\n I'd say there's about, oh, fifty\n thousand dollars here. What would you", "Dargus stands up and says to Jackie;\n \n DARGUS\n Let me have a word outside with Agent", "out of the bathroom... Mark Dargus.\n \n Max sees; Ordell looks to Dargus, then back to Jackie.\n Then Jackie says;", "I found out.\n \n DARGUS\n And you didn't tell the Police?\n \n MAX", "Nicolet continues, Dargus takes a seat in the corner\n saying nothing.\n \n NICOLET (CONT'D)", "Dargus sits down next to Nicolet. They smile and giggle\n together.\n \n Jackie sees them giggle like fifth graders. It fucking", "Dargus reaches in and pulls out the envelope containing\n the forty-thousand marked dollars.\n \n Max looks at Jackie.", "Dargus, hardly even looked at it.\n \"Oh, I'd say there's fifty thousand\n here. What would you say?\" But all", "Nicolet and Dargus laugh at that.\n \n JACKIE\n Look, that shit ain't mine." ], [ "JACKIE\n Do you think I took some of that\n money?\n \n NICOLET", "Jackie didn't trust Melanie. She'd\n already tried to get Jackie to go in\n with her, split the half million\n amongst themselves. What she did was", "JACKIE (CONT'D)\n Melanie burst in the dressing room\n and took the money!\n \n CUT TO:", "JACKIE (CONT'D)\n 'd feel a whole lot better if you\n took some more money.\n \n MAX", "with the money. It's evidence.\n \n JACKIE\n What about you Max?\n \n MAX", "Melanie digs in her purse for the money.\n \n JACKIE\n He said he didn't know about it.", "money and who you're giving it to.\n \n Jackie doesn't sat anything... she just smokes.", "comes sliding underneath the stall.\n \n Jackie picks up her Robinson's/May bag, filled with\n books, towels and the marked forty-thousand dollars.", "JACKIE\n What for?\n \n NICOLET\n Bank robbery? Do you know what he", "JACKIE\n I never have. It's not my money.\n \n He puts the envelope back in the bag and feels through", "How do you know she did that?\n \n JACKIE\n I was there, I saw her do it.", "Dargus reaches in and pulls out the envelope containing\n the forty-thousand marked dollars.\n \n Max looks at Jackie.", "What did they want to know?\n \n JACKIE\n Who gave me the money and who I was\n giving it to. And some guy they found", "Jackie slides the Robinson's/May bag with money under the\n stall.\n \n Melanie sees the money on top and stops talking.", "It's possible. You're saying you\n don't have any idea what happened to\n that fifty thousand?\n \n JACKIE", "JACKIE\n Are you sure she don' know about the\n money?\n \n ORDELL", "Max Cherry? You and him friends now?\n You tell him about this shit?\n \n JACKIE\n He won't know where the money came", "We hear the SOUND of Melanie leaving.\n \n Jackie then transfers the half of a million dollars out\n of her flight bag into Melanie's Robinson's/May bag. She", "She and Louis disappear.\n \n He sees Jackie come out of the fitting room, go over to\n Amy and buy the dress. Jackie goes into her act, acting", "JACKIE\n It's a lot of money. About a half-a-\n million dollars. All of it in Cabo in" ] ]

[ "Where did the ATF believe the exchange of money will be?", "What is the plan Jackie proposes to Max?", "Who shoots and kills Ordell?", "What is Jackie's job?", "Who does Ordell live with?", "What does Max Cherry do to Beaumont Livingston?", "Who does Jackie plan to exchange the money with in the mall?", "What is Ordell's former cell mate name?", "Where do Ordell and Cherry go to meet Jackie?", "Why does Jackie smuggle money for Ordell?", "Why does Ordell kill Livingston?", "How does Jackie prevent Ordell from killing her?", "Why does Ordell agree to Jackie's deal to help him smuggle $550,000?", "How much money does Jackie plan to steal?", "Where does the transfer take place?", "Who did Louis see in the dress department of the Mall?", "Why does Ordell go to Max's office?", "Who is Melanie Ralston?", "Where does Jackie decide to go once she has the money?", "What was Jackie's original career?", "What was the name of the black market gun runner Jackie smuggles for?", "At the end of the story, Jackie plans to leave the country and go where?", "What federal agency has eyes on Ordell?", "How much money is ordell trying to smuggle in?", "What is the name of the bail bondsman?", "What is the name of Ordell's surfer girl roommate?", "Who does ordell murder in the beginning of the story?", "What does Mark Dargus do for a living?", "Who does Jackie claim stole the money?" ]

[ [ "The food court.", "Del Amo Mall. " ], [ "Pretend to help the authorities while smuggling Ordell's money.", "To double cross everyone and keep the money" ], [ "Ray Nicolette", "Nicolette" ], [ "Flight Attendent", "flight attendant " ], [ "Melanie Ralston", "Melanie Ralston." ], [ "Murders him.", "Bails him out of jail" ], [ "Melanie", "Melanie and Max." ], [ "Louis Gara", "Louis Gara." ], [ "Cherry's office.", "Max's office " ], [ "She needs to earn more money than her salary pays to live on.", "To make ends meet" ], [ "Ordell thinks Livingston will inform on him to the cops.", "Assumed he would snitch " ], [ "She makes a deal with him to pretend to help the FBI while actually smuggling in Ordell's money.", "By pulling a gun and negotiating a deal" ], [ "He can retire on that money.", "Because she has him at gunpoint" ], [ "$500,000.", "$500,000" ], [ "The Del Amo Mall.", "A dressing room" ], [ "Max Cherry.", "Max Cherry" ], [ "Max tells him Jackie is there with his money.", "To find Jackie" ], [ "A girl who lives with Ordell.", "A stoned surfer that lives with Ordell. " ], [ "Madrid, Spain.", "Madrid." ], [ "Flight attendant", "Flight attendant" ], [ "Ordell Robbie", "Ordell Robbie " ], [ "Madrid, Spain ", "Madrid" ], [ "ATF ", "AFT" ], [ "$550,000", "$550,000" ], [ "Max Cherry", "Max Cherry. " ], [ "Melanie Ralston", "Melanie Ralston." ], [ "Beaumont Livingston", "Beaumont Livingston." ], [ "LAPD detective", "Detective" ], [ "Melanie Ralston", "Melanie. " ] ]

[ [ "“There’s Matthew Mugg,” I said to myself. “He’ll know where this Doctor\nlives. Matthew knows everyone.”", "“Stubbins is anxious to learn animal language,” said the Doctor. “I was\njust telling him about you and the lessons you gave me when Jip ran up\nand told us you had arrived.”", "“No,” said the mussel-man. “He’s no vet. Doctor Dolittle is a\nnacheralist.”", "“Doctor,” he cried, running up to John Dolittle with his nose all\ncovered with black mud, “this slab is resting on nothing but a bed of", "“Why Matthew!” said John Dolittle. “What on earth are you doing here?”", "present anyhow. John Dolittle wouldn’t get scared by a little thing\nlike this. He only got excited when he made a discovery, found a new", "All the way down the Oxenthorpe Road Matthew hardly stopped talking\nabout his great friend, Doctor John Dolittle—“M. D.” He talked so much", "and plants and rocks an’ all. John Dolittle is a very great\nnacheralist. I’m surprised you never heard of him—and you daft over", "Dolittle or, as it was to be henceforth called, the Royal Thinkalot\ntotem. It had nothing but animals on it, to signify the Doctor’s great", "So I hurried across the market-place and caught him up.\n\n“Matthew,” I said, “do you know Doctor Dolittle?”", "“Tommy Stubbins,” I said.\n\n“Oh, are you the son of Jacob Stubbins, the shoemaker?”", "“Now see here, my friends,” said she speaking low: “you know how much\nJohn Dolittle has done for the animals—given his whole life up to them,", "“I will take care that he comes to see you, Mrs. Stubbins,” said the\nDoctor—“every day, if you like. After all, he will not be very far\naway.”", "and a funny feeling. I had often wondered, when I had looked in from\nthe front gate, what Doctor Dolittle would be like and what the funny\nlittle house would have inside it. But I never imagined it would be", "“Oh, those were provisions,” said Matthew—“things for the animals to\neat. The Doctor’s house is simply full of pets. I give the things to", "At last, almost in tears, John Dolittle stepped slowly into the litter\nand sat down. As he was hoisted on to the broad shoulders of the\nbearers I heard him still feebly muttering beneath his breath,", "“Why certainly,” said Matthew. “All animals have some kind of a\nlanguage. Some sorts talk more than others; some only speak in", "“You know it is an awful shame,” said the parrot as soon as the Doctor\nhad closed the door. “Directly he comes back home, all the animals", "to us (for we were really terribly poor) they did not realize then\nwhat a truly great man he was one day to become. Of course now, when\nalmost everybody in the whole world has heard about Doctor Dolittle and", "ALL that I have written so far about Doctor Dolittle I heard long after\nit happened from those who had known him—indeed a great deal of it took" ], [ "“_He talks their language_,” he said in a hoarse, mysterious voice.\n\n“The animals’ language?” I cried.", "“Stubbins is anxious to learn animal language,” said the Doctor. “I was\njust telling him about you and the lessons you gave me when Jip ran up\nand told us you had arrived.”", "“It must be splendid,” I said, “to be able to talk all the languages of\nthe different animals. Do you think I could ever learn to do it?”", "The Doctor tried again, in several other animal dialects. But with no\nresult.\n\nTill at last he came to the language of eagles.", "“Why certainly,” said Matthew. “All animals have some kind of a\nlanguage. Some sorts talk more than others; some only speak in", "Then the Doctor tried to speak to Long Arrow. But the Indian knew\nno English of course, and the Doctor knew no Indian. Presently, to my\nsurprise, I heard the Doctor trying him in different animal languages.", "The Doctor turned and said a few words to the dog and duck in some\nstrange talk and signs. They seemed to understand him perfectly.\n\n“Can you talk in squirrel language?” I asked.", "near to learning the language he had sought so long. And presently by\nmaking the other fishes repeat over and over again short phrases which\nthe snail used, he began to put words together for himself. You see,", "“It is very kind of you to come so far to look after his pet,” said my\nmother. “Tom is always bringing home strange creatures from the woods\nand the fields.”", "And as the old dog doesn’t understand them, he brings them here,\nand the Doctor turns them into dog language for him. I think Minnie", "Then the Doctor and the dog started talking to one another in signs and\nsounds; and they kept at it for quite a long time. And the Doctor began", "“Oh yes,” said the Doctor, “he has a language. But it is such a poor", "Soon I began to pick up the strange chatter of the birds and to\nunderstand the funny talking antics of the dogs. I used to practise", "“Now see here, my friends,” said she speaking low: “you know how much\nJohn Dolittle has done for the animals—given his whole life up to them,", "whom we had taught a little English. He and the Doctor between them\nmanaged to make themselves understood to the Bag-jagderags. This\npeople, with the terrible parrots still blackening the hills about", "“Do you think I would ever be able to learn the language of the\nanimals?” I asked, laying the plate upon the hearth.", "thing. She was one of the best friends I ever had. It was she who\nfirst gave me the idea of learning the animal languages and becoming\nan animal doctor. I often wonder if she remained happy in Africa, and", "Afterwards Long Arrow told us that this was the only bird or animal\nlanguage that he had ever been able to learn. But that he had not\nspoken it in a long time, for no eagles ever came to this island.", "shellfish. They _have_ languages, of that I feel sure. I can talk\na little shark language and porpoise dialect myself. But what I\nparticularly want to learn now is shellfish.”", "Dolittle or, as it was to be henceforth called, the Royal Thinkalot\ntotem. It had nothing but animals on it, to signify the Doctor’s great" ], [ "“Doctor,” said she, “the Purple Bird-of-Paradise has arrived!”", "“The Purple Bird-of-Paradise,” said the Doctor—“she told me all about", "MIRANDA, the Purple Bird-of-Paradise had prophesied rightly when she\nhad foretold a good spell of weather. For three weeks the good ship", "“Well, first I shall have to wait till the Purple Bird-of-Paradise gets\nhere. I must see if she has any message for me from Long Arrow. She’s", "are sure of good weather. And besides the Purple Bird-of-Paradise is\ngoing to keep a lookout for us, isn’t she? She’ll be wondering what’s", "The parrot, on the Doctor’s shoulder, nodded gravely towards me and\nthen, to my great surprise, said quite plainly in English,", "“You know it is an awful shame,” said the parrot as soon as the Doctor\nhad closed the door. “Directly he comes back home, all the animals", "“It seems that my methods are more up to date,” said the Doctor. “But\nfrom what the Purple Bird-of-Paradise tells me, Long Arrow’s knowledge", "The Bird-of-Paradise assured him she would. And after the Doctor had\nthanked her again and again for all that she had done for us, she\nwished us good luck and disappeared into the night.", "of the month, I have a Purple Bird-of-Paradise come all the way from\nBrazil to see me. She is a very great swell. Hasn’t arrived yet of", "JUST at that moment Polynesia came into the room and said something to\nthe Doctor in bird language. Of course I did not understand what it\nwas. But the Doctor at once put down his knife and fork and left the\nroom.", "He turned as if to go back home. But the parrot, Polynesia, was already\nflying towards us. The Doctor clapped his hands like a child getting", "At this point the poor Bird-of-Paradise stirred and woke up. In our\nexcitement we had forgotten to speak low.", "The Purple Bird-of-Paradise hung her head.", "Now of course, when I am quite an old man, my memory isn’t so good any\nmore. But whenever I am in doubt and have to hesitate and think, I\nalways ask Polynesia, the parrot.", "understand. She seemed to have a terrible lot to say. And very soon\nthe Doctor had forgotten all about me and my squirrel and Jip and\neverything else; till at length the bird clearly asked him something", "As the Doctor opened his purse and took out some gold coins I heard\nPolynesia, who was sitting on my shoulder watching the whole affair,\nmutter beneath her breath,", "known. This, on the Thinkalot pole, was an enormous parrot, in memory\nof the famous Peace of the Parrots.", "Dolittle or, as it was to be henceforth called, the Royal Thinkalot\ntotem. It had nothing but animals on it, to signify the Doctor’s great", "“Did you ask the black parrots?” asked Polynesia. “They usually know\neverything.”" ], [ "And asking the personages to excuse him a moment, he left them there,\nstanding at his door, and hurried off in the direction of Long Arrow’s\nhouse. I followed him.", "“I’ll go and see Long Arrow,” he whispered to me. “Perhaps he will know\nof some way to get me out of this.”", "that Long Arrow was visiting some peculiar Indians that live there;\nand that when last seen he was going up into the mountains looking for", "and sooner or later he’ll return to his home in Long Arrow’s cave. And\nthere we will follow him—Or at all events,” she added smoothing down", "While Long Arrow was handing round what food we had to his starving\nfriends, we suddenly heard a sound outside the cave. Turning about we", "note-books. Long Arrow, who was the only Indian let into the secret\nof our destination, said he would like to come with us as far as the", "“Long Arrow,” said the Doctor speaking quickly in eagle tongue so\nthat the bystanders should not overhear, “in dire peril I come to you", "Long Arrow listened gravely to the breathless, babbled words, then\nturned to the Doctor and said in eagle tongue,", "march. He turned back pleadingly again to Long Arrow in a last appeal\nfor help. But the big Indian merely shook his head and pointed, like\nthe bearers, to the waiting chair.", "Long Arrow had not come with us for he was as yet too weak from his\nwound. But the Doctor—always clever at languages—was already getting", "“All right. Now listen,” said she. “If what you have supposed is\ntrue—that is, that Long Arrow had been trapped inside the mountain by", "Long Arrow explained to the Doctor that the nine Indians we had found\nin the cave with him were two families who had accompanied him into\nthe mountains to help him gather medicine-plants. And while they had", "They peered into the dark cave cautiously at first. But as soon as\nthey saw Long Arrow and the other Indians with us, they came rushing\nin, laughing, clapping their hands with joy and jabbering away at a\ntremendous rate.", "As soon as the Doctor had paid a visit to Long Arrow and seen that he\nwas doing nicely, we proceeded to our own house at the far end of the\nvillage. Here we ate some breakfast and then lay down to take a good\nrest.", "gone. “I’ve missed Long Arrow terribly. He’s an awfully good man to", "had planned going to see Long Arrow. I had been looking forward to it\nfor a whole year. I felt he might help me in learning the language of", "“Oh Kindly One,” said Long Arrow, “why tempt ill fortune? Your way is\nclear. Your future and your work beckon you back to your foreign home", "asked him what was wrong. And Long Arrow said he had just been informed\nthat the chief of the tribe, an old man of eighty, had died early that\nmorning.", "“Poor Miranda! What a time you must have had!” said the Doctor. “But\ntell me, were you able to find out whereabouts Long Arrow was last\nseen?”", "“Popsipetel,” said Long Arrow. “That is the name also of the tribe. The\nword signifies in Indian tongue, _The Men of The Moving Land_. There" ], [ "And asking the personages to excuse him a moment, he left them there,\nstanding at his door, and hurried off in the direction of Long Arrow’s\nhouse. I followed him.", "They all gathered round him shaking him by his four hands, laughing and\nasking him a million questions at once. Then they all started back for\nthe house.", "THE next day we set out for the far end of the island, and reaching it\nin canoes (for we went by sea) after a journey of twenty-five hours, we\nremained no longer than was necessary in the City of Bag-jagderag.", "“Sh! They’re going off to their village,” said Polynesia. “I’ll bet", "As it happened, they didn’t even see us turn in, but\n dashed on northward and we never saw them again. I hope\n they froze to death in the Arctic Seas.", "One, we are bidden by the united voices of the peoples of this land to\ncarry you to the Whispering Rocks, that there, with all respect and", "“Likely enough she’s gone after the Black Parrots. Let’s hope she\nfinds them in time. Just look at those ugly ruffians climbing down the", "“True, quite true, Stubbins. On the other hand, the Capa Blancas make\na very convenient stopping place on our way across. If we should need\nsupplies or repairs it would be very handy to put in there.”", "“Now we will separate and search for caves. This spot where we now are,\nwill be our meeting-place. If anyone finds anything like a cave or a", "one another’s heads off. And when he stopped to look at the scenery or\npolish his nose some more, I could hear Polynesia behind me letting out", "Not very far away we found a big grocer’s shop which seemed to sell\neverything to eat. We went in and bought up the finest lot of food you\never saw in your life.", "* * * * *\n\nThe rest of the story of our homeward voyage is soon told.", "At this point we arrived at my home. My father’s shop was closed and\nthe shutters were up; but my mother was standing at the door looking\ndown the street.", "And as the procession formed up to leave the village, the crowd about\nus began hurrying off in the direction of the mountains to make sure of\ngood seats in the giant theatre where the crowning ceremony would take\nplace.", "_THE SECOND CHAPTER_\n\nGOOD-BYE!\n\n\nTWO days after that we had all in readiness for our departure.", "Then we got them to bring us piles and stacks of dry wood; and we made\nan enormous bonfire in the middle of the main street. Round this, when", "As soon as the Doctor had paid a visit to Long Arrow and seen that he\nwas doing nicely, we proceeded to our own house at the far end of the\nvillage. Here we ate some breakfast and then lay down to take a good\nrest.", "boys and girls. Then he dropped into the garden on the inside and\nimmediately started taking off his clothes. He tore the straw hat in\ntwo and threw it down into the road. Then he took off his bodice and", "“Well now I tell you what you do,” said she: “as soon as you get back\nto the palace you publish a royal proclamation that you are going away", "At last, almost in tears, John Dolittle stepped slowly into the litter\nand sat down. As he was hoisted on to the broad shoulders of the\nbearers I heard him still feebly muttering beneath his breath," ], [ "“To Spidermonkey Island!” I shouted, picking myself up and doing", "Of all the places in the world you picked out that one with your eyes\nshut. Spidermonkey Island after all!—Well, there’s one good thing about", "“We are going to Spidermonkey Island, Miranda,” said the Doctor. “You\nknow where it is, do you not?”", "Travelers who have since visited Spidermonkey Island tell me that\nthat huge stone slab is now one of the regular sights of the island.", "“We’re going to Spidermonkey Island,” I said proudly.\n\n“And be you the only one the Doctor’s taking along?”", "trodden for six weeks. What a thrill I felt as I realized that\nSpidermonkey Island, the little spot in the atlas which my pencil had\ntouched, lay at last beneath my feet!", "Our guides told us that it was here, in days long gone by when the\nPopsipetels owned the whole of Spidermonkey Island, that the kings", "to be found. Spidermonkey Island is one of them. But even there they\nare very scarce.”", "“_Spidermonkey Island_,” he read out slowly. Then he whistled softly\nbeneath his breath. “Of all the extraordinary things! You’ve hit upon", "“Yes. A young albatross told me he had seen him on Spidermonkey Island?”", "in Spidermonkey Island went forward, month in month out, busily and\npleasantly. The Winter, with Christmas celebrations, came and went, and\nSummer was with us once again before we knew it.", "At last the Doctor made them understand that he only wanted to see the\nisland all over and that then he would go away—though how he meant to\ndo it, with no boat to sail in, was more than I could imagine.", "himself realized at the time. In fact I sometimes think that that\nspeech of his from the palace-steps had more effect upon the Indians of\nSpidermonkey Island than had any of his great deeds which, great though", "While they were talking among themselves another Indian\narrived—apparently with a message that they were wanted in some\nother part of the island. Because presently, shaking their spears\nthreateningly at us, they went off with the newcomer.", "the remainder of his days on Spidermonkey Island if it hadn’t been for\nan accident—and for Polynesia.", "himself free. Finally he had to heave the whole island up at one end to\nget his tail loose. Didn’t you feel a sort of an earthquake shock about\nan hour ago?”", "The other Indians on the island had given them up for lost and mourned\nthem as dead; and they were now very surprised and happy to find their\nrelatives alive.", "“Spidermonkey Island? That’s somewhere off the coast of Brazil, isn’t\nit?”", "ourselves. Bumpo threw his beam of wood into the thick of the Spaniards\nand leapt in after us. Then we pushed off and rowed like mad for the\n_Curlew_.", "Popsipetels; you’re to be a king—the King of the whole of Spidermonkey\nIsland. The Bag-jagderags, who were so anxious to have you govern" ], [ "While we were admiring one of these the Doctor suddenly said, “Sh!—A\nJabizri!—Don’t you hear it?”", "THE JABIZRI", "At last, neatly fixed up with his new mail-bag, Mr. Jabizri crawled off\nthe Doctor’s finger to the ground and looked about him. He stretched", "“Stubbins is anxious to learn animal language,” said the Doctor. “I was\njust telling him about you and the lessons you gave me when Jip ran up\nand told us you had arrived.”", "Dolittle or, as it was to be henceforth called, the Royal Thinkalot\ntotem. It had nothing but animals on it, to signify the Doctor’s great", "was allowed to drift where she liked. But still John Dolittle worked\non, trying his hardest to understand the fidgit’s language, struggling\nto make the fidgit understand him.", "I wish I could talk beetle language, and find out where the Jabizri got\nit from.”", "ALL that I have written so far about Doctor Dolittle I heard long after\nit happened from those who had known him—indeed a great deal of it took", "“Doctor,” he cried, running up to John Dolittle with his nose all\ncovered with black mud, “this slab is resting on nothing but a bed of", "“Oh good!” cried John Dolittle, full of hope renewed. “What is it?\nLet’s hear it.”", "in his way, a graceful, beautiful creature. John Dolittle was examining\na swelling on his tail.", "The Doctor tried again, in several other animal dialects. But with no\nresult.\n\nTill at last he came to the language of eagles.", "“No,” said the mussel-man. “He’s no vet. Doctor Dolittle is a\nnacheralist.”", "understand. She seemed to have a terrible lot to say. And very soon\nthe Doctor had forgotten all about me and my squirrel and Jip and\neverything else; till at length the bird clearly asked him something", "But I found Doctor John Dolittle, the famous naturalist, standing on\ntop of a chair, dancing about on one leg like a schoolboy.", "At last, almost in tears, John Dolittle stepped slowly into the litter\nand sat down. As he was hoisted on to the broad shoulders of the\nbearers I heard him still feebly muttering beneath his breath,", "“Come here, Jip,” said the Doctor in a stern voice. “You are hiding\nsomething from me. You see signs and you know something—or you guess", "“Now see here, my friends,” said she speaking low: “you know how much\nJohn Dolittle has done for the animals—given his whole life up to them,", "present anyhow. John Dolittle wouldn’t get scared by a little thing\nlike this. He only got excited when he made a discovery, found a new", "and plants and rocks an’ all. John Dolittle is a very great\nnacheralist. I’m surprised you never heard of him—and you daft over" ], [ "land. And ask them if they will be so good as to go down to the far end\nof the island, put their noses against it and push it back near the\ncoast of Southern Brazil.”", "“We are going to Spidermonkey Island, Miranda,” said the Doctor. “You\nknow where it is, do you not?”", "“Because this floating island we are on,” said he, “is drifting\nsouthward all the time in a current. It’s an island that ordinarily", "“Ah!” said the Doctor, “see that?—The island is going North at last.\nThank goodness!”", "Of all the places in the world you picked out that one with your eyes\nshut. Spidermonkey Island after all!—Well, there’s one good thing about", "“To Spidermonkey Island!” I shouted, picking myself up and doing", "trodden for six weeks. What a thrill I felt as I realized that\nSpidermonkey Island, the little spot in the atlas which my pencil had\ntouched, lay at last beneath my feet!", "himself free. Finally he had to heave the whole island up at one end to\nget his tail loose. Didn’t you feel a sort of an earthquake shock about\nan hour ago?”", "“Spidermonkey Island? That’s somewhere off the coast of Brazil, isn’t\nit?”", "“We’re going to Spidermonkey Island,” I said proudly.\n\n“And be you the only one the Doctor’s taking along?”", "“_Spidermonkey Island_,” he read out slowly. Then he whistled softly\nbeneath his breath. “Of all the extraordinary things! You’ve hit upon", "The porpoises evidently succeeded in persuading the whales to do as the\nDoctor asked; for presently we saw them thrashing through the seas,\ngoing off towards the south end of the island.", "Island is a _floating_ island. It moves around all over the\nplace—usually somewhere near southern South America. But of course I", "The only inconvenience we suffered from was the cold. This seemed\nto increase as we went forward. The Doctor said that the island,\ndisturbed from its usual paths by the great gale, had evidently drifted\nfurther South than it had ever been before.", "Our guides told us that it was here, in days long gone by when the\nPopsipetels owned the whole of Spidermonkey Island, that the kings", "time. I’m afraid the island is still drifting to the southward. Let’s\nhope it stops before long, or we won’t be able to get even nuts and", "At last, almost in tears, John Dolittle stepped slowly into the litter\nand sat down. As he was hoisted on to the broad shoulders of the\nbearers I heard him still feebly muttering beneath his breath,", "At last the Doctor made them understand that he only wanted to see the\nisland all over and that then he would go away—though how he meant to\ndo it, with no boat to sail in, was more than I could imagine.", "Travelers who have since visited Spidermonkey Island tell me that\nthat huge stone slab is now one of the regular sights of the island.", "Dolittle or, as it was to be henceforth called, the Royal Thinkalot\ntotem. It had nothing but animals on it, to signify the Doctor’s great" ], [ "shellfish. They _have_ languages, of that I feel sure. I can talk\na little shark language and porpoise dialect myself. But what I\nparticularly want to learn now is shellfish.”", "near to learning the language he had sought so long. And presently by\nmaking the other fishes repeat over and over again short phrases which\nthe snail used, he began to put words together for himself. You see,", "I may now, through him, be able to establish communication with the\nshellfish. This is a great piece of luck.”", "of the shellfish. He fished several of these crabs up with a net and\nput them in his listening-tank to see if he could understand them.", "the starfish. He was a rather stupid sort of creature; but he tried his\nbest to be helpful. And after a little patient examination we found to\nour delight that he could speak shellfish moderately well.", "How our giant shellfish found his way across that vast and gloomy\nworld was a great puzzle to us. John Dolittle asked him by what means", "language of the shellfish. But he says it’s hard work—and he has caught\nsome terrible colds, holding his head under water so much. He’s a great\nman.”", "WELL, now that he was started once more upon his old hobby of the\nshellfish languages, there was no stopping the Doctor. He worked right\nthrough the night.", "“No,” said the mussel-man. “He’s no vet. Doctor Dolittle is a\nnacheralist.”", "“Can’t any of your people speak shellfish?” the Doctor asked.", "was allowed to drift where she liked. But still John Dolittle worked\non, trying his hardest to understand the fidgit’s language, struggling\nto make the fidgit understand him.", "“Stubbins is anxious to learn animal language,” said the Doctor. “I was\njust telling him about you and the lessons you gave me when Jip ran up\nand told us you had arrived.”", "ALL that I have written so far about Doctor Dolittle I heard long after\nit happened from those who had known him—indeed a great deal of it took", "“Yes,” said the Doctor, “that’s true. Oh I have no doubt that there\nare shellfish who are good talkers—not the least doubt. But the big", "“Have you learned any shellfish language yet?” I asked.", "The Doctor tried again, in several other animal dialects. But with no\nresult.\n\nTill at last he came to the language of eagles.", "While the snail was speaking, the Doctor and I put our ears against the\nwall of his shell and found that we could in this way hear the sound of", "SO Doctor Dolittle with a crown on his head sat down upon the shore\nlike King Knut, and waited. And for a whole hour the porpoises kept", "he was already familiar with one or two fish languages; and that helped\nhim quite a little. After he had practised for a while like this he\nleant over the side of the canoe and putting his face below the water,", "animals. He knows a whole lot about shellfish—that I know from my own\nknowledge. He’s a quiet man and don’t talk much; but there’s folks who" ], [ "them down upon the enemies’ heads; and Bumpo marched after the Doctor\nto the fence armed with a young tree in one hand and a door-post in the\nother.", "So we all went and hid ourselves in the passage where we could watch\nwhat happened. And presently Bumpo came to the foot of the stairs and", "Jip went over to the door and smelt at the bottom of it to see if any\none were listening outside. Then he came back to the Doctor on tiptoe\nand whispered,\n\n“_He killed a man!_”", "holding out their hands in friendliness. The Doctor took not the\nslightest notice. He marched right by them, up the steps to the door\nof the palace. There he turned around and at once began to address the", "While the Doctor was asking Big Teeth how he meant to defend the\nvillage against attack, a cry of alarm was raised by the look-outs.", "care of him as best I could till the time should come when the Doctor\nwould return. And every day I went to the little house with the big\ngarden on the edge of the town and tried the gate to see if it were", "Another knock; and when the door swung open in answer to the Doctor’s\ncall, there stood our big friend on the threshold, a smile upon his", "Doctor’s gate and turned to look backwards towards the town, the faint\nmurmur of many voices still reached us on the evening wind.", "“I thought you lived alone,” I said to the Doctor.\n\n“So I do,” said he. “It is Dab-Dab who is bringing the light.”", "“Who is that person you spoke to, Doctor?” I asked as we went along the\npassage.\n\n“He is a policeman.”", "The sad silence that followed was broken finally by a knock upon the\ndoor.\n\nWith a patient sigh the Doctor got up and put on his crown and cloak\nagain.", "Some had their eyes closed, as if dead. Quickly the Doctor went round\nthem all and listened to their hearts. They were all alive; but one\nwoman was too weak even to stand upon her feet.", "Then the Doctor made some funny clicking noises with his tongue and I\nheard some one trundle up the stairs again and start moving about in\nthe rooms above.\n\nThen we waited quite a while without anything happening.", "But the Doctor calmly finished his bow. Then turning round he folded\nhis arms, fixed the on-rushing bull with his eye and frowned a terrible\nfrown.", "gate here and give it him through the bars. He never lets any one come\ninside the garden while the Doctor’s away—not even me, though he knows", "With this part of the business over, the Doctor called to Polynesia\nto have the Black Parrots drive the enemy right back into their own\ncountry and to wait there, guarding them all night.", "Presently I heard a screech from the house, and out flew Polynesia,\nfollowed by the Doctor and Jip.", "“The Doctor isn’t back yet,” said Matthew, “or the gate wouldn’t be\nlocked.”", "AS soon as the door closed behind the Doctor the most tremendous noise\nI have ever heard broke loose. Some of the men appeared to be angry", "As soon as the Doctor had paid a visit to Long Arrow and seen that he\nwas doing nicely, we proceeded to our own house at the far end of the\nvillage. Here we ate some breakfast and then lay down to take a good\nrest." ], [ "“Stubbins is anxious to learn animal language,” said the Doctor. “I was\njust telling him about you and the lessons you gave me when Jip ran up\nand told us you had arrived.”", "“_He talks their language_,” he said in a hoarse, mysterious voice.\n\n“The animals’ language?” I cried.", "The Doctor turned and said a few words to the dog and duck in some\nstrange talk and signs. They seemed to understand him perfectly.\n\n“Can you talk in squirrel language?” I asked.", "The Doctor tried again, in several other animal dialects. But with no\nresult.\n\nTill at last he came to the language of eagles.", "“It must be splendid,” I said, “to be able to talk all the languages of\nthe different animals. Do you think I could ever learn to do it?”", "Then the Doctor and the dog started talking to one another in signs and\nsounds; and they kept at it for quite a long time. And the Doctor began", "Then the Doctor tried to speak to Long Arrow. But the Indian knew\nno English of course, and the Doctor knew no Indian. Presently, to my\nsurprise, I heard the Doctor trying him in different animal languages.", "And as the old dog doesn’t understand them, he brings them here,\nand the Doctor turns them into dog language for him. I think Minnie", "“Why certainly,” said Matthew. “All animals have some kind of a\nlanguage. Some sorts talk more than others; some only speak in", "near to learning the language he had sought so long. And presently by\nmaking the other fishes repeat over and over again short phrases which\nthe snail used, he began to put words together for himself. You see,", "“Oh yes,” said the Doctor, “he has a language. But it is such a poor", "thing. She was one of the best friends I ever had. It was she who\nfirst gave me the idea of learning the animal languages and becoming\nan animal doctor. I often wonder if she remained happy in Africa, and", "shellfish. They _have_ languages, of that I feel sure. I can talk\na little shark language and porpoise dialect myself. But what I\nparticularly want to learn now is shellfish.”", "because folks only laugh at you when you speak of it. Why, he can\neven write animal-language. He reads aloud to his pets. He’s wrote", "Soon I began to pick up the strange chatter of the birds and to\nunderstand the funny talking antics of the dogs. I used to practise", "“And you are prepared to swear, Doctor Dolittle, that you understand\nthe language of dogs and can make them understand you. Is that so?”", "I may now, through him, be able to establish communication with the\nshellfish. This is a great piece of luck.”", "“Now see here, my friends,” said she speaking low: “you know how much\nJohn Dolittle has done for the animals—given his whole life up to them,", "was allowed to drift where she liked. But still John Dolittle worked\non, trying his hardest to understand the fidgit’s language, struggling\nto make the fidgit understand him.", "“Do you think I would ever be able to learn the language of the\nanimals?” I asked, laying the plate upon the hearth." ], [ "Africa. For she had gone on a voyage with him to that country long ago.", "“Oh no,” said the Doctor. “She is still living, I hope. But when we\nreached Africa she seemed so glad to get back to her own country. She", "belonged to a fashionable black lady who was taking a bath. Chee-Chee\nput them on. Next he went back to the seashore, mingled with the crowd", "and Chee-Chee began to clear away, “I don’t know where to go now. I\nfeel sort of lost since Miranda brought me this news. On this voyage I", "“Well,” said Polynesia frowning,—“Chee-Chee is not entirely happy. I", "The bird chattered incessantly, mostly about Africa; but now she spoke\nin English, out of politeness to me.", "But she and Chee-Chee were good guides and splendid jungle-hunters; and\nthe two of them set to work at once looking for food for us. In a very", "It seems that after Polynesia had left, Chee-Chee had grown more\nhomesick than ever for the Doctor and the little house in Puddleby. At", "When he reached England and tried to get off the ship, the sailors saw\nat last that he was only a monkey dressed up in girl’s clothes; and", "“Sh!—Listen!” said Chee-Chee through teeth that chattered with the", "CHEE-CHEE’S VOYAGE", "“And how is Chee-Chee getting on?—Chee-Chee,” added the Doctor in", "thing. She was one of the best friends I ever had. It was she who\nfirst gave me the idea of learning the animal languages and becoming\nan animal doctor. I often wonder if she remained happy in Africa, and", "he noticed a whole big family of funny people passing on to the ship.\nAnd one of the children in this family reminded Chee-Chee of a cousin", "When I left, poor old Chee-Chee broke down and cried. He said he felt\nas though his only friend were leaving him—though, as you know, he has", "Chee-Chee and Polynesia can follow him.”", "“Of course I shall be taking Chee-Chee,” said the Doctor. “But although\nhe is very quick and clever, he is not as strong as a man. We really", "“Yes—good old Chee-Chee!” echoed Dab-Dab and Polynesia.", "“And got stuck on the mud-bank,” added Chee-Chee in a dreamy, far-away\nvoice.", "I didn’t—for my eyes were not as sharp as Miranda’s. But presently from\nsomewhere in the murky dusk I heard Bumpo singing his African comic" ], [ "are sure of good weather. And besides the Purple Bird-of-Paradise is\ngoing to keep a lookout for us, isn’t she? She’ll be wondering what’s", "MIRANDA, the Purple Bird-of-Paradise had prophesied rightly when she\nhad foretold a good spell of weather. For three weeks the good ship", "The Bird-of-Paradise assured him she would. And after the Doctor had\nthanked her again and again for all that she had done for us, she\nwished us good luck and disappeared into the night.", "“The Purple Bird-of-Paradise,” said the Doctor—“she told me all about", "“Well, first I shall have to wait till the Purple Bird-of-Paradise gets\nhere. I must see if she has any message for me from Long Arrow. She’s", "“Doctor,” said she, “the Purple Bird-of-Paradise has arrived!”", "“Yes, that’s it. Of course I flew there right away and asked every bird\non the island—and it is a big island, a hundred miles long. It seems", "Island. Next, he gave orders to the porpoises to leave my old piece of\nthe ship and push the bigger half wherever the Bird-of-Paradise should\nlead us.", "At this point the poor Bird-of-Paradise stirred and woke up. In our\nexcitement we had forgotten to speak low.", "“Did you ask the black parrots?” asked Polynesia. “They usually know\neverything.”", "He turned as if to go back home. But the parrot, Polynesia, was already\nflying towards us. The Doctor clapped his hands like a child getting", "“Likely enough she’s gone after the Black Parrots. Let’s hope she\nfinds them in time. Just look at those ugly ruffians climbing down the", "With this part of the business over, the Doctor called to Polynesia\nto have the Black Parrots drive the enemy right back into their own\ncountry and to wait there, guarding them all night.", "“What is it, my boy?” said she, smoothing down the feathers of her\nright wing. Polynesia often spoke to me in a very patronizing way. But", "And all this time Polynesia came with me wherever I went, teaching me\nbird language and showing me how to understand the talking signs of the", "JUST at that moment Polynesia came into the room and said something to\nthe Doctor in bird language. Of course I did not understand what it\nwas. But the Doctor at once put down his knife and fork and left the\nroom.", "“_Let_ him fly,” snorted Polynesia scornfully. “A parrot can wing it as", "known. This, on the Thinkalot pole, was an enormous parrot, in memory\nof the famous Peace of the Parrots.", "Now of course, when I am quite an old man, my memory isn’t so good any\nmore. But whenever I am in doubt and have to hesitate and think, I\nalways ask Polynesia, the parrot.", "I have told you—so that the Indians didn’t know where he was. But it’s\na mighty hard thing to hide away from the birds. I had always been able" ], [ "“I’ll go and see Long Arrow,” he whispered to me. “Perhaps he will know\nof some way to get me out of this.”", "“All right. Now listen,” said she. “If what you have supposed is\ntrue—that is, that Long Arrow had been trapped inside the mountain by", "And asking the personages to excuse him a moment, he left them there,\nstanding at his door, and hurried off in the direction of Long Arrow’s\nhouse. I followed him.", "While Long Arrow was handing round what food we had to his starving\nfriends, we suddenly heard a sound outside the cave. Turning about we", "that Long Arrow was visiting some peculiar Indians that live there;\nand that when last seen he was going up into the mountains looking for", "“Long Arrow,” said the Doctor speaking quickly in eagle tongue so\nthat the bystanders should not overhear, “in dire peril I come to you", "and sooner or later he’ll return to his home in Long Arrow’s cave. And\nthere we will follow him—Or at all events,” she added smoothing down", "Long Arrow listened gravely to the breathless, babbled words, then\nturned to the Doctor and said in eagle tongue,", "In spite of the length and fierceness of the struggle, there were\nsurprisingly few serious injuries. Poor Long Arrow was the worst off.", "march. He turned back pleadingly again to Long Arrow in a last appeal\nfor help. But the big Indian merely shook his head and pointed, like\nthe bearers, to the waiting chair.", "Long Arrow raised himself upon his elbow.", "Long Arrow had not come with us for he was as yet too weak from his\nwound. But the Doctor—always clever at languages—was already getting", "gone. “I’ve missed Long Arrow terribly. He’s an awfully good man to", "“_Long Arrow!_” he cried, “don’t you see, Stubbins?—Why, of course!", "one that other naturalists would try to catch—Well, well! Long Arrow!—A\npicture-letter from Long Arrow. For pictures are the only writing that\nhe knows.”", "Long Arrow explained to the Doctor that the nine Indians we had found\nin the cave with him were two families who had accompanied him into\nthe mountains to help him gather medicine-plants. And while they had", "It was only with great difficulty that we escaped from the crowd the\nfirst morning and set out with Long Arrow to explore the island at our\nleisure.", "When Long Arrow turned to the newcomers and told them in their own\nlanguage that it was the white man who had found and freed their\nrelatives, they gathered round John Dolittle, all talking at once and\nbeating their breasts.", "“Very well. It is fair to suppose then that the beetle’s home, or his\nhole, is in that place—the part of the mountain where Long Arrow and", "asked him what was wrong. And Long Arrow said he had just been informed\nthat the chief of the tribe, an old man of eighty, had died early that\nmorning." ], [ "At length we arrived at the foot of the mountain we were making for;\nand we found its sides very steep. Said the Doctor,", "it leaned against the mountain’s side; I uprooted bushes and stripped\noff hanging creepers that might conceal a weak place; the Doctor got", "The snail humped up its back and made an opening between its shoulders\nand the edge of its shell. The Doctor clambered up and passed within.", "“Ah,” cried the Doctor, “this great slab of rock then must have slid\ndown from the summit and shut off the mouth of the cave like a door.", "But the sounds of life from inside the mountain had put new heart in\nus. And in a moment we were all scrambling around trying to find any", "little narrow path and after many windings and twistings and turnings\nwe found ourselves before a small door in a high stone wall. The Doctor\npushed it open.", "“None, Doctor. I climbed to every peak and pinnacle I could see. I\nsearched every hollow and cleft. But not one place could I find where\nmen might be hidden.”", "“All right. Now listen,” said she. “If what you have supposed is\ntrue—that is, that Long Arrow had been trapped inside the mountain by", "[Illustration: “The Whispering Rocks”]\n\nThe Doctor said he would like to go and examine it closer.", "The Doctor was feeling about inside the bag. First he brought out a\nloaf of new bread. Next came a glass jar with a curious metal top to", "The sad silence that followed was broken finally by a knock upon the\ndoor.\n\nWith a patient sigh the Doctor got up and put on his crown and cloak\nagain.", "Although we were all out of breath from our climb, the Doctor didn’t\nlet us rest a second as soon as he had sighted it. With one look at the", "Then the Doctor signaled to Bumpo who came forward with the nuts and\nwater. But Long Arrow neither ate nor drank. Taking the supplies with\na nod of thanks, he turned and carried them into the inner dimness of\nthe cave. We followed him.", "Once more the poor Doctor looked wildly, hopelessly about him for\nsome means of escape. For a moment I thought he was going to take to", "“No,” said Jip. “I sniffed at every crack on the mountainside. But I am\nafraid my nose will be of no use to you here, Doctor. The trouble is,", "After about an hour, during which in spite of the cold the sweat fell\nfrom our foreheads in all directions, the Doctor said,", "“Very well. It is fair to suppose then that the beetle’s home, or his\nhole, is in that place—the part of the mountain where Long Arrow and", "Each of us, you may be sure, was anxious to be the one to make a\ndiscovery. And never was a mountain searched so thoroughly. But alas!", "While the snail was speaking, the Doctor and I put our ears against the\nwall of his shell and found that we could in this way hear the sound of", "Long Arrow had not come with us for he was as yet too weak from his\nwound. But the Doctor—always clever at languages—was already getting" ], [ "* * * * *\n\nThe rest of the story of our homeward voyage is soon told.", "so he could travel at a terrific speed, just by waggling that long tail\nof his. This was the reason why we completed the trip in so short a\ntime—five and a half days.", "“Oh, no,” said the Doctor—“not very. With a good boat and a good wind\nwe should make it easily in four weeks. But isn’t it extraordinary?", "speed. It should take us about five days to get back near Brazil. Well,\nthat’s that—Quite a load off my mind. I declare I feel warmer already.", "This time when I woke up, stars were staring down at me out of a\ncloudless sky. The sea was still calm; and my strange craft was rocking", "“You very nearly did miss us,” said the Doctor. “As it happened, we\nwere delayed somewhat in getting the necessary number of men to sail", "When we reached the ship’s side the Doctor had the anchor drawn up and\nthe sails set and everything in readiness to get away. Looking back we", "The Doctor carried the listening-tank to a port-hole, opened it and\nemptied the tank into the sea.\n\n“Good-bye!” he murmured as a faint splash reached us from without.", "and sooner or later he’ll return to his home in Long Arrow’s cave. And\nthere we will follow him—Or at all events,” she added smoothing down", "him. No man stands any chance of going on a voyage when his wife hasn’t\nseen him in fifteen years. Come along. Let’s get home to tea. We didn’t", "The porpoises gave us one last push and our strange-looking craft\nbumped gently on a low beach. Then, thanking our lucky stars for", "and white, getting on to a ship that was coming to England. He tried to\nget on too. But they turned him back and drove him away. And presently", "The Doctor assured him that he was; but the man didn’t go away. He hung\naround and argued. He told us he had known of many ships being sunk", "there and at last sneaked safely on to the big ship. Then he thought he\nhad better hide, for fear people might look at him too closely. And he", "“Yes, they’re with him. Your ship broke in half in the storm. The\nDoctor had tied you down when he found you stunned. And the part you", "work!—But listen: I smell danger. I think you had better get back to\nthe ship now as quick and as quietly as you can. Put your overcoat on", "And Fire was born!\n Then while we crowded round\n The grateful glow, pushed he\n Our wayward, floating land\n Back to peaceful anchorage", "lots of times and I know. Sometimes the ship is upside down when you\nget there, and sometimes it’s right way up. But you get there just the", "“A stowaway in the hold, Sir,” said he in a very business-like\nseafaring voice. “I just discovered him, behind the flour-bags.”", "Therefore he would be surely going again within a fortnight. And I—I,\nTommy Stubbins, would go with him! Just to think of it!—to cross the" ], [ "upon it suddenly like this, that it dropped the poor creature and flew\naway. I picked the squirrel up and found that two of its legs were\nbadly hurt. So I carried it in my arms back to the town.", "“Oh excuse me, Stubbins!” said the Doctor. “I was so interested\nlistening to my old friend here. We must get on and see this squirrel", "So I went off home to my father’s house and put my squirrel to bed in\nan old wooden box full of straw. And there I nursed him myself and took", "“Tommy Stubbins,” I said.\n\n“Oh, are you the son of Jacob Stubbins, the shoemaker?”", "“Stubbins is anxious to learn animal language,” said the Doctor. “I was\njust telling him about you and the lessons you gave me when Jip ran up\nand told us you had arrived.”", "“It is very kind of you to come so far to look after his pet,” said my\nmother. “Tom is always bringing home strange creatures from the woods\nand the fields.”", "“The Doctor has come to cure my squirrel, Mother,” said I. “He knows\nall about animals.”", "“Can you show me where he lives?” I asked. “I want to take this\nsquirrel to him. It has a broken leg.”", "Therefore he would be surely going again within a fortnight. And I—I,\nTommy Stubbins, would go with him! Just to think of it!—to cross the", "birds and animals too. He’s very good on bees and beetles—But now\ntell me, Stubbins, are you quite sure that you really want to be a", "MY name was Tommy Stubbins, son of Jacob Stubbins, the cobbler of", "“Because I have a sick squirrel at home,” I said. “I took it away from\na hawk. But two of its legs are badly hurt and I wanted very much to", "“Stubbins,” he said as soon as he saw me stir, “I’ve done it. I’ve", "darkness about us was suddenly lit up. The squirrel’s nest had burst\ninto flame.", "and to bring him news of them. He must be kept cheerful at all costs.\nSquirrels are naturally a very cheerful, active race. It is very hard", "called me “Stubbins,” instead of “Tommy” or “little lad” (I did so", "in his tail and it started swelling rather badly. He wanted some quiet\nplace to rest up; and seeing this soft beach handy he crawled in here.”", "that grew in the copses. At length, after many adventures and narrow\nsqueaks, he saw the tower of Puddleby Church and he knew that at last\nhe was near his old home.", "down. But, to tell the truth, we didn’t know it ourselves; it happened\nby a kind of an accident. Do you imagine the poor fellow is hurt very\nbadly?”", "ugly piece of dead meat thrust in to them once a day; and a crowd of\nfools to come and stare at them with open mouths!—No, Stubbins. Lions" ], [ "and a funny feeling. I had often wondered, when I had looked in from\nthe front gate, what Doctor Dolittle would be like and what the funny\nlittle house would have inside it. But I never imagined it would be", "it. He held this up to the light very carefully before he set it down\nupon the table; and I could see that there was some strange little\nwater-creature swimming about inside. At last the Doctor brought out a", "While the Doctor was busy at the cooking I went and took another look\nat the funny little creature swimming about in the glass jar.\n\n“What is this animal?” I asked.", "“You know it is an awful shame,” said the parrot as soon as the Doctor\nhad closed the door. “Directly he comes back home, all the animals", "“Yes, I’m Doctor Dolittle,” said he, opening the front door with the", "“It is very kind of you to come so far to look after his pet,” said my\nmother. “Tom is always bringing home strange creatures from the woods\nand the fields.”", "“Are you Doctor Dolittle?” I shouted as we sped up the short\ngarden-path to the house.", "Dolittle or, as it was to be henceforth called, the Royal Thinkalot\ntotem. It had nothing but animals on it, to signify the Doctor’s great", "“No,” said the mussel-man. “He’s no vet. Doctor Dolittle is a\nnacheralist.”", "in his way, a graceful, beautiful creature. John Dolittle was examining\na swelling on his tail.", "SO Doctor Dolittle with a crown on his head sat down upon the shore\nlike King Knut, and waited. And for a whole hour the porpoises kept", "“The fidgit,” he whispered, pointing with a trembling finger to the\nlistening-tank in which the little round fish was still swimming", "“Stubbins is anxious to learn animal language,” said the Doctor. “I was\njust telling him about you and the lessons you gave me when Jip ran up\nand told us you had arrived.”", "“Doctor,” he cried, running up to John Dolittle with his nose all\ncovered with black mud, “this slab is resting on nothing but a bed of", "“Oh, those were provisions,” said Matthew—“things for the animals to\neat. The Doctor’s house is simply full of pets. I give the things to", "So I led the Doctor to my bedroom at the top of the house and showed\nhim the squirrel in the packing-case filled with straw.", "Very slowly the Hermit looked up from the floor.\n\n“Hulloa, John Dolittle. What brings you here?”", "dog in the witness-stand and have him questioned before you by the\neminent scientist, Doctor John Dolittle.”", "The animal, who had always seemed very much afraid of me—though I had\ntried hard to make him feel at home, sat up at once when the Doctor", "The Doctor turned and said a few words to the dog and duck in some\nstrange talk and signs. They seemed to understand him perfectly.\n\n“Can you talk in squirrel language?” I asked." ], [ "“_He talks their language_,” he said in a hoarse, mysterious voice.\n\n“The animals’ language?” I cried.", "“Stubbins is anxious to learn animal language,” said the Doctor. “I was\njust telling him about you and the lessons you gave me when Jip ran up\nand told us you had arrived.”", "“It must be splendid,” I said, “to be able to talk all the languages of\nthe different animals. Do you think I could ever learn to do it?”", "The Doctor tried again, in several other animal dialects. But with no\nresult.\n\nTill at last he came to the language of eagles.", "“Why certainly,” said Matthew. “All animals have some kind of a\nlanguage. Some sorts talk more than others; some only speak in", "Then the Doctor tried to speak to Long Arrow. But the Indian knew\nno English of course, and the Doctor knew no Indian. Presently, to my\nsurprise, I heard the Doctor trying him in different animal languages.", "near to learning the language he had sought so long. And presently by\nmaking the other fishes repeat over and over again short phrases which\nthe snail used, he began to put words together for himself. You see,", "The Doctor turned and said a few words to the dog and duck in some\nstrange talk and signs. They seemed to understand him perfectly.\n\n“Can you talk in squirrel language?” I asked.", "“It is very kind of you to come so far to look after his pet,” said my\nmother. “Tom is always bringing home strange creatures from the woods\nand the fields.”", "And as the old dog doesn’t understand them, he brings them here,\nand the Doctor turns them into dog language for him. I think Minnie", "Then the Doctor and the dog started talking to one another in signs and\nsounds; and they kept at it for quite a long time. And the Doctor began", "“Oh yes,” said the Doctor, “he has a language. But it is such a poor", "“Now see here, my friends,” said she speaking low: “you know how much\nJohn Dolittle has done for the animals—given his whole life up to them,", "Soon I began to pick up the strange chatter of the birds and to\nunderstand the funny talking antics of the dogs. I used to practise", "whom we had taught a little English. He and the Doctor between them\nmanaged to make themselves understood to the Bag-jagderags. This\npeople, with the terrible parrots still blackening the hills about", "“Do you think I would ever be able to learn the language of the\nanimals?” I asked, laying the plate upon the hearth.", "Afterwards Long Arrow told us that this was the only bird or animal\nlanguage that he had ever been able to learn. But that he had not\nspoken it in a long time, for no eagles ever came to this island.", "thing. She was one of the best friends I ever had. It was she who\nfirst gave me the idea of learning the animal languages and becoming\nan animal doctor. I often wonder if she remained happy in Africa, and", "Dolittle or, as it was to be henceforth called, the Royal Thinkalot\ntotem. It had nothing but animals on it, to signify the Doctor’s great", "shellfish. They _have_ languages, of that I feel sure. I can talk\na little shark language and porpoise dialect myself. But what I\nparticularly want to learn now is shellfish.”" ], [ "“And how is Chee-Chee getting on?—Chee-Chee,” added the Doctor in", "“Well,” said Polynesia frowning,—“Chee-Chee is not entirely happy. I", "“Sh!—Listen!” said Chee-Chee through teeth that chattered with the", "When I left, poor old Chee-Chee broke down and cried. He said he felt\nas though his only friend were leaving him—though, as you know, he has", "belonged to a fashionable black lady who was taking a bath. Chee-Chee\nput them on. Next he went back to the seashore, mingled with the crowd", "“Of course I shall be taking Chee-Chee,” said the Doctor. “But although\nhe is very quick and clever, he is not as strong as a man. We really", "and Chee-Chee began to clear away, “I don’t know where to go now. I\nfeel sort of lost since Miranda brought me this news. On this voyage I", "Chee-Chee—for it was he—frowned at me suspiciously from the top of the\ngate, as though he thought I was going to laugh at him like the other", "“Why, it’s Chee-Chee!—Chee-Chee come back at last! How dare those\nchildren tease him! I’ll give the little imps something to laugh at!”", "“Yes—good old Chee-Chee!” echoed Dab-Dab and Polynesia.", "he noticed a whole big family of funny people passing on to the ship.\nAnd one of the children in this family reminded Chee-Chee of a cousin", "Chee-Chee and Polynesia can follow him.”", "Chee-Chee spies us—he’s waving. Don’t you see them?”", "When he reached England and tried to get off the ship, the sailors saw\nat last that he was only a monkey dressed up in girl’s clothes; and", "“Good old Chee-Chee!” whispered the Doctor. “I’m glad he’s back.”", "I didn’t—for my eyes were not as sharp as Miranda’s. But presently from\nsomewhere in the murky dusk I heard Bumpo singing his African comic", "way to follow me. But mark my words, I wouldn’t be a bit surprised if\nhe found a way to come—some day. He’s a smart lad, is Chee-Chee.”", "It seems that after Polynesia had left, Chee-Chee had grown more\nhomesick than ever for the Doctor and the little house in Puddleby. At", "than another visitor appeared upon the gang-plank. This was a most\nextraordinary-looking black man. The only other negroes I had seen", "which he drew from a barrel; and Chee-Chee and Polynesia stood around\nme feeding me ship’s biscuit." ], [ "“Three cheers for Luke the Hermit: Hooray!—Three cheers for his dog:", "“Well, Doctor,” said Jip (he was badly out of breath from running), “I\nknow all about the Hermit—I have known for years. But I couldn’t tell\nyou.”", "THE Hermit was an old friend of ours, as I have already told you. He\nwas a very peculiar person. Far out on the marshes he lived in a little", "bit of a shack—all alone except for his brindle bulldog. No one knew\nwhere he came from—not even his name. Just “Luke the Hermit” folks", "called him. He never came into the town; never seemed to want to see\nor talk to people. His dog, Bob, drove them away if they came near his", "the Hermit? Well, there’s some mystery about him. Nobody knows what it\nis. But there’s a mystery. Don’t go near him. He’ll set the dog on you.”", "Very slowly the Hermit looked up from the floor.\n\n“Hulloa, John Dolittle. What brings you here?”", "Then someone went out and fetched the judge’s dog, a lovely great\nRussian wolf-hound with slender legs and a shaggy coat. He was a proud\nand beautiful creature.", "“That will do,” the judge interrupted, “I am satisfied you can do as\nyou say. The prisoner’s dog shall be admitted as a witness.”", "Then the Doctor and the dog started talking to one another in signs and\nsounds; and they kept at it for quite a long time. And the Doctor began", "in the cold. The Hermit’s gone. That’s all. We might as well go home to\nluncheon.”", "as fast as his legs could bring him. He seemed very excited about\nsomething, and as soon as he came up to us, he started barking and\nwhining to the Doctor in a peculiar way. Then the Doctor too seemed to", "“I would like you to talk to my own dog,” said the judge. “He is\noutside in the cloak-room. I will have him brought in; and then we\nshall see what you can do.”", "window. On the bed, staring down at the floor between his feet, sat the\nHermit, his head resting in his hands.", "“He’s going down to meet the coach,” whispered Polynesia. “That dog’s\ndevotion to those children is more than I can understand. You should", "that Luke the Hermit was to be tried for killing a man and that the\ngreat mystery which had hung over him so long was to be cleared up\nat last. The butcher and the baker had closed their shops and taken", "“Oh, I think it is a perfectly precious idea,” he was saying. “Of\n_course_ the dog must be admitted as a witness; he was the only one", "Outside the door of Luke’s cell we found Bob, the bulldog, who wagged\nhis tail sadly when he saw us. The man who was guiding us took a large\nbunch of keys from his pocket and opened the door.", "And then for the first time in the solemn history of England a dog was\nput in the witness-stand of Her Majesty’s Court of Assizes. And it", "Just at that moment we heard the noise of some one running behind us;\nand turning round we saw Jip the dog rushing down the road after us," ], [ "“To Spidermonkey Island!” I shouted, picking myself up and doing", "Of all the places in the world you picked out that one with your eyes\nshut. Spidermonkey Island after all!—Well, there’s one good thing about", "trodden for six weeks. What a thrill I felt as I realized that\nSpidermonkey Island, the little spot in the atlas which my pencil had\ntouched, lay at last beneath my feet!", "“_Spidermonkey Island_,” he read out slowly. Then he whistled softly\nbeneath his breath. “Of all the extraordinary things! You’ve hit upon", "“We are going to Spidermonkey Island, Miranda,” said the Doctor. “You\nknow where it is, do you not?”", "Travelers who have since visited Spidermonkey Island tell me that\nthat huge stone slab is now one of the regular sights of the island.", "“Yes. A young albatross told me he had seen him on Spidermonkey Island?”", "Our guides told us that it was here, in days long gone by when the\nPopsipetels owned the whole of Spidermonkey Island, that the kings", "“We’re going to Spidermonkey Island,” I said proudly.\n\n“And be you the only one the Doctor’s taking along?”", "himself free. Finally he had to heave the whole island up at one end to\nget his tail loose. Didn’t you feel a sort of an earthquake shock about\nan hour ago?”", "Island. Next, he gave orders to the porpoises to leave my old piece of\nthe ship and push the bigger half wherever the Bird-of-Paradise should\nlead us.", "to be found. Spidermonkey Island is one of them. But even there they\nare very scarce.”", "himself realized at the time. In fact I sometimes think that that\nspeech of his from the palace-steps had more effect upon the Indians of\nSpidermonkey Island than had any of his great deeds which, great though", "ourselves. Bumpo threw his beam of wood into the thick of the Spaniards\nand leapt in after us. Then we pushed off and rowed like mad for the\n_Curlew_.", "[Illustration: The Terrible Three\n\n_From an Indian rock-engraving found on Hawks’-Head Mountain,\nSpidermonkey Island_]", "in quite a long while. Speeding up our boat lest the island be carried\naway from us altogether, we passed on up the coast; and here and there\nwe noticed that the trees on the shore already looked greener and more", "“Tommy!—Tommy!” (it was Polynesia’s voice) “Wake up!—Gosh, what a boy,", "“It is very kind of you to come so far to look after his pet,” said my\nmother. “Tom is always bringing home strange creatures from the woods\nand the fields.”", "When he reached England and tried to get off the ship, the sailors saw\nat last that he was only a monkey dressed up in girl’s clothes; and", "Therefore he would be surely going again within a fortnight. And I—I,\nTommy Stubbins, would go with him! Just to think of it!—to cross the" ], [ "It was only with great difficulty that we escaped from the crowd the\nfirst morning and set out with Long Arrow to explore the island at our\nleisure.", "“All right. Now listen,” said she. “If what you have supposed is\ntrue—that is, that Long Arrow had been trapped inside the mountain by", "that Long Arrow was visiting some peculiar Indians that live there;\nand that when last seen he was going up into the mountains looking for", "Of all the places in the world you picked out that one with your eyes\nshut. Spidermonkey Island after all!—Well, there’s one good thing about", "“I’ll go and see Long Arrow,” he whispered to me. “Perhaps he will know\nof some way to get me out of this.”", "the very island where Long Arrow was last seen on earth—I wonder—Well,\nwell! How very singular!”", "and sooner or later he’ll return to his home in Long Arrow’s cave. And\nthere we will follow him—Or at all events,” she added smoothing down", "“To Spidermonkey Island!” I shouted, picking myself up and doing", "Travelers who have since visited Spidermonkey Island tell me that\nthat huge stone slab is now one of the regular sights of the island.", "trodden for six weeks. What a thrill I felt as I realized that\nSpidermonkey Island, the little spot in the atlas which my pencil had\ntouched, lay at last beneath my feet!", "“Long Arrow,” said the Doctor speaking quickly in eagle tongue so\nthat the bystanders should not overhear, “in dire peril I come to you", "Afterwards Long Arrow told us that this was the only bird or animal\nlanguage that he had ever been able to learn. But that he had not\nspoken it in a long time, for no eagles ever came to this island.", "Our guides told us that it was here, in days long gone by when the\nPopsipetels owned the whole of Spidermonkey Island, that the kings", "And asking the personages to excuse him a moment, he left them there,\nstanding at his door, and hurried off in the direction of Long Arrow’s\nhouse. I followed him.", "“_Spidermonkey Island_,” he read out slowly. Then he whistled softly\nbeneath his breath. “Of all the extraordinary things! You’ve hit upon", "Long Arrow listened gravely to the breathless, babbled words, then\nturned to the Doctor and said in eagle tongue,", "march. He turned back pleadingly again to Long Arrow in a last appeal\nfor help. But the big Indian merely shook his head and pointed, like\nthe bearers, to the waiting chair.", "While Long Arrow was handing round what food we had to his starving\nfriends, we suddenly heard a sound outside the cave. Turning about we", "himself free. Finally he had to heave the whole island up at one end to\nget his tail loose. Didn’t you feel a sort of an earthquake shock about\nan hour ago?”", "one that other naturalists would try to catch—Well, well! Long Arrow!—A\npicture-letter from Long Arrow. For pictures are the only writing that\nhe knows.”" ], [ "land. And ask them if they will be so good as to go down to the far end\nof the island, put their noses against it and push it back near the\ncoast of Southern Brazil.”", "“Because this floating island we are on,” said he, “is drifting\nsouthward all the time in a current. It’s an island that ordinarily", "Island is a _floating_ island. It moves around all over the\nplace—usually somewhere near southern South America. But of course I", "The only inconvenience we suffered from was the cold. This seemed\nto increase as we went forward. The Doctor said that the island,\ndisturbed from its usual paths by the great gale, had evidently drifted\nfurther South than it had ever been before.", "Soon we felt the island slowly sinking beneath us. We saw the sea creep\ninland over the beaches as the shores went down—one foot, three feet,", "“It is unusual,” they said. “But the explanation is quite simple. It\nused to be a mountainous part of South America—an overhanging part—sort", "“Ah!” said the Doctor, “see that?—The island is going North at last.\nThank goodness!”", "time. I’m afraid the island is still drifting to the southward. Let’s\nhope it stops before long, or we won’t be able to get even nuts and", "in quite a long while. Speeding up our boat lest the island be carried\naway from us altogether, we passed on up the coast; and here and there\nwe noticed that the trees on the shore already looked greener and more", "himself free. Finally he had to heave the whole island up at one end to\nget his tail loose. Didn’t you feel a sort of an earthquake shock about\nan hour ago?”", "On the third night poor Miranda came back to us nearly frozen. She told\nthe Doctor that in the morning we would find the island quite close to", "The porpoises evidently succeeded in persuading the whales to do as the\nDoctor asked; for presently we saw them thrashing through the seas,\ngoing off towards the south end of the island.", "With the growing light it became plain to all of us: a long island with\nhigh rocky mountains in the middle—and so near to us that you could\nalmost throw your hat upon the shore.", "working away with their noses against the end of the island, driving us\nnorthward. We had been kept so busy with the war that we had forgotten", "west coast of South America. But luck was against us\n that day. While we were resting and trying to get our\n breath, another family of fidgits came rushing by,", "The atlas lay open at a map called, _Chart of the South Atlantic\nOcean_. My pencil-point was resting right in the center of a tiny", "The Indians themselves did not realize at the time what was taking\nplace, though of course they had felt the land sinking beneath them.\nThe Doctor told us afterwards that it must have been the shock of that", "“This is a serious thing,” said the Doctor to me. “The island is still\nin the grip of that wretched current flowing southward. We will have to", "And Fire was born!\n Then while we crowded round\n The grateful glow, pushed he\n Our wayward, floating land\n Back to peaceful anchorage", "said that it must be on account of the cold that the island was now\nsuffering from in its new climate. These trees and grasses, he told us,\nwere the kind that belonged to warm, tropical weather." ], [ "“In England!—You don’t say!” cried the Doctor. “What on earth is he\ndoing here?”", "in England—Well, don’t let me keep you. Run along and see the Doctor.”", "The Doctor carried the listening-tank to a port-hole, opened it and\nemptied the tank into the sea.\n\n“Good-bye!” he murmured as a faint splash reached us from without.", "The Doctor assured him that he was; but the man didn’t go away. He hung\naround and argued. He told us he had known of many ships being sunk", "“It’s all right,” said the Doctor. “Nobody can hear you here. Now what\nis it?”", "“Yes, they’re with him. Your ship broke in half in the storm. The\nDoctor had tied you down when he found you stunned. And the part you", "“We’ll go there, Doctor, won’t we?” I asked.\n\n“Of course we will. The rules of the game say we’ve got to.”", "“Oh, no,” said the Doctor—“not very. With a good boat and a good wind\nwe should make it easily in four weeks. But isn’t it extraordinary?", "“Yes, I really think they would,” I agreed. “Yet without a ship of some\nkind I don’t see how the Doctor is going to get away, even secretly.”", "“Oh no,” said the Doctor. “She is still living, I hope. But when we\nreached Africa she seemed so glad to get back to her own country. She", "“We’ve only got another hundred and fifty miles to make, to sight the\ncoast of Brazil,” said the Doctor. “If that wind would just stay with", "behind them over the clean tiled floor. The Doctor, seeing how\nsurprised I was, explained:", "Of course the man who took us in there didn’t understand what we were\ndoing. He merely thought the fat Englishman was crazy when he saw the\nDoctor making signs and talking in ox tongue.", "I looked around me and took in a deep breath. The Doctor was at the\nwheel steering the boat which was now leaping and plunging gently", "When I woke up it was broad daylight again. The Doctor was still\nstanding at the listening-tank, looking as tired as an owl and\ndreadfully wet. But on his face there was a proud and happy smile.", "There was a pause in the conversation.\n\n“Do you know what I believe?” she added presently. “I believe the\nDoctor has given up even thinking of going home.”", "“No, only a minute,” said the Doctor. “She’ll be back in a minute.”", "“Look here, you fellows,” said she: “we’ve simply got to get the Doctor", "“You very nearly did miss us,” said the Doctor. “As it happened, we\nwere delayed somewhat in getting the necessary number of men to sail", "“Your bed on top of the plate-rack in the scullery is all ready for\nyou,” said the Doctor. “We never had it disturbed in case you might\ncome back.”" ], [ "“Ah—at last!” said the Doctor. “Good old Dab-Dab!”", "“Stubbins is anxious to learn animal language,” said the Doctor. “I was\njust telling him about you and the lessons you gave me when Jip ran up\nand told us you had arrived.”", "“Thank you!” said the Doctor. “What a charming home you have!”\n\nAnd after wiping his enormous boots very, very carefully on the mat,\nthe great man passed into the house.", "below. We were watching some sheep being driven to market in Puddleby;\nand Dab-Dab had just been telling me about the Doctor’s adventures in", "At last we heard some one trundling on the stairs again and the Doctor\nsaid,\n\n“Ah, here’s Bumpo with the maps at last!”", "at all glad to see you. I told you in Puddleby I didn’t want you. You\nhad no right to come.”", "“You know it is an awful shame,” said the parrot as soon as the Doctor\nhad closed the door. “Directly he comes back home, all the animals", "“There’s Matthew Mugg,” I said to myself. “He’ll know where this Doctor\nlives. Matthew knows everyone.”", "Another knock; and when the door swung open in answer to the Doctor’s\ncall, there stood our big friend on the threshold, a smile upon his", "that grew in the copses. At length, after many adventures and narrow\nsqueaks, he saw the tower of Puddleby Church and he knew that at last\nhe was near his old home.", "“Ah!” I said.\n\n“What is it?” asked the Doctor in a hoarse, trembly whisper. “What does\nhe say?”", "“We’ll come into the kitchen, Dab-Dab,” said the Doctor. “Let Cheapside\nout before you go, please.”", "“Are you Doctor Dolittle?” I shouted as we sped up the short\ngarden-path to the house.", "THE next day I was sitting on the wall of the Doctor’s garden after\ntea, talking to Dab-Dab. I had now learned so much from Polynesia that", "“But my dear Stubbins,” said the Doctor, laughing, “you are quite\nwelcome to come here for three meals a day all the year round. I’m only", "When I woke up it was broad daylight again. The Doctor was still\nstanding at the listening-tank, looking as tired as an owl and\ndreadfully wet. But on his face there was a proud and happy smile.", "“Now Matthew,” said the Doctor, “you can take the coach from Penzance\nto Bristol. And from there it is not very far to Puddleby, as you know.", "Once more the Doctor lowered his ear beneath the level of the water;\nand as he began to speak, I started to write. And this is the story\nthat the fidgit told us.", "“Yes, I’m Doctor Dolittle,” said he, opening the front door with the", "was really quite nice to talk to. He knew everybody in Puddleby;\nand he knew all the dogs and all the cats. In those times being a" ] ]

[ "What do Tommy Stubbins and Mathew Muff find out when they can't find Dr. Dolittle?", "Who teaches Tommy the language of animals?", "What does the purple Bird of Paradise inform Dr. Dolittle of?", "Where do they decide to take a trip to in search of Long Arrow?", "What is their first stop on the way?", "How does everyone get to Spider Monkey island without Tommy?", "What does Dr. Dolittle find out from catching a Jabizri?", "How does Dr. Dolittle push Spider Monkey Island back to South America?", "How does Dr. Dolittle learn the shellfish language?", "Who is guarding the doctors house?", "Who teaches Timmy the animal language?", "What was Chee Chee deguised as on her trip from Africa?", "How did they decide where to travel after talking to the purple bird of paradise?", "Where is Long Arrow stuck?", "What did the doctor use to find an opening in the mountain?", "What do the crew travel in to get back home?", "What animal injures the squirrel that Tommy Stubbins finds?", "What is the strange fish creature that Tommy sees at Dr. Doolittle's house?", "Who teaches Tommy the language of the animals?", "How is Chee-Chee disguised when he comes from Africa?", "What is the name of the hermit's dog?", "Which creatures help Tommy to reach Spider Monkey Island and the crew?", "Where on Spider Monkey Island is long Arrow stuck?", "What pushed the island back towards South America?", "Where are the Doctor and the crew as they make the trip back to England?", "What does Dub-Dub say when the Doctor and crew arrive back at the house in Puddleby?" ]

[ [ "That the doctor had gone on a voyage.", "that he's gone on a voyage" ], [ "Polynesia.", "Doctor Dolittle" ], [ "Long Arrow is missing.", "That his friend Long Arrow is missing." ], [ "Spider Monkey Island.", "Spider Monkey Island" ], [ "Spain.", "A man named Matthew Mugg who knows where Dolittle lives." ], [ "A storm causes their ship to wreck and he is left alone.", "He is separated in a shipwreck." ], [ "Long Island is stuck in Hawk's Head Mountain.", "That Long Arrow is in Hawk's Head Mountain." ], [ "With the help of whales.", "Whales" ], [ "From the Pink Sea Snail.", "From a Wiff-Waff." ], [ "The doctors dog jip", "Dub Dub." ], [ "Polynesia ", "Polynesia" ], [ "An old woman", "a lady" ], [ "By playing the game Blind Travel", "They played blind travel" ], [ "In Hawk's Head Mountain", "inside Hawk's Head Mountain" ], [ "A Jabizri", "Jabiziri" ], [ "The pink sea snail's shell", "the shell of a pink snail" ], [ "A hawk.", "hawk" ], [ "A Wiff-Waff.", "a Wiff-Waff" ], [ "Polynesia.", "the doctor and Polynesia" ], [ "As a lady.", "as a woman" ], [ "Bob.", "Bob" ], [ "Porpoises.", "the porpoises" ], [ "Inside Hawk's Head Mountain.", "inside Hawk's Head Mountain" ], [ "Whales.", "Whales" ], [ "In the shell of the Pink Snail.", "In the shell of the Pink Sea Snail." ], [ "That they are in time for tea.", "that they are just in time for tea" ] ]

[ [ "ED\n It's the same film. But the\n distributor wanted a punchier title.", "Ed's mind is working. He holds out the paper and stares at\n it. Suddenly, he grins. He grabs the pen and makes a period\n after the \"DR.\" It now says \"DR.ACULA\"", "ED\n I don't think he's a schmuck.\n\n GEORGIE\n And what's with this new title?! My\n poster says \"I CHANGED MY SEX\"!", "ED \n (very annoyed) \n What are you talking about?! It's\n the premise of the movie. It's even\n the title, for Christ's sake!", "Ed is quite upset.\n\n ED\n But I'm proud. I wrote, directed,\n and starred in it just like Orson\n Welles in \"Citizen Kane\"!", "They march obliviously past Ed. He watches them go, then\n continues. Ed reaches a building, \"HOLLYWOOD MORTUARY,\" and\n glances in the window. A pause, then he does a doubletake.", "Ed opens the paper to the entertainment page.\n \n INSERT - THE NEWSPAPER. Ed turns to a column, \"The Theatrical", "Someone changes the record. Brassy STRIPPER MUSIC begins.\n\n A door opens, and Ed struts out, in full gaudy drag.", "Ed zooms up and chipperly jumps from his car. He buys a \"Los\n Angeles Herald-Express,\" eagerly opens it to the entertainment", "Ed and his gang celebrate opening night in a dirty 24-hour\n diner. They're noisily slugging down drinks, in a big red\n booth.", "WE PULL OUT. Ed and Georgie are hunched over, watching the\n movie. Ed smiles proudly.", "GEORGIE\n I did. I established some tits and\n ass.\n\n Ed rolls his eyes. He turns back to the movie.", "Ed randomly grabs a script off the messy floor, then glances\n down, to see which one he picked up. It says \"Graverobbers\n From Outer Space.\"", "Ed grins maniacally. He grabs a SMALL REEL of 35mm film.\n\n ED\n Yes, but I've got the last footage\n he ever shot!", "Ed motions Reynolds in. Reynolds peers unsurely at the tornado\n inside. Then he notices a framed one-sheet for \"BRIDE OF THE\n MONSTER.\" Reynolds admires it.", "ED\n Yeah. You pull the strings --\n (he suddenly gets a look)\n \"Pull the strings\"... hey, that's\n pretty good!\n\n Ed quickly starts typing again.", "Ed writes it out, \"DR. ACULA,\" then waves it in Feldman's face.\n Feldman nods.", "She hands Ed her white shoes. He snatches one, grabs a pair of\n scissors, and starts CUTTING up the shoe. Everyone is baffled.", "Latin horns blast onstage of this hopping '5Os nightclub.\n Cigarette girls roam about. Seated at a front table is Ed,", "The room is very posh, with fancy paneling and marble floors.\n Ed sits nervously under posters for \"GRAND HOTEL\" and \"QUO" ], [ "Kathy suddenly jumps up, shocked.\n\n KATHY\n Oh my God. Look at this!\n\n She runs over and shows Ed the newspaper.", "Ed holds the newspaper while he paces around his apartment.\n The place has threadbare carpet, faded wallpaper, and an", "ED\n (mustering up his courage)\n Well, Mr. Weiss, I'm your guy. I", "Ed zooms up and chipperly jumps from his car. He buys a \"Los\n Angeles Herald-Express,\" eagerly opens it to the entertainment", "CONRAD\n I got the early edition! It was just\n dropped off at the newsstand.\n\n ED\n (he smiles at everyone)\n This is the big moment...!", "Ed's apartment has gone to hell. Ed is in a robe, unshaven and\n clutching a bottle of whiskey. Newspapers are everywhere.", "A crowd of NEWSPAPER REPORTERS and PHOTOGRAPHERS overflow\n Bela's room. Ed is astonished.\n\n ED\n What's going on here?! Excuse me!", "Ed opens the paper to the entertainment page.\n \n INSERT - THE NEWSPAPER. Ed turns to a column, \"The Theatrical", "INT. ED'S HOUSE - DAY\n\n Ed is on the telephone. We SPLIT-SCREEN with Vampira.", "He leaps up euphorically. He eagerly pumps Georgie's hand.\n\n ED\n Thank you! Bless you, Mr. Weiss!\n I promise I won't let you down!", "ED (on phone) \n Hello, Mr. Weiss? I heard about your\n new project and was curious if you", "Ed's mind is working. He holds out the paper and stares at\n it. Suddenly, he grins. He grabs the pen and makes a period\n after the \"DR.\" It now says \"DR.ACULA\"", "GEORGIE\n So what's the big news you couldn't\n tell me over the phone... again?\n\n Ed gulps excitedly. He has a spiel all planned out.", "The doors open, and Ed's pal JOHN \"BUNNY\" BRECKINRIDGE, 45,\n hurries out. Bunny is a wealthy, theatrical fop wearing a\n string of pearls.", "Ed walks jauntily along, wearing a snappy suit. He reaches a\n door that says \"SCREEN CLASSICS ó George Weiss, President.\" Ed\n fixes his hair, checks his clothes, then enters.", "CUT BACK TO:\n\n CLOSEUP - ED\n\n Click. The phone hangs up. Poor Ed just stands there,\n forlorn.", "ED\n Well, Mr. Weiss, I've never told\n anyone what I'm about to tell you...\n but I really want this job.", "Bela lies sleeping in bed, pasty and pale. NEWSPAPER CLIPPINGS\n of his hospital stay are tacked up.\n\n Ed anxiously tiptoes in. He quietly speaks.", "CUT TO:\n\n INT. SCREEN CLASSICS OFFICE - DAY\n\n Ed sits across from Georgie. Ed's very excited.", "His eyes suddenly pop.\n\n The color comes back to his fact. A plan is quickly boiling\n over inside Ed's head. He starts feverishly pacing around." ], [ "ED\n ...It will star Bela Lugosi. Each\n of you would put up $20,000...\n\n EXT. PHONE BOOTH - DAY", "INT. BANK - DAY\n\n Ed sits opposite a LOAN OFFICER.\n\n ED\n The movie is called \"Bride Of The\n Atom\"...", "The waiter is bewildered. He hurries away. Ed leans in.\n\n ED\n So my associate Mr. Marco tells me\n you may be interested in investing\n in a motion picture.", "We're outside the imposing gates of MGM. The lion logo is\n overhead. Ed drives up in his dirty Nash Rambler convertible.\n He wears his nicest suit. Ed peers nervously at the GUARD.", "ED\n Bunny! We're making another film!\n Yeah -- I got the Baptist Church of\n Beverly Hills to put up the cash!\n\n Paul sticks his head in.", "CUT TO:\n\n INT. CAMERA RENTAL HOUSE - DAY\n\n Ed is desperately trying to cut a deal with the OLD MANAGER.", "Ed nods grimly. He grabs Loretta and takes her aside.\n\n ED\n Sorry to bother you while we're\n shooting, but the guy who owns the\n stage needs his money.", "Ed rolls his eyes. He runs his hand through his hair, then\n slowly approaches Orson Welles. Ed is terrified.\n\n ED\n Excuse me, Sir...?", "Ed is quite upset.\n\n ED\n But I'm proud. I wrote, directed,\n and starred in it just like Orson\n Welles in \"Citizen Kane\"!", "ED\n (gently correcting him)\n No. We shot ten minutes of the\n movie, and now we're looking for\n completion funds.", "ED\n But was it a bad decision? At the\n time, I thought her money would save\n the movie.\n\n BELA\n Eddie, you screwed up.", "Ed shakes his head. He's discouraged.\n\n ED\n Mr. Welles, is it all worth it?", "BACK AT THE PARTY\n\n The backers glance into the next room. Ed is in front of\n Vampira, begging on his hands and knees.", "His eyes suddenly pop.\n\n The color comes back to his fact. A plan is quickly boiling\n over inside Ed's head. He starts feverishly pacing around.", "Ed's mind is working. He holds out the paper and stares at\n it. Suddenly, he grins. He grabs the pen and makes a period\n after the \"DR.\" It now says \"DR.ACULA\"", "ED\n Forget about it. We'll make our new\n movie, and you'll be a star again.", "Ed zooms up and chipperly jumps from his car. He buys a \"Los\n Angeles Herald-Express,\" eagerly opens it to the entertainment", "Ed and his gang celebrate opening night in a dirty 24-hour\n diner. They're noisily slugging down drinks, in a big red\n booth.", "Ed stands with a circle of POTENTIAL BACKERS. He has an edge\n of desperation we've never seen before.", "The room is very posh, with fancy paneling and marble floors.\n Ed sits nervously under posters for \"GRAND HOTEL\" and \"QUO" ], [ "BELA\n (in a hoarse whisper)\n Isn't it wonderful? After all these\n years, the press is showing an\n interest again in Bela Lugosi.", "Lugosi slowly sits up inside the coffin. Bela is an aged 70-\n year-old man, once a great star, now a faded memory trying to", "ED\n Boy, Mr. Lugosi, you must lead such\n an exciting life. When is your next\n picture coming out?\n\n BELA\n I have no next picture.", "Decrepit Bela is propped up in his bed, as the mob of reporters\n throw questions at hit and SNAP shots: \"Bela, how long have you\n been a junkie??\" \"Bela, look this way!\"", "BELA\n Morphine, with a demerol chaser.\n (he starts crying)\n Eddie, I'm so broke. I don't know\n what I'm gonna do...", "Bela appears, in his little suit. In the last footage he ever\n shot, he shuffles around in front of his house, then tenderly\n smells the flower.\n\n ON ED", "stage, treat him normal. I know Bela\n Lugosi is a world-famous star, and\n you're all a little excited, but", "It's an incredible performance of crowning tragedy. Bela is\n totally drained.\n\n CU - ED\n\n He is very moved. He whispers, barely audible.", "ED\n But Bela Lugosi's in it!\n\n MR. FELDMAN\n Lugosi's washed-up. What else you\n got?", "BELA\n (very somber)\n My name is Bela Lugosi. I wish to\n commit myself.\n\n NURSE\n For what reason?", "Bela stares, deadpan.\n\n BELA\n Do you know I turned down\n \"Frankenstein\"?\n\n ED\n Huh?", "BELA\n I apologize. When I play Dracula,\n I put myself into a trance. It takes\n me much time to re-emerge.\n\n A CITY BUS approaches.", "ED\n Yes, that's right. <u>The</u> Bela Lugosi.\n He's still alive.", "Bela does his patented hypnotic arm wave. He actually has a\n powerful intensity. Loretta staggers in, eyes glazed. Like a\n zombie, she climbs onto the operating table.", "Bela stares after him, then absent-mindedly searches through\n his pockets. Finally, he finds what he's looking for -- a", "Bela's eyes twinkle. He reaches his front door and unlocks it.\n INSIDE... it's awful. Squalid, dark, with skulls and strange", "find a double to finish his scenes,\n and we'll release it as \"Bela\n Lugosi's Final Film\"", "BELA\n (he shakes his hand)\n Certainly. But now the children\n of the night are calling me.\n\n Bela smiles and steps inside. The door closes.", "KATHY\n What was that?\n\n ED\n (quiet)\n Bela died.\n\n CUT TO:", "Bela moves slowly, very feeble. Vampira smooths out her slinky\n black dress, then puts her arm around Bela to help him." ], [ "named Dolores Fuller. The title is\n \"Bride Of The Atom.\"", "ED\n No, don't worry, I moved on. I was\n just calling to see if you want to\n attend the world premiere of my new\n film, \"Bride Of The Monster.\"", "Bela stops walking. And in a BOOMING, THEATRICAL VOICE, he\n suddenly launches into his impassioned, climactic speech from\n \"Bride Of The Monster.\"", "Hundreds of KIDS and TEENAGERS enter a dilapidated second-run\n theater. A banner says \"'Bride Of The Monster' World Premiere!\n Celebrities In Person!\"", "VAMPIRA\n (confused)\n Didn't you just make one called\n \"Bride Of The Atom\"?", "VAMPIRA\n (she grimaces)\n The <u>Ghoul's Wife</u>?! God, I can't\n believe I'm doing this...", "ED\n We're gonna have the most terrifying\n monster ever seen on film! A ghastly\n creature created from an atomic\n mutation!", "A tiny miniature European car pulls up. Tor Johnson is\n squeezed inside -- ludicrously oversized for this vehicle. Tor\n carefully wedges himself out and enters the bar.", "PAUL MARCO\n \"Glen Or Glenda,\" now that was a hell\n of a picture.\n\n CONRAD\n Well, this new one's gonna be a\n hundred times better.", "ED\n So anyway, I've got this new script,\n \"Bride Of The Atom,\" and there's a", "We're back at the Brown Derby, for another backers party. The\n same banner is hanging: \"BRIDE OF THE ATOM -- NEXT YEAR'S SMASH\n HIT!\"", "The title \"PLAN 9 FROM OUTER SPACE\" is projected onto the\n screen. As random IMAGES from the film play out, we drift over\n the happy faces of our friends watching.", "VAMPIRA\n (holding an INVITATION)\n Yeah, I got this invitation. It's\n a \"Bride Of The Atom\" party, whatever\n that means.", "\"Bride Of The Atom\" is back in production! Ed's stock company\n is reunited. People drink coffee and gossip.", "VAMPIRA\n At this hour?\n (she takes the phone)\n Hello?\n\n ED'S VOICE\n Vampira! Hi, this is Ed Wood.", "Okay. Janet Lawton has discovered\n that Dr. Vornoff bought the old\n Willows estate. So now she wants to\n prove that all the monster stories", "that, it's romantic! Bela Lugosi\n portrays Dr. Vornoff, and lovely\n ingenue Loretta King is reporter\n Janet Lawton.", "CONRAD\n You know which movie of yours I love,\n Mr. Lugosi? \"The Invisible Ray.\"\n You were great as Karloff's sidekick.", "ED\n Yeah, she's really somethin'.\n\n BELA\n I know none of <u>my</u> wives would've.", "SCENE IN THE CEMETERY SET\n\n The famous shot: Tor and Vampira walk in a trance through\n foggy cemetery." ], [ "They are shooting. Ed watches off-camera, as Bela acts a\n somber scene with an actor playing PROFESSOR STROWSKI, a\n threatening European.", "WE MOVE IN TO BELA. And... he suddenly assumes character.\n Like the consumate pro he is. Bela gets a wicked, sinister\n leer, then starts intoning threateningly:", "BUNNY\n \"Plan Nine...\"\n (he consults his papers)\n \"Ah yes. Plan Nine deals with the\n resurrection of the dead.\"", "Bela appears, in his little suit. In the last footage he ever\n shot, he shuffles around in front of his house, then tenderly\n smells the flower.\n\n ON ED", "They shuffle away... until Criswell and his snazzy ENTOURAGE\n burst around a corner. Even in person, Criswell is ethereal\n and quite self-important. He is delighted to see Bela.", "KATHY\n What was that?\n\n ED\n (quiet)\n Bela died.\n\n CUT TO:", "\"PLAN 9\" MONTAGE:\n\n SCENE IN THE CEMETERY SET", "Bela stops walking. And in a BOOMING, THEATRICAL VOICE, he\n suddenly launches into his impassioned, climactic speech from\n \"Bride Of The Monster.\"", "Bela lies inside, made up in his full Dracula outfit. His hair\n is died black, and he wears the famous cape.\n\n EXT. HOLY CROSS CEMETERY - DAY", "Ed and Bela stand in the wings. Onstage is the SHOW HOST, a\n cheesy comedian. He is doing a routine with Criswell, the", "Decrepit Bela is propped up in his bed, as the mob of reporters\n throw questions at hit and SNAP shots: \"Bela, how long have you\n been a junkie??\" \"Bela, look this way!\"", "Bela does his patented hypnotic arm wave. He actually has a\n powerful intensity. Loretta staggers in, eyes glazed. Like a\n zombie, she climbs onto the operating table.", "Bela and Ed sit in his dressing room, running lines. Bela is\n in his Count outfit: Cape, jet black hair, red lips, etc. They\n both read off SCRIPTS.", "BELA\n Fuck you!! Karloff doesn't deserve\n to smell my shit! That limey\n cocksucker can rot in hell, for all\n I care!!!\n\n WIDE", "Bela stares, deadpan.\n\n BELA\n Do you know I turned down\n \"Frankenstein\"?\n\n ED\n Huh?", "It's an incredible performance of crowning tragedy. Bela is\n totally drained.\n\n CU - ED\n\n He is very moved. He whispers, barely audible.", "Bela nods. He stands up, then grimaces in pain. So he pulls\n two BRIGHT LITTLE PILLS from his pocket and swallows them.\n\n Ed walks Bela onto the lab set.", "BELA\n You must be double-jointed, and you\n must be Hungarian.\n (back at the TV)\n Vampira, look at me! Stare into my\n eyes.", "Bela moves slowly, very feeble. Vampira smooths out her slinky\n black dress, then puts her arm around Bela to help him.", "Bela enters, wearing a lab coat costume. As he slowly crosses,\n the old man rubs his hands fiendishly. Ed YELLS live direction\n through a megaphone." ], [ "Ed smiles at the Baptists.\n\n ED\n Maybe you guys were right. \"Plan\n Nine\" <u>is</u> a good title.\n\n MINIATURE CITY SET", "The Baptists chase Ed around. They wave the script.\n\n REYNOLDS\n Before we start shooting, Mr. Wood,\n we have a few questions --", "Ed is pleased as punch. He whispers to the Baptists.\n\n ED\n Isn't it wonderful? Bela lives!", "ON THE CREW\n\n Everybody grices, trying to understand Tor. The SCRIPT GIRL\n shakes her head.\n\n The Baptists angrily pull Ed aside.", "ED\n They're driving me crazy! These\n Baptists are stupid, stupid, STUPID!\n\n Ed glances at a clothing rack -- and sees an ANGORA SWEATER.", "Everybody CRACKS up. Ed waves his arms.\n\n ED\n SHHH! We want these Baptists to like\n us.", "Ed, Tor, Criswell, Paul, Conrad, Vampira, Kathy, Bunny, and Dr.\n Tom Mason sit in back. They're all wearing white robes and\n arguing about the doctor.", "BUNNY\n \"Plan Nine...\"\n (he consults his papers)\n \"Ah yes. Plan Nine deals with the\n resurrection of the dead.\"", "ED\n Bunny! We're making another film!\n Yeah -- I got the Baptist Church of\n Beverly Hills to put up the cash!\n\n Paul sticks his head in.", "CUT TO:\n\n INT. STUDIO WAREHOUSE - DAY\n\n Ed is back in the plant department, arguing with his boss.", "As Inspector Clay, Tor wanders around the \"cemtery,\" waving\n his flashlight and nervously fingering his gun.\n\n Ed grins at the Baptists.", "Paul turns to go.\n\n ED\n And by the way, keep Sunday free.\n The producers want all of us to get\n baptized.\n\n CUT TO:", "ED\n Why were you buying a coffin?\n\n BELA\n Because I'm planning on dying soon.\n\n ED\n (concerned)\n Really?", "Criswell grabs Ed and pulls him aside.\n\n CRISWELL\n Edward, are you sure you know what\n you're doing?", "REVEREND LEMON\n I thought this was a group effort.\n\n ED\n NOOOOO!!!\n\n Ed spastically storms away.", "Ed is quite upset.\n\n ED\n But I'm proud. I wrote, directed,\n and starred in it just like Orson\n Welles in \"Citizen Kane\"!", "The title \"PLAN 9 FROM OUTER SPACE\" is projected onto the\n screen. As random IMAGES from the film play out, we drift over\n the happy faces of our friends watching.", "The crew resumes working. But the Baptists charge up, aghast.", "Ed rounds up Bela, Tor, Criswell, and Vampira.\n\n The crowd BOOS louder. Blind Tor is totally confused.\n\n TOR\n What is happening?", "BUNNY\n \"What plan will we follow?\"\n\n HAMMY ALIEN\n \"Plan Nine.\"" ], [ "The title \"PLAN 9 FROM OUTER SPACE\" is projected onto the\n screen. As random IMAGES from the film play out, we drift over\n the happy faces of our friends watching.", "\"PLAN 9\" MONTAGE:\n\n SCENE IN THE CEMETERY SET", "BUNNY\n \"Plan Nine...\"\n (he consults his papers)\n \"Ah yes. Plan Nine deals with the\n resurrection of the dead.\"", "BUNNY\n \"What plan will we follow?\"\n\n HAMMY ALIEN\n \"Plan Nine.\"", "Ed smiles at the Baptists.\n\n ED\n Maybe you guys were right. \"Plan\n Nine\" <u>is</u> a good title.\n\n MINIATURE CITY SET", "ED\n ...It will star Bela Lugosi. Each\n of you would put up $20,000...\n\n EXT. PHONE BOOTH - DAY", "ED\n Bunny! We're making another film!\n Yeah -- I got the Baptist Church of\n Beverly Hills to put up the cash!\n\n Paul sticks his head in.", "The crew members put down their things and gather in a circle.\n In the middle, we reveal Ed, in complete drag. Dress, nylons,", "In a private back room, Ed is throwing a LAVISH BACKERS PARTY.\n All his riff-raff friends are dressed in tuxedos and gowns,", "Ed, Tor, Criswell, Paul, Conrad, Vampira, Kathy, Bunny, and Dr.\n Tom Mason sit in back. They're all wearing white robes and\n arguing about the doctor.", "The wrap party is being thrown in the meat packing plant.\n People laugh and shout and carry on. Tor pours booze in the", "From a distance, Ed pulls a wad of money from his pocket and\n peels off a few bills for Bela. The crew watches, fascinated.\n\n WIPE TO:", "CRISWELL\n I'm Criswell. I know all.\n\n Criswell winks.\n\n CUT TO:", "ED\n I know a guy in Universal's stock\n house -- he's giving me the footage\n for free. This movie's gonna look\n like a million bucks.", "ED\n Why were you buying a coffin?\n\n BELA\n Because I'm planning on dying soon.\n\n ED\n (concerned)\n Really?", "They shuffle away... until Criswell and his snazzy ENTOURAGE\n burst around a corner. Even in person, Criswell is ethereal\n and quite self-important. He is delighted to see Bela.", "BACK AT THE PARTY\n\n The backers glance into the next room. Ed is in front of\n Vampira, begging on his hands and knees.", "And inside is the \"Grave Robbers From Outer Space\" famous\n CEMETERY SET! The film is in production! Packed into a", "The theater is packed. All the gang, and their friends and\n families, are gathered.\n\n Criswell stands on-stage, speaking into a mike.", "They look over. Some JUVENILE DELINQUENTS are stripping the\n hearse.\n\n VAMPIRA\n We're gonna die." ], [ "Ed and Kathy jump into the open convertible. The engine\n starts, and they drive away, disappearing into the pouring\n rain.\n\n A moment.", "Kathy stares in disbelief. Then she smiles. They kiss.", "Ed's panicked. He grabs Kathy and runs down to his friends.\n\n ED\n C'mon! We're getting the hell out\n of here!", "Kathy slyly grins.\n\n KATHY\n Okay.\n\n Ed grins back. A moment.\n\n CUT TO:", "INT. ED'S KITCHEN - NIGHT \n\n Ed and Kathy stand in his kitchen, making dinner. She sticks\n her finger in a pot.", "The rain comes down in sheets. The doors burst open, and Ed\n and Kathy run out.\n\n KATHY\n Ed, I'm so happy for you.", "Kathy suddenly jumps up, shocked.\n\n KATHY\n Oh my God. Look at this!\n\n She runs over and shows Ed the newspaper.", "Ed impulsively opens the car door. Water pours out. Kathy\n scurries out and jumps in the wet car with him.\n\n EXT. MOVIE THEATER - NIGHT", "CUT TO:\n\n INT. COFFEE SHOP - DAY\n\n Ed and Kathy sit with a shaken-up Vampira.", "People hurry in. Ed and Kathy roar up in the open convertible,\n totally soaked. He jumps out, opens her door, and they run\n inside.\n\n INT. THEATER - NIGHT", "Ed and Kathy are at a tattered traveling carnival. Rattling\n steel rides and flashing lights spin about them. They stroll", "ON ED AND KATHY\n\n They're astonished.\n\n ED\n Those assholes.", "KATHY\n Oh. Congratulations.\n\n ED\n The marriage already ended.\n\n KATHY\n Oh. My condolences.", "He starts at Kathy in wonder. He is overcome.\n\n Their car SMASHES through the tin exit doors.\n\n EXT. SPOOK HOUSE - SAME TIME", "KATHY\n What was that?\n\n ED\n (quiet)\n Bela died.\n\n CUT TO:", "Ed and Kathy's little car comes to a stop. He gets very\n serious.", "Bela's and Ed's dogs eat out of the trash.\n\n Kathy tries to straighten things up. Ed stares listlessly.", "INT. KATHY'S APARTMENT - DAY\n\n Kathy reads a newspaper while knitting an angora sweater. Ed\n is typing deliriously fast -- in one of his artistic fevers.", "WE PULL OUT. Ed and Georgie are hunched over, watching the\n movie. Ed smiles proudly.", "Ed smiles proudly. Kathy kisses him. Ed runs down front, hugs\n Criswell, then takes the microphone." ], [ "Ed's mind is working. He holds out the paper and stares at\n it. Suddenly, he grins. He grabs the pen and makes a period\n after the \"DR.\" It now says \"DR.ACULA\"", "The doors open, and Ed's pal JOHN \"BUNNY\" BRECKINRIDGE, 45,\n hurries out. Bunny is a wealthy, theatrical fop wearing a\n string of pearls.", "Latin horns blast onstage of this hopping '5Os nightclub.\n Cigarette girls roam about. Seated at a front table is Ed,", "The house is moved in. Ed's unkempt dogs run about. Pumped-up\n Ed sits on the bed typing fiendishly fast while wearing an", "Ed smiles proudly. Kathy kisses him. Ed runs down front, hugs\n Criswell, then takes the microphone.", "Someone changes the record. Brassy STRIPPER MUSIC begins.\n\n A door opens, and Ed struts out, in full gaudy drag.", "Ed's car pulls up. Ed stumbles out, yanks off the tin cans,\n and throws them in someone's trash.", "ED\n Wow.\n\n CRISWELL\n And who may you be?\n\n ED\n Edward Wood, Sir.", "They march obliviously past Ed. He watches them go, then\n continues. Ed reaches a building, \"HOLLYWOOD MORTUARY,\" and\n glances in the window. A pause, then he does a doubletake.", "Ed sashays up to Bela and dances a few steps with him. The\n music is building to a climax. Ed hurries off to center stage", "Ed walks down an aisle with DONALD E. McCOY, a wealthy Texan\n meat man. Old Man McCoy is a tough-talking, tobacco-chewing,\n straight shooter.", "The wind is blowing. Ed's Nash roars up, and he jumps out, a\n coat over his pajamas. He runs up and POUNDS on Bela's door.", "Ed rolls his eyes. He runs his hand through his hair, then\n slowly approaches Orson Welles. Ed is terrified.\n\n ED\n Excuse me, Sir...?", "Ed's apartment has gone to hell. Ed is in a robe, unshaven and\n clutching a bottle of whiskey. Newspapers are everywhere.", "His eyes suddenly pop.\n\n The color comes back to his fact. A plan is quickly boiling\n over inside Ed's head. He starts feverishly pacing around.", "THE CREW\n\n disperses. Ed quickly runs in his heels over to the burly\n make-up man, HARRY.", "Ed zooms up and chipperly jumps from his car. He buys a \"Los\n Angeles Herald-Express,\" eagerly opens it to the entertainment", "Ed rips the paper from his typewriter, puts in a blank page,\n and starts typing.\n\n CUT TO:", "ED\n Yeah. You pull the strings --\n (he suddenly gets a look)\n \"Pull the strings\"... hey, that's\n pretty good!\n\n Ed quickly starts typing again.", "Ed takes a measured piuse. This is his big revelation." ], [ "ED\n I don't think he's a schmuck.\n\n GEORGIE\n And what's with this new title?! My\n poster says \"I CHANGED MY SEX\"!", "Ed is quite upset.\n\n ED\n But I'm proud. I wrote, directed,\n and starred in it just like Orson\n Welles in \"Citizen Kane\"!", "ED\n Yes, I'm Ed Wood. I'm here about\n directing the Christine Jorgensen\n picture.", "ED\n Uh... yeah...\n (beat)\n You'd be perfect.\n\n CUT TO:", "In a corner, Georgie angrily waves the script at Ed.\n\n GEORGIE\n I thought this was gonna be a sex-\n change film!", "Someone changes the record. Brassy STRIPPER MUSIC begins.\n\n A door opens, and Ed struts out, in full gaudy drag.", "Ed perks up. She's a live one!\n\n Ed pulls a script from his briefcase and hands it to her.", "ED\n No! I love sex with girls.\n\n KATHY\n Oh. Okay.\n\n ED\n (surprised)\n Okay?", "ED\n (upset)\n Dolores, don't you understand? I'm\n a director now! I made \"Glen Or\n Glenda.\" Directing <u>is</u> my day job.", "Ed's mind is working. He holds out the paper and stares at\n it. Suddenly, he grins. He grabs the pen and makes a period\n after the \"DR.\" It now says \"DR.ACULA\"", "ED\n Wow.\n\n CRISWELL\n And who may you be?\n\n ED\n Edward Wood, Sir.", "Ed sits in a chaise lounge by the pool, studying papers and\n drinking shots of whiskey. He's in a woman's pantsuit and\n fuzzy slippers. Dolores marches out.", "The dressing room door flies open. Ed slowly struts out, <u>in</u>\n <u>the sweater, pantsuit, and pumps</u>. He is calmed and at\n ease.", "ED\n I'm sorry! What did you want me to\n say?\n\n DOLORES\n I wanted you to say, \"No! I wrote\n the part for my girlfriend Dolores.\"", "Ed nervously stands. He starts to step forward -- when he\n catches his own reflection in a mirror. He's still in drag.\n\n ED\n Oh shit.", "ON-SCREEN, Ed is in drag. A SOLEMN NARRATOR within the movie\n speaks:", "ED\n (baffled)\n Who's <u>he</u>?\n\n REVEREND LEMON\n This is our choir director. He's\n gonna play the young hero.", "ED\n No. I think my film is perfect for\n you.", "GEORGIE\n I did. I established some tits and\n ass.\n\n Ed rolls his eyes. He turns back to the movie.", "CRISWELL\n Ah. The director of \"Glen Or\n Glenda.\"\n\n ED\n (startled)\n H-how'd you know?!" ], [ "Ed's jaw drops.\n\n CRISWELL\n There's no such thing as a psychic.\n People believe my folderol because\n I wear a turban and a black tuxedo.", "famed psychic who opened this movie. Criswell wears a tux and\n a turban and is acting mysterious.", "Dolores talks on the phone, while Ed silently coaches her.\n\n DOLORES (on phone)\n Yes, I've got Mr. Edward Wood on the\n line. Could you please hold?", "Ed smiles proudly. Kathy kisses him. Ed runs down front, hugs\n Criswell, then takes the microphone.", "Ed perks up. She's a live one!\n\n Ed pulls a script from his briefcase and hands it to her.", "pops out. Criswell, 40, peers at us intently, his gleaming\n eyes framed under his striking pale blonde hair. He intones,\n with absolute conviction:", "BELA\n Huh?\n\n Bela peers at Ed, then glances confusedly over his shoulder at\n the salesman. Oh. Bela looks back at anxious Ed.", "Latin horns blast onstage of this hopping '5Os nightclub.\n Cigarette girls roam about. Seated at a front table is Ed,", "CUT BACK TO:\n\n CLOSEUP - ED\n\n Click. The phone hangs up. Poor Ed just stands there,\n forlorn.", "Ed rolls his eyes. He runs his hand through his hair, then\n slowly approaches Orson Welles. Ed is terrified.\n\n ED\n Excuse me, Sir...?", "Ed LAUGHS. Bela waves his arm and starts doing his hypnotic\n hand gesture at the TV.", "The doors open, and Ed's pal JOHN \"BUNNY\" BRECKINRIDGE, 45,\n hurries out. Bunny is a wealthy, theatrical fop wearing a\n string of pearls.", "Ed rounds up Bela, Tor, Criswell, and Vampira.\n\n The crowd BOOS louder. Blind Tor is totally confused.\n\n TOR\n What is happening?", "Ed gives her a thumbs up -- perfect! He confidently takes the\n phone.", "Ed drives past pumping oil wells and into a seedy neighborhood.\n They reach a tiny, well-manicured house. Ed and Bela get out.", "They march obliviously past Ed. He watches them go, then\n continues. Ed reaches a building, \"HOLLYWOOD MORTUARY,\" and\n glances in the window. A pause, then he does a doubletake.", "Ed runs over. Dolores is beautifully made-up, and wearing a\n furry angora sweater. Ed speaks, awkwardly.", "Ed's mind is working. He holds out the paper and stares at\n it. Suddenly, he grins. He grabs the pen and makes a period\n after the \"DR.\" It now says \"DR.ACULA\"", "Someone changes the record. Brassy STRIPPER MUSIC begins.\n\n A door opens, and Ed struts out, in full gaudy drag.", "Ed sits in a chaise lounge by the pool, studying papers and\n drinking shots of whiskey. He's in a woman's pantsuit and\n fuzzy slippers. Dolores marches out." ], [ "ED\n What are you doing?\n\n BELA\n I was thinking about killing myself.", "BELA\n I'm obsolete. I have nothing to live\n for. Tonight, I should die.\n (distraught)\n And you should come with me.", "KATHY\n What was that?\n\n ED\n (quiet)\n Bela died.\n\n CUT TO:", "It's an incredible performance of crowning tragedy. Bela is\n totally drained.\n\n CU - ED\n\n He is very moved. He whispers, barely audible.", "BELA\n (impassioned)\n \"Home. I have no home. Hunted...\n despised... living like an animal", "Bela's eyes twinkle. He reaches his front door and unlocks it.\n INSIDE... it's awful. Squalid, dark, with skulls and strange", "BELA\n \"Home. I have no home. Hunted...\n despised... living like an animal", "We are outside Bela's room. He can be glimpsed inside,\n strapped to the bed and SCREAMING in pain. He is going through\n painful withdrawal and shakes horribly.", "Bela stares after him, then absent-mindedly searches through\n his pockets. Finally, he finds what he's looking for -- a", "Bela appears, in his little suit. In the last footage he ever\n shot, he shuffles around in front of his house, then tenderly\n smells the flower.\n\n ON ED", "Bela smells the flower, then abruptly drops it. He starts\n crying. A pause, and then he composes himself. The old man\n slowly shuffles out of frame.", "Bela nods. He mulls this over.", "Bela is furious.", "BELA\n (he shakes his hand)\n Certainly. But now the children\n of the night are calling me.\n\n Bela smiles and steps inside. The door closes.", "BELA\n Most people in this country, they\n know nothing, about Eastern mysticism.\n They are afraid of it.\n (beat)\n But I am open-minded. It gives me\n hope.", "BELA\n I envied him.\n (he chuckles)\n Hell, I envied you too, having a\n girlfriend that would jump in front\n of a car like that.", "ED\n Bela, wake up.\n\n Bela stirs lethargically. Ed puts on a fake smile.", "BELA\n Morphine, with a demerol chaser.\n (he starts crying)\n Eddie, I'm so broke. I don't know\n what I'm gonna do...", "Bela's heart is racing. He zig-zags past ancient crypts.\n Gargoyles peer down. The wind howls through the skeletal\n trees, silhouetted against the cloudy sky.", "BELA\n The pure horror, it both repels and\n attracts them. Because in their\n collective unconsciousness, they have\n the agony of childbirth. The blood.\n The blood is horror." ], [ "ED\n I do.\n\n MINISTER\n (he smiles)\n Then I now pronounce you man and\n wife.\n\n Ed kisses Norma.", "She turns and walks away. Ed is crushed. He stands\n motionless, in his dress, in the dark.\n\n CUT TO:", "Ed's mind is working. He holds out the paper and stares at\n it. Suddenly, he grins. He grabs the pen and makes a period\n after the \"DR.\" It now says \"DR.ACULA\"", "ED\n Let's get married.\n\n KATHY\n (startled)\n Huh?!", "ED\n (kissing her)\n Don't worry, I'll teach you.\n\n He helps her remove her wedding dress. She is very shy.", "KATHY\n Oh. Congratulations.\n\n ED\n The marriage already ended.\n\n KATHY\n Oh. My condolences.", "LATER\n\n The wedding is in progress. The crowd is seated. A MINISTER\n performs the ceremony with Ed and Norma.", "Ed is pleased as punch. He whispers to the Baptists.\n\n ED\n Isn't it wonderful? Bela lives!", "Ed runs out after her.\n\n ED\n Please, be compassionate. I'm your\n husband!", "ED\n Norma. She changed her mind. She\n doesn't wanna marry me.\n (beat)\n Can you put down the gun?\n\n Bela weakly lowers the gun.", "Ed stares at the door, dazed by all that's happened. He sits\n down in a chair, exhausted.\n\n Ed's eyes slowly close, and he falls asleep...", "ED\n Hello.\n\n KATHY\n Hello.\n (beat)\n You're sleeping in a tuxedo.\n\n ED\n I got married last night.", "The crowd is stunned.\n\n Many people DROP their glasses.\n\n Ed proudly pulls out Norma. She's in a wedding gown.", "She stands up, dramatically takes off her angora sweater, and\n gives it to Ed.\n\n He holds it meaningfully, then smiles proudly.", "AT THE ALTAR\n\n The Minister is speaking to Ed.\n\n MINISTER\n ...in sickness and in health, till\n death do you part?", "ED\n I know... But sometimes I get scared\n this is as good as it's gonna get...\n\n Dolores kisses Ed affectionately.", "Ed sashays up to Bela and dances a few steps with him. The\n music is building to a climax. Ed hurries off to center stage", "ED\n Okay. Then you'll be sitting on the\n <u>left</u>.\n\n Ed turns to Tor and Loretta. She wears a wedding gown.", "Ed and Norma jump into his Nash. It says \"Just Married\" and is\n festooned with dangling tin cans. The car screeches away. The", "Ed smiles proudly. Kathy kisses him. Ed runs down front, hugs\n Criswell, then takes the microphone." ], [ "ED\n Exactly.\n (he takes her hand)\n So what do ya say? Do you wanna\n break up... or do you wanna do the\n movie with me?\n\n Dolores sighs.", "ED\n Dolores, wait!\n\n DOLORES\n Ed, it's over. I need a normal life.", "Ed hangs up and YELPS excitedly. He kisses Dolores. She pulls\n away.", "DOLORES\n But Ed, we're not even married. And\n you don't have a job.", "Dolores is crying and screaming angrily. Ed ducks the objects\n she hurls at him.\n\n ED\n It was the only way I could get the\n movie made!", "DOLORES\n Jesus Christ! And you never told me?\n\n ED\n This is my way of telling you --", "The group is shocked. Nobody speaks.\n\n Dolores runs out of the party.\n\n Ed just stands, dumbstruck. Then he chases after her, in his\n high heels and dress.", "ED\n Please, come back!\n\n CUT TO:\n\n EXT. ED AND DOLORES' HOUSE - DAY", "DOLORES\n That's ridiculous.\n\n Ed sighs.\n\n ED\n All I wanna do is tell stories. The\n things I find interesting...", "ED\n But I thought me and Dolores had\n something.\n\n TOR\n Forget her! Move on. A good lookink\n boy like you as you can have any girl\n you wish.", "Ed and Dolores are being evicted. Their belongings are\n scattered in front. They bitterly carry furniture out of the\n house. Ed stumbles and slurs his speech. He is <u>drunk</u>.", "INT. DOLORES' APARTMENT - LATE NIGHT\n\n Ed and Dolores lie in bed, in the dark. He stares vulnerably\n at her.", "DOLORES\n Ed... I just stuck it out so you\n could finish your movie.\n (pause)\n Now that it's done, so am I.", "EXT. MEAT PACKING PLANT - SAME TIME\n\n Dolores runs across the parking lot, in tears. Ed catches up\n with her.", "ED\n I know... But sometimes I get scared\n this is as good as it's gonna get...\n\n Dolores kisses Ed affectionately.", "Ed runs over. Dolores is beautifully made-up, and wearing a\n furry angora sweater. Ed speaks, awkwardly.", "LORETTA (as Janet Lawton)\n \"Thanks.\"\n\n Loretta runs out. Dolores just stands there. We HEAR Ed:\n \"CUT! PERFECT!\"", "INT. ED'S HOUSE - DAY\n\n Dolores tries to cheer up gloomy Ed. He's wearing angora.\n\n ED\n I'm no good.", "Dolores kisses Ed.\n\n CUT TO:\n\n EXT. BUNGALOW HOUSE - DAY", "ED\n (hurt)\n Did you really mean those things you\n said..?\n\n Dolores stops." ], [ "ED\n So anyway, I've got this new script,\n \"Bride Of The Atom,\" and there's a", "The sets are being erected for \"Bride Of The Atom\"! The crew\n hurries about the small stage, as Ed energetically supervises.\n He has a large band-aid on his head.", "named Dolores Fuller. The title is\n \"Bride Of The Atom.\"", "\"Bride Of The Atom\" is back in production! Ed's stock company\n is reunited. People drink coffee and gossip.", "ED\n You're shooting \"Bride Of The Atom.\"\n Scene 85.", "ED\n No, don't worry, I moved on. I was\n just calling to see if you want to\n attend the world premiere of my new\n film, \"Bride Of The Monster.\"", "We're back at the Brown Derby, for another backers party. The\n same banner is hanging: \"BRIDE OF THE ATOM -- NEXT YEAR'S SMASH\n HIT!\"", "Ed's mind is working. He holds out the paper and stares at\n it. Suddenly, he grins. He grabs the pen and makes a period\n after the \"DR.\" It now says \"DR.ACULA\"", "ED\n What do you mean?\n\n KATHY\n \"Dracula.\"\n\n Ed freaks out.", "Someone changes the record. Brassy STRIPPER MUSIC begins.\n\n A door opens, and Ed struts out, in full gaudy drag.", "VAMPIRA\n (confused)\n Didn't you just make one called\n \"Bride Of The Atom\"?", "Ed randomly grabs a script off the messy floor, then glances\n down, to see which one he picked up. It says \"Graverobbers\n From Outer Space.\"", "Ed writes it out, \"DR. ACULA,\" then waves it in Feldman's face.\n Feldman nods.", "The crowd is stunned.\n\n Many people DROP their glasses.\n\n Ed proudly pulls out Norma. She's in a wedding gown.", "CRISWELL\n I predict \"Bride Of The Atom\" will\n be the biggest moneymaker of all\n time!", "ED\n We're escaping!\n\n The group runs up the aisle and leaves. As the doors close,\n \"Bride Of The Monster\" starts unspooling on the screen.", "INT. BANK - DAY\n\n Ed sits opposite a LOAN OFFICER.\n\n ED\n The movie is called \"Bride Of The\n Atom\"...", "They march obliviously past Ed. He watches them go, then\n continues. Ed reaches a building, \"HOLLYWOOD MORTUARY,\" and\n glances in the window. A pause, then he does a doubletake.", "ED\n Yeah. You pull the strings --\n (he suddenly gets a look)\n \"Pull the strings\"... hey, that's\n pretty good!\n\n Ed quickly starts typing again.", "Ed perks up. She's a live one!\n\n Ed pulls a script from his briefcase and hands it to her." ], [ "Hundreds of KIDS and TEENAGERS enter a dilapidated second-run\n theater. A banner says \"'Bride Of The Monster' World Premiere!\n Celebrities In Person!\"", "ED\n No, don't worry, I moved on. I was\n just calling to see if you want to\n attend the world premiere of my new\n film, \"Bride Of The Monster.\"", "Ed drives. Tor, ill Bela, Vampira, and Criswell are crammed in\n with him, along with bewildered Kathy.", "Ed rounds up Bela, Tor, Criswell, and Vampira.\n\n The crowd BOOS louder. Blind Tor is totally confused.\n\n TOR\n What is happening?", "Bela stops walking. And in a BOOMING, THEATRICAL VOICE, he\n suddenly launches into his impassioned, climactic speech from\n \"Bride Of The Monster.\"", "BACK AT THE PARTY\n\n The backers glance into the next room. Ed is in front of\n Vampira, begging on his hands and knees.", "ED\n We're escaping!\n\n The group runs up the aisle and leaves. As the doors close,\n \"Bride Of The Monster\" starts unspooling on the screen.", "Criswell points Tor in the right direction, and the group\n stumbles in. Ed escorts excited Kathy.\n\n KATHY\n I've never been to a premiere before.", "Dolores is appalled.\n\n Ed shimmies to the music, blowing kisses all around. He sees\n Vampira and waves.\n\n Vampira's jaw drops in recognition.", "Ed smiles proudly. Kathy kisses him. Ed runs down front, hugs\n Criswell, then takes the microphone.", "Ed and his gang celebrate opening night in a dirty 24-hour\n diner. They're noisily slugging down drinks, in a big red\n booth.", "The sets are being erected for \"Bride Of The Atom\"! The crew\n hurries about the small stage, as Ed energetically supervises.\n He has a large band-aid on his head.", "Bela sits inertly in the back of an open car. He weakly hails\n over Ed.", "They march obliviously past Ed. He watches them go, then\n continues. Ed reaches a building, \"HOLLYWOOD MORTUARY,\" and\n glances in the window. A pause, then he does a doubletake.", "Ed, Tor, Criswell, Paul, Conrad, Vampira, Kathy, Bunny, and Dr.\n Tom Mason sit in back. They're all wearing white robes and\n arguing about the doctor.", "Vampira is drinking with a bunch of artsy-fartsy types. She's\n in street clothes, but clearly recognizable. Ed runs up.", "Latin horns blast onstage of this hopping '5Os nightclub.\n Cigarette girls roam about. Seated at a front table is Ed,", "A tiny miniature European car pulls up. Tor Johnson is\n squeezed inside -- ludicrously oversized for this vehicle. Tor\n carefully wedges himself out and enters the bar.", "Ed's disoriented cast and crew stand in the street. Bela, Tor,\n and Loretta are still in costume.\n\n Ed looks totally dazed. He blinks in the bright sunlight.", "WE PULL OUT. Ed and Georgie are hunched over, watching the\n movie. Ed smiles proudly." ], [ "Georgie sits back. It's a hell of a story.\n\n GEORGIE\n And this is why you think you're the\n most qualified to make my movie?", "Bela smells the flower, then abruptly drops it. He starts\n crying. A pause, and then he composes himself. The old man\n slowly shuffles out of frame.", "story that's gonna <u>grab</u> people.\n (he goes into a pitch)\n It's about this guy. He's crazy", "TOR\n Bela, he talk. Loretta, she talk.\n But Tor, he no talk.\n\n Ed thinks. He quickly puts a spin on this.", "DOLORES\n That's ridiculous.\n\n Ed sighs.\n\n ED\n All I wanna do is tell stories. The\n things I find interesting...", "<u>THE END</u>", "All of them are breathing heavily. They watch in the rear\n window as they drive away from the rampage.\n\n A nervous silence. Until Bela speaks.", "He starts at Kathy in wonder. He is overcome.\n\n Their car SMASHES through the tin exit doors.\n\n EXT. SPOOK HOUSE - SAME TIME", "She gets out of bed. We see her tiny apartment is drab and\n crumbling. Dolores turns on the shower, then walks to the\n closet. She looks inside.", "Ed is taken aback. He slowly removes it from the hanger and\n rubs it against his face. His breathing slows.", "She turns and walks away. Ed is crushed. He stands\n motionless, in his dress, in the dark.\n\n CUT TO:", "He glances in a coffee shop, and sees a sweet young woman\n inside. Her name is NORMA McCARTY. She wears a bow in her\n hair, Mary Jane shoes, and a fuzzy white angora sweater.", "BELA\n I envied him.\n (he chuckles)\n Hell, I envied you too, having a\n girlfriend that would jump in front\n of a car like that.", "Ed's new home is a single apartment, still filled with moving\n boxes. Half-eaten plates of food are scattered about. Ed lies\n asleep in bed, unshaven, in the middle of the day.", "The wind is blowing. Ed's Nash roars up, and he jumps out, a\n coat over his pajamas. He runs up and POUNDS on Bela's door.", "Tor starts to tie Loretta down, then gets distracted by a piece\n of angora hooked to his waist. He rubs it lovingly, calmed,\n then suddenly refuses.", "BELA\n (he shakes his hand)\n Certainly. But now the children\n of the night are calling me.\n\n Bela smiles and steps inside. The door closes.", "He watches, entranced. Then he smiles to himself.\n\n ED\n This is the one. I know I'll be\n remembered for this film.", "BELA\n \"Home. I have no home. Hunted...\n despised... living like an animal", "Bela stares after him, then absent-mindedly searches through\n his pockets. Finally, he finds what he's looking for -- a" ], [ "Vampira is drinking with a bunch of artsy-fartsy types. She's\n in street clothes, but clearly recognizable. Ed runs up.", "BACK AT THE PARTY\n\n The backers glance into the next room. Ed is in front of\n Vampira, begging on his hands and knees.", "Ed and his gang celebrate opening night in a dirty 24-hour\n diner. They're noisily slugging down drinks, in a big red\n booth.", "The title \"PLAN 9 FROM OUTER SPACE\" is projected onto the\n screen. As random IMAGES from the film play out, we drift over\n the happy faces of our friends watching.", "Latin horns blast onstage of this hopping '5Os nightclub.\n Cigarette girls roam about. Seated at a front table is Ed,", "The cab pulls over. Ed jumps in.\n\n ED\n Take me to the nearest bar.\n\n CUT TO:", "Ed smiles proudly. Kathy kisses him. Ed runs down front, hugs\n Criswell, then takes the microphone.", "Dolores is appalled.\n\n Ed shimmies to the music, blowing kisses all around. He sees\n Vampira and waves.\n\n Vampira's jaw drops in recognition.", "Ed and Bela run toward us, Bela's cape flapping in the wind.\n Ed takes a swig from Bela's flask. They're a bit tipsy.", "Ed shoots the famous flying saucers. Paul holds a paper plate\n and Conrad lights it on fire.\n\n The \"saucer\" soars on fishing line over a little miniature\n town.", "Ed despondently approaches Bela's. Inside, a light glows, and\n the dogs BARK.\n\n Ed is relieved. Bela's awake. He BANGS on the door.", "They shuffle away... until Criswell and his snazzy ENTOURAGE\n burst around a corner. Even in person, Criswell is ethereal\n and quite self-important. He is delighted to see Bela.", "They march obliviously past Ed. He watches them go, then\n continues. Ed reaches a building, \"HOLLYWOOD MORTUARY,\" and\n glances in the window. A pause, then he does a doubletake.", "Ed rounds up Bela, Tor, Criswell, and Vampira.\n\n The crowd BOOS louder. Blind Tor is totally confused.\n\n TOR\n What is happening?", "BUNNY\n \"Plan Nine...\"\n (he consults his papers)\n \"Ah yes. Plan Nine deals with the\n resurrection of the dead.\"", "Ed's disoriented cast and crew stand in the street. Bela, Tor,\n and Loretta are still in costume.\n\n Ed looks totally dazed. He blinks in the bright sunlight.", "The doors open, and Ed's pal JOHN \"BUNNY\" BRECKINRIDGE, 45,\n hurries out. Bunny is a wealthy, theatrical fop wearing a\n string of pearls.", "Ed sits in a chaise lounge by the pool, studying papers and\n drinking shots of whiskey. He's in a woman's pantsuit and\n fuzzy slippers. Dolores marches out.", "Bela strides out.\n\n EXT. HOLLYWOOD BOULEVARD - SAME TIME\n\n Bela hurries along. Ed chases after him.", "Ed chucks the megaphone and runs crazily past the camera and\n behind a building.\n\n ED'S VOICE\n And -- ACTION!" ], [ "The sets are being erected for \"Bride Of The Atom\"! The crew\n hurries about the small stage, as Ed energetically supervises.\n He has a large band-aid on his head.", "\"Bride Of The Atom\" is back in production! Ed's stock company\n is reunited. People drink coffee and gossip.", "ED\n So anyway, I've got this new script,\n \"Bride Of The Atom,\" and there's a", "ED\n You're shooting \"Bride Of The Atom.\"\n Scene 85.", "ED\n (baffled)\n Who's <u>he</u>?\n\n REVEREND LEMON\n This is our choir director. He's\n gonna play the young hero.", "Ed's disoriented cast and crew stand in the street. Bela, Tor,\n and Loretta are still in costume.\n\n Ed looks totally dazed. He blinks in the bright sunlight.", "named Dolores Fuller. The title is\n \"Bride Of The Atom.\"", "Someone changes the record. Brassy STRIPPER MUSIC begins.\n\n A door opens, and Ed struts out, in full gaudy drag.", "The crowd is stunned.\n\n Many people DROP their glasses.\n\n Ed proudly pulls out Norma. She's in a wedding gown.", "Ed perks up. She's a live one!\n\n Ed pulls a script from his briefcase and hands it to her.", "Dolores is appalled.\n\n Ed shimmies to the music, blowing kisses all around. He sees\n Vampira and waves.\n\n Vampira's jaw drops in recognition.", "The crew members put down their things and gather in a circle.\n In the middle, we reveal Ed, in complete drag. Dress, nylons,", "Ed smiles proudly. Kathy kisses him. Ed runs down front, hugs\n Criswell, then takes the microphone.", "Ed rounds up Bela, Tor, Criswell, and Vampira.\n\n The crowd BOOS louder. Blind Tor is totally confused.\n\n TOR\n What is happening?", "ED\n Okay. Then you'll be sitting on the\n <u>left</u>.\n\n Ed turns to Tor and Loretta. She wears a wedding gown.", "Ed is quite upset.\n\n ED\n But I'm proud. I wrote, directed,\n and starred in it just like Orson\n Welles in \"Citizen Kane\"!", "Latin horns blast onstage of this hopping '5Os nightclub.\n Cigarette girls roam about. Seated at a front table is Ed,", "Ed runs over. Dolores is beautifully made-up, and wearing a\n furry angora sweater. Ed speaks, awkwardly.", "BACK AT THE PARTY\n\n The backers glance into the next room. Ed is in front of\n Vampira, begging on his hands and knees.", "ED\n (in a frenzy)\n Yeah, well we've GOT a big star!\n Bela Lugosi!!" ], [ "The sets are being erected for \"Bride Of The Atom\"! The crew\n hurries about the small stage, as Ed energetically supervises.\n He has a large band-aid on his head.", "ED\n Was I wrong to cast Loretta?\n\n BELA\n Bad decisions are easy to live with.\n Forget. Just keep looking forward.", "\"Bride Of The Atom\" is back in production! Ed's stock company\n is reunited. People drink coffee and gossip.", "ED\n So anyway, I've got this new script,\n \"Bride Of The Atom,\" and there's a", "ED\n You're shooting \"Bride Of The Atom.\"\n Scene 85.", "Ed's disoriented cast and crew stand in the street. Bela, Tor,\n and Loretta are still in costume.\n\n Ed looks totally dazed. He blinks in the bright sunlight.", "named Dolores Fuller. The title is\n \"Bride Of The Atom.\"", "We're at a fancy outdoor brunch. Ed is shaking hands with\n pretty LORETTA KING, 25, a pale brunette in a classy dress.", "ED\n Okay. Then you'll be sitting on the\n <u>left</u>.\n\n Ed turns to Tor and Loretta. She wears a wedding gown.", "Bela does his patented hypnotic arm wave. He actually has a\n powerful intensity. Loretta staggers in, eyes glazed. Like a\n zombie, she climbs onto the operating table.", "The crowd is stunned.\n\n Many people DROP their glasses.\n\n Ed proudly pulls out Norma. She's in a wedding gown.", "ED\n (baffled)\n Who's <u>he</u>?\n\n REVEREND LEMON\n This is our choir director. He's\n gonna play the young hero.", "In the f.g., Ed introduces Dolores to a SOUTHERN BACKER.\n\n ED\n And this is lovely starlet Dolores\n Fuller, who will play Janet Lawton.", "LORETTA (as Janet Lawton)\n \"Thanks.\"\n\n Loretta runs out. Dolores just stands there. We HEAR Ed:\n \"CUT! PERFECT!\"", "VAMPIRA\n At this hour?\n (she takes the phone)\n Hello?\n\n ED'S VOICE\n Vampira! Hi, this is Ed Wood.", "Dolores is appalled.\n\n Ed shimmies to the music, blowing kisses all around. He sees\n Vampira and waves.\n\n Vampira's jaw drops in recognition.", "Ed perks up. She's a live one!\n\n Ed pulls a script from his briefcase and hands it to her.", "ED\n Okay, you're Lobo. You're upset.\n You've worked so hard helping Dr.", "ED\n No, don't worry, I moved on. I was\n just calling to see if you want to\n attend the world premiere of my new\n film, \"Bride Of The Monster.\"", "ED\n (in a frenzy)\n Yeah, well we've GOT a big star!\n Bela Lugosi!!" ], [ "Ed smiles proudly. Kathy kisses him. Ed runs down front, hugs\n Criswell, then takes the microphone.", "Ed stands with a circle of POTENTIAL BACKERS. He has an edge\n of desperation we've never seen before.", "Ed's mind is working. He holds out the paper and stares at\n it. Suddenly, he grins. He grabs the pen and makes a period\n after the \"DR.\" It now says \"DR.ACULA\"", "His eyes suddenly pop.\n\n The color comes back to his fact. A plan is quickly boiling\n over inside Ed's head. He starts feverishly pacing around.", "Bewildered POTENTIAL BACKERS wander around. Ed shmoozes them.", "Ed takes a measured piuse. This is his big revelation.", "ED\n Wow.\n\n CRISWELL\n And who may you be?\n\n ED\n Edward Wood, Sir.", "They all look to Ed, awaiting a response. He thinks a second,\n then excitedly CLAPS his hands.\n\n ED\n Dolores, give me your shoes.", "Ed nods. He motions to Conrad: Get out of here. Conrad runs\n away. Ed leans in to Bela.", "The backers pick up their coats. Through the doorway, Ed sees\n this. He jumps up and frantically runs back in.", "Ed and his buddies wave goodbye to the departing backers.\n\n ED\n Goodbye! Goodbye!", "Ed is pleased as punch. He whispers to the Baptists.\n\n ED\n Isn't it wonderful? Bela lives!", "In a private back room, Ed is throwing a LAVISH BACKERS PARTY.\n All his riff-raff friends are dressed in tuxedos and gowns,", "ED\n ...It will star Bela Lugosi. Each\n of you would put up $20,000...\n\n EXT. PHONE BOOTH - DAY", "Ed perks up. She's a live one!\n\n Ed pulls a script from his briefcase and hands it to her.", "Ed sashays up to Bela and dances a few steps with him. The\n music is building to a climax. Ed hurries off to center stage", "The crew members put down their things and gather in a circle.\n In the middle, we reveal Ed, in complete drag. Dress, nylons,", "The doors open, and Ed's pal JOHN \"BUNNY\" BRECKINRIDGE, 45,\n hurries out. Bunny is a wealthy, theatrical fop wearing a\n string of pearls.", "Ed rolls his eyes. He runs his hand through his hair, then\n slowly approaches Orson Welles. Ed is terrified.\n\n ED\n Excuse me, Sir...?", "Ed is elated.\n\n INT. STUDIO SCREENING ROOM - DAY" ], [ "ED\n I do.\n\n MINISTER\n (he smiles)\n Then I now pronounce you man and\n wife.\n\n Ed kisses Norma.", "Ed and Norma jump into his Nash. It says \"Just Married\" and is\n festooned with dangling tin cans. The car screeches away. The", "LATER\n\n The wedding is in progress. The crowd is seated. A MINISTER\n performs the ceremony with Ed and Norma.", "The crowd is stunned.\n\n Many people DROP their glasses.\n\n Ed proudly pulls out Norma. She's in a wedding gown.", "Ed sashays up to Bela and dances a few steps with him. The\n music is building to a climax. Ed hurries off to center stage", "ED\n Hello.\n\n KATHY\n Hello.\n (beat)\n You're sleeping in a tuxedo.\n\n ED\n I got married last night.", "ED\n Okay. Then you'll be sitting on the\n <u>left</u>.\n\n Ed turns to Tor and Loretta. She wears a wedding gown.", "Latin horns blast onstage of this hopping '5Os nightclub.\n Cigarette girls roam about. Seated at a front table is Ed,", "ED\n Norma. She changed her mind. She\n doesn't wanna marry me.\n (beat)\n Can you put down the gun?\n\n Bela weakly lowers the gun.", "Ed runs out after her.\n\n ED\n Please, be compassionate. I'm your\n husband!", "ED\n (kissing her)\n Don't worry, I'll teach you.\n\n He helps her remove her wedding dress. She is very shy.", "ED\n Let's get married.\n\n KATHY\n (startled)\n Huh?!", "Ed smiles proudly. Kathy kisses him. Ed runs down front, hugs\n Criswell, then takes the microphone.", "Ed excitedly carries Norma over the threshold. He throws her\n onto the bed, and they start ardently making out.", "Ed runs over. Dolores is beautifully made-up, and wearing a\n furry angora sweater. Ed speaks, awkwardly.", "She hands Ed her white shoes. He snatches one, grabs a pair of\n scissors, and starts CUTTING up the shoe. Everyone is baffled.", "Ed drives past pumping oil wells and into a seedy neighborhood.\n They reach a tiny, well-manicured house. Ed and Bela get out.", "KATHY\n Oh. Congratulations.\n\n ED\n The marriage already ended.\n\n KATHY\n Oh. My condolences.", "She turns and walks away. Ed is crushed. He stands\n motionless, in his dress, in the dark.\n\n CUT TO:", "We're outside the imposing gates of MGM. The lion logo is\n overhead. Ed drives up in his dirty Nash Rambler convertible.\n He wears his nicest suit. Ed peers nervously at the GUARD." ], [ "Ed rolls his eyes. He runs his hand through his hair, then\n slowly approaches Orson Welles. Ed is terrified.\n\n ED\n Excuse me, Sir...?", "Ed is thunderstruck.\n\n ED\n Oh my God. It's Orson Welles...", "GEORGIE\n Yeah?? Well Orson Welles didn't\n wear angora sweaters, did he??!\n\n Ed is beaten.\n\n CUT TO:", "ORSON WELLES\n (he extends his hand)\n My pleasure. I'm Orson Welles.", "Latin horns blast onstage of this hopping '5Os nightclub.\n Cigarette girls roam about. Seated at a front table is Ed,", "Ed shakes his head. He's discouraged.\n\n ED\n Mr. Welles, is it all worth it?", "Ed smiles proudly. Kathy kisses him. Ed runs down front, hugs\n Criswell, then takes the microphone.", "ED\n Wow.\n\n CRISWELL\n And who may you be?\n\n ED\n Edward Wood, Sir.", "Ed is quite upset.\n\n ED\n But I'm proud. I wrote, directed,\n and starred in it just like Orson\n Welles in \"Citizen Kane\"!", "The doors open, and Ed's pal JOHN \"BUNNY\" BRECKINRIDGE, 45,\n hurries out. Bunny is a wealthy, theatrical fop wearing a\n string of pearls.", "Ed walks jauntily along, wearing a snappy suit. He reaches a\n door that says \"SCREEN CLASSICS ó George Weiss, President.\" Ed\n fixes his hair, checks his clothes, then enters.", "Georgie nods. Oh, okay.\n\n O.S. VOICE\n Mr. Lugosi has arrived!\n\n Ed jumps excitedly.", "Vampira is drinking with a bunch of artsy-fartsy types. She's\n in street clothes, but clearly recognizable. Ed runs up.", "Ed drives past pumping oil wells and into a seedy neighborhood.\n They reach a tiny, well-manicured house. Ed and Bela get out.", "Bela turns and smiles wanly at Ed.\n\n Ed smiles back.\n\n CUT TO:", "They march obliviously past Ed. He watches them go, then\n continues. Ed reaches a building, \"HOLLYWOOD MORTUARY,\" and\n glances in the window. A pause, then he does a doubletake.", "The room is very posh, with fancy paneling and marble floors.\n Ed sits nervously under posters for \"GRAND HOTEL\" and \"QUO", "We're outside the imposing gates of MGM. The lion logo is\n overhead. Ed drives up in his dirty Nash Rambler convertible.\n He wears his nicest suit. Ed peers nervously at the GUARD.", "Georgie slams down the phone. He smiles warmly at Ed.\n\n GEORGIE\n Can I help you?", "They shuffle away... until Criswell and his snazzy ENTOURAGE\n burst around a corner. Even in person, Criswell is ethereal\n and quite self-important. He is delighted to see Bela." ], [ "ED\n It's the same film. But the\n distributor wanted a punchier title.", "The crew members put down their things and gather in a circle.\n In the middle, we reveal Ed, in complete drag. Dress, nylons,", "GUARD\n What's your name?\n\n ED\n Edward D. Wood, Junior.", "Georgie pulls out artwork of a hermaphrodite: Man on the left\n side, woman on the right. The lettering screams, \"I CHANGED MY\n SEX!\"", "ED\n Wow.\n\n CRISWELL\n And who may you be?\n\n ED\n Edward Wood, Sir.", "ED\n I don't think he's a schmuck.\n\n GEORGIE\n And what's with this new title?! My\n poster says \"I CHANGED MY SEX\"!", "ED\n (impassioned)\n No! It would be something better!\n Something <u>impressive</u>. The biggest\n moneymaker you've ever had!", "Everybody excitedly crowds around and starts reading. A\n moment... and then their faces drop. Clearly, this is a", "ED\n So change the poster. Trust me,\n you'll be better off. This is a", "All of them are breathing heavily. They watch in the rear\n window as they drive away from the rampage.\n\n A nervous silence. Until Bela speaks.", "Someone changes the record. Brassy STRIPPER MUSIC begins.\n\n A door opens, and Ed struts out, in full gaudy drag.", "Ed writes it out, \"DR. ACULA,\" then waves it in Feldman's face.\n Feldman nods.", "GEORGIE\n Yeah, well a couple of things have\n changed. It ain't gonna be the", "THE CREW\n\n disperses. Ed quickly runs in his heels over to the burly\n make-up man, HARRY.", "CRISWELL\n Ah, cheer up! Don't lose heart over\n what happened tonight.\n (he points at his temple)\n I predict that your next project will\n be an outstanding success!", "ED\n Yeah. You pull the strings --\n (he suddenly gets a look)\n \"Pull the strings\"... hey, that's\n pretty good!\n\n Ed quickly starts typing again.", "ED \n (very annoyed) \n What are you talking about?! It's\n the premise of the movie. It's even\n the title, for Christ's sake!", "Ed crabs a pen and excitedly scrawls out the word \"DRACULA.\"\n Bela frowns.", "His eyes suddenly pop.\n\n The color comes back to his fact. A plan is quickly boiling\n over inside Ed's head. He starts feverishly pacing around.", "CRISWELL\n I guessed.\n\n ED\n I don't understand.\n\n CRISWELL\n I made it up. It's horseshit!" ], [ "ED\n Because he's <u>my friend</u>.\n\n Georgie stares carefully at Ed, then finally smiles.", "Ed slowly walks over and lies next to Bela. They're happy,\n eyes alert, on top of the world.\n\n Ed peers in wonder at his new friend.", "The bus pulls up, and the doors open. Ed is worried he's about\n to lose his new friend. He gets an idea...\n\n CUT TO:", "Ed sashays up to Bela and dances a few steps with him. The\n music is building to a climax. Ed hurries off to center stage", "The door flies open, and Tor appears, beaming.\n\n TOR\n Edvard, you come!\n\n Tor gives Ed a back-breaking hug.", "Ed calms down. He smiles beatifically.", "Ed nods. He motions to Conrad: Get out of here. Conrad runs\n away. Ed leans in to Bela.", "The doors open, and Ed's pal JOHN \"BUNNY\" BRECKINRIDGE, 45,\n hurries out. Bunny is a wealthy, theatrical fop wearing a\n string of pearls.", "Georgie slams down the phone. He smiles warmly at Ed.\n\n GEORGIE\n Can I help you?", "Latin horns blast onstage of this hopping '5Os nightclub.\n Cigarette girls roam about. Seated at a front table is Ed,", "Bela turns and smiles wanly at Ed.\n\n Ed smiles back.\n\n CUT TO:", "Ed smiles proudly. Kathy kisses him. Ed runs down front, hugs\n Criswell, then takes the microphone.", "Ed's panicked. He grabs Kathy and runs down to his friends.\n\n ED\n C'mon! We're getting the hell out\n of here!", "Ed runs over. Dolores is beautifully made-up, and wearing a\n furry angora sweater. Ed speaks, awkwardly.", "Ed walks down an aisle with DONALD E. McCOY, a wealthy Texan\n meat man. Old Man McCoy is a tough-talking, tobacco-chewing,\n straight shooter.", "Ed is touched.\n\n A few people around them APPLAUD.", "Ed is pleased as punch. He whispers to the Baptists.\n\n ED\n Isn't it wonderful? Bela lives!", "Ed's mind is working. He holds out the paper and stares at\n it. Suddenly, he grins. He grabs the pen and makes a period\n after the \"DR.\" It now says \"DR.ACULA\"", "Ed drives past pumping oil wells and into a seedy neighborhood.\n They reach a tiny, well-manicured house. Ed and Bela get out.", "Ed's car pulls up. Ed stumbles out, yanks off the tin cans,\n and throws them in someone's trash." ], [ "Ed inspects them.\n\n ED\n Too tall... too short...\n (he glances at the Chinese guy)\n And this guy doesn't work at all.", "Ed's mind is working. He holds out the paper and stares at\n it. Suddenly, he grins. He grabs the pen and makes a period\n after the \"DR.\" It now says \"DR.ACULA\"", "Ed stands in front of a masonite board and two chairs. An\n actor playing the AIRPLANE PILOT walks up.\n\n PILOT\n Where's the cockpit set?", "The crew members put down their things and gather in a circle.\n In the middle, we reveal Ed, in complete drag. Dress, nylons,", "Ed sits in a chaise lounge by the pool, studying papers and\n drinking shots of whiskey. He's in a woman's pantsuit and\n fuzzy slippers. Dolores marches out.", "His eyes suddenly pop.\n\n The color comes back to his fact. A plan is quickly boiling\n over inside Ed's head. He starts feverishly pacing around.", "THE CREW\n\n disperses. Ed quickly runs in his heels over to the burly\n make-up man, HARRY.", "Latin horns blast onstage of this hopping '5Os nightclub.\n Cigarette girls roam about. Seated at a front table is Ed,", "Ed's apartment has gone to hell. Ed is in a robe, unshaven and\n clutching a bottle of whiskey. Newspapers are everywhere.", "The wind is blowing. Ed's Nash roars up, and he jumps out, a\n coat over his pajamas. He runs up and POUNDS on Bela's door.", "The doors open, and Ed's pal JOHN \"BUNNY\" BRECKINRIDGE, 45,\n hurries out. Bunny is a wealthy, theatrical fop wearing a\n string of pearls.", "CUT TO:\n\n INT. STUDIO WAREHOUSE - DAY\n\n Ed is back in the plant department, arguing with his boss.", "Ed sits, waiting.\n\n Behind the curtain, something DROPS. We hear a muffled \"Shit!\"", "Ed perks up. She's a live one!\n\n Ed pulls a script from his briefcase and hands it to her.", "ED\n Oh. Um, I'm Ed Wood!\n (he smiles anxiously)\n So, what are you working on now?", "Ed is elated.\n\n INT. STUDIO SCREENING ROOM - DAY", "Ed takes a measured piuse. This is his big revelation.", "Ed chucks the megaphone and runs crazily past the camera and\n behind a building.\n\n ED'S VOICE\n And -- ACTION!", "The house is moved in. Ed's unkempt dogs run about. Pumped-up\n Ed sits on the bed typing fiendishly fast while wearing an", "Ed walks jauntily along, wearing a snappy suit. He reaches a\n door that says \"SCREEN CLASSICS ó George Weiss, President.\" Ed\n fixes his hair, checks his clothes, then enters." ], [ "famed psychic who opened this movie. Criswell wears a tux and\n a turban and is acting mysterious.", "Ed's jaw drops.\n\n CRISWELL\n There's no such thing as a psychic.\n People believe my folderol because\n I wear a turban and a black tuxedo.", "pops out. Criswell, 40, peers at us intently, his gleaming\n eyes framed under his striking pale blonde hair. He intones,\n with absolute conviction:", "Suddenly the lid starts to creak open. A hand crawls past\n the edge... and then the lid slams up! Famed psychic CRISWELL", "They shuffle away... until Criswell and his snazzy ENTOURAGE\n burst around a corner. Even in person, Criswell is ethereal\n and quite self-important. He is delighted to see Bela.", "Bela does his patented hypnotic arm wave. He actually has a\n powerful intensity. Loretta staggers in, eyes glazed. Like a\n zombie, she climbs onto the operating table.", "Criswell pushes blind Tor towards the stage. Tor sticks out\n his arms and scarily staggers down the aisle. Criswell\n nervously follows. Vampira escorts Bela.", "CONRAD\n Nah, I heard she's his childhood\n sweetheart from Poughkeepsie.\n\n CRISWELL\n I predict it's Dolores in a mask.", "Ed rounds up Bela, Tor, Criswell, and Vampira.\n\n The crowd BOOS louder. Blind Tor is totally confused.\n\n TOR\n What is happening?", "The theater is packed. All the gang, and their friends and\n families, are gathered.\n\n Criswell stands on-stage, speaking into a mike.", "KATHY\n What was that?\n\n ED\n (quiet)\n Bela died.\n\n CUT TO:", "Ed smiles proudly. Kathy kisses him. Ed runs down front, hugs\n Criswell, then takes the microphone.", "CRISWELL\n Ah, cheer up! Don't lose heart over\n what happened tonight.\n (he points at his temple)\n I predict that your next project will\n be an outstanding success!", "Dolores talks on the phone, while Ed silently coaches her.\n\n DOLORES (on phone)\n Yes, I've got Mr. Edward Wood on the\n line. Could you please hold?", "Dolores reads the script. She finishes the last page, then\n looks up. She is very shaken.", "They march obliviously past Ed. He watches them go, then\n continues. Ed reaches a building, \"HOLLYWOOD MORTUARY,\" and\n glances in the window. A pause, then he does a doubletake.", "Ed perks up. She's a live one!\n\n Ed pulls a script from his briefcase and hands it to her.", "KATHY\n Sounds like you lived in Grovers\n Corners.\n\n INT. SPOOK HOUSE - NIGHT\n\n Ed and Kathy ride through the old mechanical spook house.", "Dolores is appalled.\n\n Ed shimmies to the music, blowing kisses all around. He sees\n Vampira and waves.\n\n Vampira's jaw drops in recognition.", "ED\n Here's the scene. Loretta, you're\n in a trance. You glide in and get" ] ]

[ "What does the title of Ed's first picture get changed to?", "What popular news motivates Ed to contact Weiss?", "How does Ed attempt to finance his second picture?", "After struggling with drug and financial problems, what does Bela Lugosi decide to do?", "What was the original title of Bride of the Monster?", "What was the profession of Bela's stand-in for Plan 9?", "Why do Ed and the Baptists conflict over the making of Plan 9?", "Who funds Plan 9?", "What do Ed and Kathy do at the end of the story?", "Who is Ed's idol who begins working in Ed's works?", "Why does Ed think he is perfect to direct \"I Changed My Sex\"?", "Who is the psychic that gives Ed advice on how to sell himself better?", "What causes Bela to consider suicide?", "Who does Ed marry at the end of the story?", "Why does Dolores break up with Ed?", "What ends up being the title to Ed's project that was formerly known as \"Bride of the Atom?", "What happens when Ed and company attend the \"Bride of the Monster\" premier?", "Who is the protagonist of the story?", "Who does Ed run into at a bar when shooting the project \"Plan 9 from Outer Space\"?", "Who does Ed cast as the lead in Bride of the Atom?", "Why does Ed cast Loretta as the lead in Bride of the Atom?", "Who does Ed convince to fund his project?", "Who does Ed marry in Las Vegas?", "Where does Ed meet Orson Welles?", "Who change the name of the project?", "Who does Ed become friends with?", "What are the requirements for Ed's projects?", "What is the name of the psychic?" ]

[ [ "Glen or Glenda", "Bride of the Monster" ], [ "The news of the first sex change", "Weiss trying to buy the film rights to Christine Jorgensons life story" ], [ "Self-funding", "Ed met a woman named Loretta King who he thought would be able to help." ], [ "He decides to commit suicide", "He attempts to commit double-suicide." ], [ "Bride of the Atom?", "Bride of the Atom" ], [ "Chiropractor", "Chiropractor" ], [ "Ed insisting upon the title of \"Grave Robbers from Outer Space\", casting decisions, bad production,and Ed's transvestism", "The content of the script and the movie's title" ], [ "A Baptist church", "A church leader named Reynolds" ], [ "They go to Vegas to get married", "The go to get married in Las Vegas." ], [ "Bela Lugosi", "Bela Lugosi." ], [ "He is a transvestite.", "Ed is a transvestite." ], [ "The Amazing Criswell", "The Amazing Criswell" ], [ "the government cuts off his unemployment", "His unemployment is cut off by the government" ], [ "Kathy O'Hara", "Kathy." ], [ "She can't handle his transvestitism.", "She does not like his friends, work and the fact that he is a transvestite. " ], [ "Bride of the Monster", "Bride of the Monster" ], [ "They are chased out of the theater by an angry mob.", "Delores breaks up with Ed" ], [ "Ed Wood", "Ed Wood." ], [ "Orson Welles", "Orson Welles" ], [ "Loretta King", "Kathy" ], [ "Because he thinks that she has money", "He thinks that she is rich and can fund his movie." ], [ "Don McCoy", "Don McCoy" ], [ "Kathy", "Kathy O Hara" ], [ "At a bar", "At a bar after a dispute with his colleagues over a film." ], [ "The funders", "The Amazing Chiswell" ], [ "Bela Lugosi", "Bela Lugosi" ], [ "That they are a certain length of time long", "They star Tony and end with an explosion" ], [ "The Amazing Criswell", "The Amazing Criswell" ] ]

[ [ "RICHIE\n It's got to be `Blue Magic.'", "FRANK (CONT'D)\n Not a fuckin Datsun.\n (his look says, right?)\n Blue Magic is a brand name; as much a", "FRANK\n I have to insist. You call it Blue\n Magic, that's misrepresentation.", "RICHIE\n It's where this dope is coming from. \n Blue Magic. Out of New York. What am\n I supposed to do, ignore it?", "FRANK\n Nobody owns me. Because I own my\n company.\n\n INTERCUT: Feminine hands stamp small packets of blue\n cellophane with the words `Blue Magic' -", "84.\n \n219 CONTINUED: 219\n\n\n JACKIE\n Pink Magic. Black Magic -", "FRANK\n Whack it down to nothing, tie a bow\n around it and call it Blue Dogshit if you\n want, just don't let me catch you doing\n this again.", "TONY\n What.\n\n RICHIE\n You don't have to talk about it, you\n don't want. What do you hear about Blue\n Magic? Anything?", "JACKIE\n Fine. I'll call it Red Magic, even\n though it doesn't sound as good.", "A single, half-empty packet of heroin, the same one from the\n morgue, in distinctive blue cellophane, tacked to a bulletin\n board. Richie, perched on a desk in front of it.", "TONY \n It's a scientific force like atomic \n energy. It rearranges the molecules.", "Blue the way it is. No one does. At a\n certain point it's just greed.", "MECHANIC\n Yeah, yeah, it's `Blue.' You can pick\n it up here tomorrow. Where's the rest of\n the money?", "(CONT)", "(CONT)", "(CONT)", "The laundry truck comes past a guard gate, leaves the base,\n drives past a stand of trees. As it passes, Richie, parked", "Stitched-up, black and blue hands dump a can of soup in a\n pot, put it on the stove.", "empty packet of heroin in blue cellophane. Richie takes the\n blue cellophane from the bag and, as the drawer closes\n entombing Sanders, holds it in his hand ...", "Richie and the Amigos observe a buy from a parked car, the\n blue cellophane changing hands. Ignoring the buyer as he\n walks away, they keep watching the seller." ], [ "The house is alive with the noise of family and scent of\n home-cooked food as the extended Lucas clan - there's more\n than twenty of them - sits around a big dining room table", "As an appraiser writes up an estimate, Richie observes\n Teddy, attending to paperwork inside.\n\n RICHIE V/O\n And Teddy Lucas, in Bergen County.", "MRS. LUCAS\n Sit down.\n\n He sits. She studies him in a way she hasn't since he was\n little. Eventually -", "Another Lucas brother examines a lamp with a frayed cord\n brought in by Jones.\n\n RICHIE V/O\n Earl Lucas in Newark -", "Downstairs, Mama Lucas puts washcloth on Ana's swollen\n cheek. They can hear the search continuing upstairs: things\n being ripped from the walls, the walls themselves splintered", "Frank, in an apron, carries in a huge cooked turkey as the\n extended Lucas family gathers around the table. It's like\n Norman Rockwell painting -", "Another brother is photographed by Spearman from a parked\n car as he changes tires on a car up on a hoist.\n\n RICHIE V/O\n Turner Lucas, the Bronx -", "He comes down the stairs to where Doc waits. As they head\n for the door -\n\n MRS. LUCAS\n Frankie -", "Mrs. Lucas embraces Ana like family.\n\n105 OMIT 105 OMIT", "wagon, hoisting those that won't fit inside onto a roof\n rack. Two Lucas brothers tie them down with twine.", "He talks to them, returns to his car, takes a valise from\n the trunk. He snaps it open revealing stacks of cash, hands", "RICHIE\n Then goes to work. Meeting with his\n accountant, or lawyer, dropping in on one\n of the several office buildings he owns.", "291 EXT. MAMA LUCAS'S TEANECK, N.J. HOUSE - DAY 291\n\n Trupo crosses the lawn toward the kennel and barking dog -", "Ana's family and friends on one side of the aisle, the\n extended Lucas family - on the other. Frank's mother looks\n at her eldest son at the altar with pride.", "173 INT. DRY CLEANERS - DAY 173\n\n A Lucas brother hands some dry cleaning to Spearman -", "The brothers can't help but notice the storekeepers who wave\n to Frank, the women who smile, the men who step out of his\n path like there's a red carpet under his polished shoes.", "MRS. LUCAS\n It's perfect.\n (looks at the room)\n It's all perfect.\n (she looks at him)\n I'm so proud of you.", "Like Bumpy used to do every Thanksgiving, Frank and his\n brothers, from the back of the truck, hand out hundreds of\n freshly-butchered turkeys to the poor.", "Legend: The day after he convicted Frank Lucas and 30 of\n his Country Boy relatives, Richard Roberts borrowed\n $400 from his credit union to help pay for a 3-day\n vacation to the Bahamas.", "He opens the door for her like a perfect gentleman, slides\n in after her.\n\n103 EXT. MAMA LUCAS'S TEANECK, N.J. HOUSE - DAY 103" ], [ "Legend: Frank Lucas was convicted of Conspiracy to\n Distribute Narcotics and sentenced to 70 years.\n He served 15 of them.", "Richie dismantles the Lucas Table of Organization here,\n taking down the photographs. As it collapses -\n\n346 INT. COUNTY JAIL CELL - CONTINUED 346", "Legend: The day after he convicted Frank Lucas and 30 of\n his Country Boy relatives, Richard Roberts borrowed\n $400 from his credit union to help pay for a 3-day\n vacation to the Bahamas.", "The courtroom doors swing open and Richie sees Frank Lucas,\n in a tailored suit, escorted in without cuffs by an amiable- \n looking federal marshal.", "Cuffed, Earl Lucas is put in the back of a patrol car.\n\n341 EXT. CEMETERY - CONTINUED - DAY 341", "Downstairs, Mama Lucas puts washcloth on Ana's swollen\n cheek. They can hear the search continuing upstairs: things\n being ripped from the walls, the walls themselves splintered", "Legend: Six months later, he quit the Prosecutors Office\n to become a defense attorney. His first client was\n Frank Lucas.", "125.\n \n\n\n\n\n352 INT. PRISON CELL - DAY (YEARS LATER) 352", "MRS. LUCAS\n Sit down.\n\n He sits. She studies him in a way she hasn't since he was\n little. Eventually -", "He comes down the stairs to where Doc waits. As they head\n for the door -\n\n MRS. LUCAS\n Frankie -", "As an appraiser writes up an estimate, Richie observes\n Teddy, attending to paperwork inside.\n\n RICHIE V/O\n And Teddy Lucas, in Bergen County.", "Jimmy Racine comes in - sees Trupo - and leaves - but not\n before Trupo has seen him. And now he sees the Lucas Table", "Another Lucas brother examines a lamp with a frayed cord\n brought in by Jones.\n\n RICHIE V/O\n Earl Lucas in Newark -", "New Jersey troopers cuff Turner Lucas and lead him away.\n\n340 EXT. ELECTRICAL SHOP - DAY 340", "The house is alive with the noise of family and scent of\n home-cooked food as the extended Lucas clan - there's more\n than twenty of them - sits around a big dining room table", "FRANK\n I had it made. From memory.\n MRS. LUCAS\n You were five when they took it away.\n How could you remember it?", "He knows you had to sit here listening to\n something like this. And then you beat\n an attempted murder? Is he stupid?\n He'll assume you talked.", "MRS. LUCAS\n It's perfect.\n (looks at the room)\n It's all perfect.\n (she looks at him)\n I'm so proud of you.", "Richie slowly lifts himself from his chair, steps forward, \n turns to look at the jury that's studying him, finally finds \n his voice:", "As Richie and his detectives climb into their cars, two \n Lucas cars fold in behind the laundry truck. The detectives \n follow at a distance -" ], [ "Legend: Frank Lucas was convicted of Conspiracy to\n Distribute Narcotics and sentenced to 70 years.\n He served 15 of them.", "Richie dismantles the Lucas Table of Organization here,\n taking down the photographs. As it collapses -\n\n346 INT. COUNTY JAIL CELL - CONTINUED 346", "Legend: The day after he convicted Frank Lucas and 30 of\n his Country Boy relatives, Richard Roberts borrowed\n $400 from his credit union to help pay for a 3-day\n vacation to the Bahamas.", "Cuffed, Earl Lucas is put in the back of a patrol car.\n\n341 EXT. CEMETERY - CONTINUED - DAY 341", "Another Lucas brother examines a lamp with a frayed cord\n brought in by Jones.\n\n RICHIE V/O\n Earl Lucas in Newark -", "Legend: Six months later, he quit the Prosecutors Office\n to become a defense attorney. His first client was\n Frank Lucas.", "The courtroom doors swing open and Richie sees Frank Lucas,\n in a tailored suit, escorted in without cuffs by an amiable- \n looking federal marshal.", "He comes down the stairs to where Doc waits. As they head\n for the door -\n\n MRS. LUCAS\n Frankie -", "Downstairs, Mama Lucas puts washcloth on Ana's swollen\n cheek. They can hear the search continuing upstairs: things\n being ripped from the walls, the walls themselves splintered", "Jimmy Racine comes in - sees Trupo - and leaves - but not\n before Trupo has seen him. And now he sees the Lucas Table", "As an appraiser writes up an estimate, Richie observes\n Teddy, attending to paperwork inside.\n\n RICHIE V/O\n And Teddy Lucas, in Bergen County.", "MRS. LUCAS\n Sit down.\n\n He sits. She studies him in a way she hasn't since he was\n little. Eventually -", "New Jersey troopers cuff Turner Lucas and lead him away.\n\n340 EXT. ELECTRICAL SHOP - DAY 340", "FRANK\n I had it made. From memory.\n MRS. LUCAS\n You were five when they took it away.\n How could you remember it?", "125.\n \n\n\n\n\n352 INT. PRISON CELL - DAY (YEARS LATER) 352", "The house is alive with the noise of family and scent of\n home-cooked food as the extended Lucas clan - there's more\n than twenty of them - sits around a big dining room table", "As Richie and his detectives climb into their cars, two \n Lucas cars fold in behind the laundry truck. The detectives \n follow at a distance -", "Richie slowly lifts himself from his chair, steps forward, \n turns to look at the jury that's studying him, finally finds \n his voice:", "337 INT/EXT. DRY CLEANERS - DAY 337\n\n Police cars outside. Eugene Lucas is cuffed and led away.", "A laundry truck idles. Stevie, the Lucas nephew who could\n have played for Yankees, jumps down, helps the two privates\n toss several laundry bags into the back of the truck." ], [ "SHEILA\n Your honor, a lot has been said here\n today about how unsavory Mr. Roberts'", "Legend: The day after he convicted Frank Lucas and 30 of\n his Country Boy relatives, Richard Roberts borrowed\n $400 from his credit union to help pay for a 3-day\n vacation to the Bahamas.", "They regard one another in silence. Richie can tell Frank\n sees daylight.\n\n FRANK\n What can you promise me?", "The courtroom doors swing open and Richie sees Frank Lucas,\n in a tailored suit, escorted in without cuffs by an amiable- \n looking federal marshal.", "He comes down the stairs to where Doc waits. As they head\n for the door -\n\n MRS. LUCAS\n Frankie -", "Richie dismantles the Lucas Table of Organization here,\n taking down the photographs. As it collapses -\n\n346 INT. COUNTY JAIL CELL - CONTINUED 346", "He talks to them, returns to his car, takes a valise from\n the trunk. He snaps it open revealing stacks of cash, hands", "MRS. LUCAS\n Sit down.\n\n He sits. She studies him in a way she hasn't since he was\n little. Eventually -", "He holds out a business envelope fat with money. Nate\n hesitates, knowing Frank has just said he'll kill him if\n things don't go right, then takes it.", "Jimmy Racine comes in - sees Trupo - and leaves - but not\n before Trupo has seen him. And now he sees the Lucas Table", "Legend: Six months later, he quit the Prosecutors Office\n to become a defense attorney. His first client was\n Frank Lucas.", "He knows you had to sit here listening to\n something like this. And then you beat\n an attempted murder? Is he stupid?\n He'll assume you talked.", "MRS. LUCAS\n It's perfect.\n (looks at the room)\n It's all perfect.\n (she looks at him)\n I'm so proud of you.", "Legend: Frank Lucas was convicted of Conspiracy to\n Distribute Narcotics and sentenced to 70 years.\n He served 15 of them.", "As an appraiser writes up an estimate, Richie observes\n Teddy, attending to paperwork inside.\n\n RICHIE V/O\n And Teddy Lucas, in Bergen County.", "The attorneys get up and leave. Richie takes their place.\n Frank regards him a moment, offering the same knowing smile\n from the courtroom. Richie offers nothing.", "RICHIE\n Talk.\n\n MAN\n Are you Richard Roberts? I got a\n subpoena.", "10 and 20 dollar bills changing hands - decks of cash\n rubber-banded together - put into envelopes and delivered\n to the Lucas brothers, to:", "Another Lucas brother examines a lamp with a frayed cord\n brought in by Jones.\n\n RICHIE V/O\n Earl Lucas in Newark -", "Richie's in serious trouble and knows it. As does Toback." ], [ "The owner of the gleaming patent leather shoes is shown to\n his second row ringside seat just behind the sports writers,\n and we move up the full-length chinchilla coat to Frank's\n uneasy expression -", "As an appraiser writes up an estimate, Richie observes\n Teddy, attending to paperwork inside.\n\n RICHIE V/O\n And Teddy Lucas, in Bergen County.", "Flashbulbs pop throughout the arena as Robert Goulet\n begins the National Anthem. Ali pointedly doesn't sing\n along. Richie frames the shadowy figure in the chinchilla", "Jimmy Racine comes in - sees Trupo - and leaves - but not\n before Trupo has seen him. And now he sees the Lucas Table", "A sudden roar from the crowd as the lights go out except\n for the spot on the ring. Ali and Frazier are coming down", "King. Joe Louis himself - who barely acknowledged Richie's \n existence - comes over and playfully exchanges \"punches\" \n with the man in the chinchilla coat.", "Another Lucas brother examines a lamp with a frayed cord\n brought in by Jones.\n\n RICHIE V/O\n Earl Lucas in Newark -", "Pre-fight. Richie, blended in with the a group of press\n photographers, regards the organized crime figures ringside.\n He takes a few pictures with the long lens camera as -", "Then it's quiet again. Everyone's still looking him, but\n Frank doesn't run. Instead, he calmly reaches into Tango's", "Jones nudges Abruzzo to pay attention. Abruzzo elbows him\n back. Richie just waits like a teacher for their attention.", "The brothers can't help but notice the storekeepers who wave\n to Frank, the women who smile, the men who step out of his\n path like there's a red carpet under his polished shoes.", "Richie's camera roams the faces of the prime ticket holders\n ringside: organized crime figures, celebrities, politicians, \n women with plunging necklines and platinum hair -", "The courtroom doors swing open and Richie sees Frank Lucas,\n in a tailored suit, escorted in without cuffs by an amiable- \n looking federal marshal.", "Another brother is photographed by Spearman from a parked\n car as he changes tires on a car up on a hoist.\n\n RICHIE V/O\n Turner Lucas, the Bronx -", "He comes down the stairs to where Doc waits. As they head\n for the door -\n\n MRS. LUCAS\n Frankie -", "Most of the guys watching it. Richie isn't. He comes\n over to Table of Organization. Tacks his Bar Association\n notice to it. Regards the photographs, like tentacles of\n octopus yet to have a head.", "Cuffed, Earl Lucas is put in the back of a patrol car.\n\n341 EXT. CEMETERY - CONTINUED - DAY 341", "The house is alive with the noise of family and scent of\n home-cooked food as the extended Lucas clan - there's more\n than twenty of them - sits around a big dining room table", "MRS. LUCAS\n Sit down.\n\n He sits. She studies him in a way she hasn't since he was\n little. Eventually -", "It's as if life on the street has stopped. No one moves;\n everyone is looking at Frank; maybe that's what he wants.\n As Tango laughs at the thought -" ], [ "He removes one tablespoon of heroin from each of the\n baggies, and the now-almost-heroin-free powder is mixed", "Five naked women at work tables, their faces veiled by\n surgical masks, cutting heroin with lactose and quinine in a\n precise mixture of controlled purity. The Lucas brothers", "Frank's cutter and sometimes-girlfriend, Red Top - sets a\n couple of packets of heroin in front of the servicemen.", "Pharmaceutical scales balance to their counterweights as\n the five naked, masked women cut the heroin with quinine to\n Frank's exacting standards. Red Top puts on some coffee.", "Trupo closes the trunk and walks away with his cut of the\n heroin, calling to his partner -\n\n TRUPO\n Let's go.", "Trupo reaches into the trunk, picks up two of the heroin\n bricks, tucks them under his arm and looks at Frank -\n\n (CONT)", "Six kilos of heroin are illuminated by the trunk light.\n Frank and Trupo regard it in silence. Then -\n\n TRUPO\n Now what are we gonna do about this?", "A single, half-empty packet of heroin, the same one from the\n morgue, in distinctive blue cellophane, tacked to a bulletin\n board. Richie, perched on a desk in front of it.", "Hands peel back the distinctive black and green \"evidence\"\n tape on the clear plastic bags. Dump the heroin into twenty", "of Double UO Globe heroin. As they take them out, a gospel\n choir begins and continues over:", "from pockets and change hands. In alleyways it's cooked up\n and sucked into syringes, and in dank, grim, indescribably\n filthy rooms, plunged into veins -", "RICHIE\n Heroin, cocaine, amphetamines. No\n grass under a thousand pounds. Less than \n that, someone else can waste their time.", "Abruzzo, looking like a junkie, dirty jeans, wool cap,\n approaches a dealer on the corner. The perspective shifts", "Trupo snaps the suitcase open revealing five half-kilo bags\n of uncut heroin in clear plastic bags. The other cops pull", "And we see: Several brick-like packages of No. 4 heroin\n wrapped in paper marked with Chinese writing, stamped with", "Another Lucas brother examines a lamp with a frayed cord\n brought in by Jones.\n\n RICHIE V/O\n Earl Lucas in Newark -", "Legend: Frank Lucas was convicted of Conspiracy to\n Distribute Narcotics and sentenced to 70 years.\n He served 15 of them.", "A cadaver drawer slides open revealing - not Tango - but\n Rivera, staring up lifeless, his arms, stomach, legs and \n toes dotted with the scabs of a longtime addict.", "Downstairs, Mama Lucas puts washcloth on Ana's swollen\n cheek. They can hear the search continuing upstairs: things\n being ripped from the walls, the walls themselves splintered", "Legend: Six months later, he quit the Prosecutors Office\n to become a defense attorney. His first client was\n Frank Lucas." ], [ "Trupo reaches into the trunk, picks up two of the heroin\n bricks, tucks them under his arm and looks at Frank -\n\n (CONT)", "Five naked women at work tables, their faces veiled by\n surgical masks, cutting heroin with lactose and quinine in a\n precise mixture of controlled purity. The Lucas brothers", "Six kilos of heroin are illuminated by the trunk light.\n Frank and Trupo regard it in silence. Then -\n\n TRUPO\n Now what are we gonna do about this?", "He removes one tablespoon of heroin from each of the\n baggies, and the now-almost-heroin-free powder is mixed", "And we see: Several brick-like packages of No. 4 heroin\n wrapped in paper marked with Chinese writing, stamped with", "Trupo snaps the suitcase open revealing five half-kilo bags\n of uncut heroin in clear plastic bags. The other cops pull", "Frank's cutter and sometimes-girlfriend, Red Top - sets a\n couple of packets of heroin in front of the servicemen.", "The courtroom doors swing open and Richie sees Frank Lucas,\n in a tailored suit, escorted in without cuffs by an amiable- \n looking federal marshal.", "Pharmaceutical scales balance to their counterweights as\n the five naked, masked women cut the heroin with quinine to\n Frank's exacting standards. Red Top puts on some coffee.", "Mules are loaded up with burlap bags containing 3,000 kilos\n of heroin.", "pure No. 4 heroin into United States.", "RICHIE\n But it's not even Frank Lucas I want. I\n want to know who he's working for: Which\n Italians are bringing the heroin in.", "Hands peel back the distinctive black and green \"evidence\"\n tape on the clear plastic bags. Dump the heroin into twenty", "GENERAL\n You think you're going to take a hundred\n kilos of heroin into the US and you don't\n work for anyone? Someone is going to\n allow that?", "RICHIE\n I believe Frank Lucas is above the mafia\n in the dope business. I believe he buys", "from pockets and change hands. In alleyways it's cooked up\n and sucked into syringes, and in dank, grim, indescribably\n filthy rooms, plunged into veins -", "back where an Italian wise guy - Rossi - sits. Trupo unzips\n the bag revealing the recut heroin - in the yellow plastic.", "The suitcase and \"heroin,\" and some weapons and money, have\n been arranged on an evidence table with the care of a Macy's", "Trupo closes the trunk and walks away with his cut of the\n heroin, calling to his partner -\n\n TRUPO\n Let's go.", "RICHIE\n Heroin, cocaine, amphetamines. No\n grass under a thousand pounds. Less than \n that, someone else can waste their time." ], [ "Trupo comes around to the front of the kennel again with his\n gun out and aims it at the dog. As he fires -", "He comes down the stairs to where Doc waits. As they head\n for the door -\n\n MRS. LUCAS\n Frankie -", "The dead dog slides against the fencing as Trupo overturns\n the kennel to reveal Frank's stash of cash.\n\n 108.", "Another Lucas brother examines a lamp with a frayed cord\n brought in by Jones.\n\n RICHIE V/O\n Earl Lucas in Newark -", "Frank's bedroom has been destroyed. Trupo, standing at a\n window glances out at the sound of a barking of a dog to see\n Frank's German shepherd down in its kennel.", "The dog retrieves the stick, but this time - somehow - it's\n to Bumpy's hand he returns it. Frank listens attentively.", "Cuffed, Earl Lucas is put in the back of a patrol car.\n\n341 EXT. CEMETERY - CONTINUED - DAY 341", "Downstairs, Mama Lucas puts washcloth on Ana's swollen\n cheek. They can hear the search continuing upstairs: things\n being ripped from the walls, the walls themselves splintered", "Frank and the dog in the back yard of a suburban house.\n His neighbors - those he can see - are white. He hears a", "The German shepherd watches as Frank removes the tape from\n one of the bags. He pulls it open - has almost no reaction -\n except to breathe again - then opens the next, and the next.", "Trupo regards the shepherd snarling at him from behind the\n kennel fence. Comes around back. Pushes at the frame. It\n moves a little, like it's levered -", "dog. He first gathers his mother in an embrace, then each\n of his startled brothers.", "MRS. LUCAS\n Sit down.\n\n He sits. She studies him in a way she hasn't since he was\n little. Eventually -", "As an appraiser writes up an estimate, Richie observes\n Teddy, attending to paperwork inside.\n\n RICHIE V/O\n And Teddy Lucas, in Bergen County.", "alone. His mother watches, wondering perhaps if he intends\n to go kill Trupo after all. As Doc's car leaves, so does\n another.", "Jimmy Racine comes in - sees Trupo - and leaves - but not\n before Trupo has seen him. And now he sees the Lucas Table", "MRS. LUCAS\n It's perfect.\n (looks at the room)\n It's all perfect.\n (she looks at him)\n I'm so proud of you.", "The house is alive with the noise of family and scent of\n home-cooked food as the extended Lucas clan - there's more\n than twenty of them - sits around a big dining room table", "Frank nods. The vender hands him a napkin. The shepherd\n is still with him, but Bumpy is gone, and the gulls and the", "Then it's quiet again. Everyone's still looking him, but\n Frank doesn't run. Instead, he calmly reaches into Tango's" ], [ "Bumpy Johnson, an elderly but still sturdy black man,\n elegantly dressed - cashmere overcoat, gloves, Homburg -", "people. No one chose to include in their\n remembrances the word most often\n associated with Ellsworth Bumpy Johnson:\n Gangster.", "RICHIE (CONT'D)\n For fifteen years he was Bumpy Johnson's\n collector, bodyguard and driver. He was", "RICHIE\n Neither was Bumpy Johnson's and he owned\n Harlem.\n\n\n (CONT)", "The report continues on a TV no one's really watching here:\n a March of Time-like history of Bumpy Johnson, famed Harlem\n gangster, Robin Hood and killer.", "Legend: Harlem\n\n A younger man, the gunman from the club - Frank Lucas -\n Bumpy's driver/bodyguard/collector/protege - watches from\n below.", "Armed with the sledgehammer, Richie and his partner - Javy \n Rivera - come past a seedy motel office where a TV shows \n another report about Bumpy Johnson.", "Bumpy and I did a lot of business\n together, as you know. Whatever he\n needed, he'd come to me and I'd do my", "FRANK\n I'll be fine, Charlie. Half the people\n here owed Bumpy money when he died. A\n lot of money. If they think I'm going\n to forget to collect, they're wrong.", "RICHIE\n Is it? Everything he does, he does like\n Bumpy.\n\n TOBACK\n Bumpy never wore a chinchilla coat in his\n life.", "TANGO\n Bumpy don't own 116th Street no more,\n Frank. Bumpy don't own no real estate in", "Keys turn the locks of a safety-deposit box. The lid lifts\n revealing decks of cash. Frank takes it all out, slips one\n slender packet into Bumpy's banker's jacket pocket.", "TOBACK\n You think Frank Lucas took over for Bumpy\n Johnson? His driver? That's a little\n far-fetched.", "walk down the street, nobody bothers you\n because Bumpy's making sure of it.\n (hands Frank one of the\n espressos)", "Rossi, who looks more like a middle-aged accountant than the\n Italian dope supplier he is, makes two espressos.\n\n ROSSI\n Sad about Bumpy.", "CHARLIE\n I'm sure Bumpy never told you, but he\n made me promise, anything ever happened\n to him, I'd make sure you didn't go\n without.", "On the TV, over archive film and photographs of crime\n figures from the 1940's and `50's, the opinion is offered\n that Bumpy's death \"marks the end of an era ...\"", "RICHIE\n Frank Lucas.\n\n No one in the room, except Richie and Toback, has ever\n heard the name. The federal men regard one another blankly.", "FRANK\n Bumpy was rich, but never white man rich.\n Why? Because he didn't own the company.", "Alone in the empty building, he stares at the T.O.: The\n higher echelon Italians like Tosca; lower echelon Harlem\n guys like Charlie Williams and Frank Lucas." ], [ "TANGO\n Bumpy's fuckin dead.", "2.\n \n4 CONTINUED: 4\n BUMPY (CONT'D)", "Bumpy and I did a lot of business\n together, as you know. Whatever he\n needed, he'd come to me and I'd do my", "On the TV, over archive film and photographs of crime\n figures from the 1940's and `50's, the opinion is offered\n that Bumpy's death \"marks the end of an era ...\"", "Bumpy Johnson, an elderly but still sturdy black man,\n elegantly dressed - cashmere overcoat, gloves, Homburg -", "FRANK\n Bumpy was rich, but never white man rich.\n Why? Because he didn't own the company.", "ANA\n This is your father?\n\n Frank shakes his head no. It's a picture of Bumpy.", "18.\n \n38 CONTINUED: 38\n BUMPY (CONT'D)", "Frank, on a wooden folding chair at Bumpy's grave, hears\n the gunning of engines and barking of cops. He turns to see", "TANGO\n Bumpy don't own 116th Street no more,\n Frank. Bumpy don't own no real estate in", "CHARLIE\n I'm sure Bumpy never told you, but he\n made me promise, anything ever happened\n to him, I'd make sure you didn't go\n without.", "FRANK\n What is it?\n\n Bumpy seems unable to speak, looks to Frank confused.\n FRANK\n Somebody call an ambulance!", "Sitting off by himself in Bumpy's elegant garden apartment,\n heretofore his private sanctuary, Frank surveys the mourners\n circling the place like vultures:", "RICHIE (CONT'D)\n For fifteen years he was Bumpy Johnson's\n collector, bodyguard and driver. He was", "He considers the street itself. It too has changed. The\n corner groceries, as Bumpy prophesied, really are gone now.\n\n\n\n (CONT)", "FRANK\n I'll be fine, Charlie. Half the people\n here owed Bumpy money when he died. A\n lot of money. If they think I'm going\n to forget to collect, they're wrong.", "The report continues on a TV no one's really watching here:\n a March of Time-like history of Bumpy Johnson, famed Harlem\n gangster, Robin Hood and killer.", "RICHIE\n Is it? Everything he does, he does like\n Bumpy.\n\n TOBACK\n Bumpy never wore a chinchilla coat in his\n life.", "registers ringing up sales Bumpy will never see a piece of.\n Looking up at Frank, Bumpy manages weakly -", "Rossi, who looks more like a middle-aged accountant than the\n Italian dope supplier he is, makes two espressos.\n\n ROSSI\n Sad about Bumpy." ], [ "RICHIE\n Bandage his head.\n\n PARAMEDIC\n Detective ... he's dead.", "RICHIE\n Is he dead?\n\n RIVERA V/O \n He's dead. I'm dead. They're gonna kill\n me.", "Richie, off by himself, watches with a growing sense of\n panic as the mechanics, detectives and customs agents begin\n removing the metal skin from the plane. Coffins are being\n off-loaded.", "Richie sees a young Italian with tatoos - the only other\n white man in the place - dancing with a heavy black woman.\n Both Jones and Abruzzo look more like criminals than cops.", "RICHIE\n You robbed him, and then you shot him,\n and I helped you get out of there. How\n many more you shot?\n (CONT)", "With the rifles still pointed at him, Richie kneels down,\n pulls the latches of the coffins, half expecting to hear an\n accompanying barrage of gunfire. He lifts the lid. Sees a\n long black body bag inside -", "Richie keeps watching as the NY cops arrest no one - but\n take the dope and the money (Richie's money) - and stride\n out as abruptly as they appeared, like bandits. As they\n come past Richie -", "Three of the four cops laugh. It's an affable gang of\n thieves. The one who doesn't laugh hangs back as the others\n start off. He examines Richie's New Jersey ID.", "Armed with the sledgehammer, Richie and his partner - Javy \n Rivera - come past a seedy motel office where a TV shows \n another report about Bumpy Johnson.", "Richie, disgusted with him, lets go of him. Rivera is \n embarrassed, almost crying, pleading -", "Richie's in serious trouble and knows it. As does Toback.", "Richie comes into the darkened bedroom leading with his\n pistol. But Teddy's gone. He sees a tapestry of a tiger on", "RICHIE\n I know he's fucking dead. Bandage his\n head, clean him up, put him on a gurney\n and prop it up so he's sitting. And open\n his eyes.", "Richie sees it in slow motion: the hands reaching out to\n Frank, the pats on his back, lipsticked mouths of beautiful\n women offering kisses and words of encouragement, his old\n mother giving him a hug.", "Richie's glance to Rivera says, You're right, we're fucked. \n\n31 INT/EXT. NEWARK POLICE STATION - PRE-DAWN 31", "The words aren't out of his mouth before Richie shoves him \n up against a car. \n\n RICHIE\n You robbed him, didn't you.", "LAURIE\n I'm thinking - Richie - of him!\n\n RICHIE\n Goddamn it -", "Richie's staring into the trunk like there's a body inside.\n Rivera comes over, takes a look, sees it's money: stacks of", "TONY\n Old friends like me.\n\n Richie feels horrible doing this. Silence. Then:", "Richie isn't really listening. Strides past his detectives\n on his way out of the building. To Spearman -\n TOBACK\n It's over. You're shut down." ], [ "Five naked women at work tables, their faces veiled by\n surgical masks, cutting heroin with lactose and quinine in a\n precise mixture of controlled purity. The Lucas brothers", "And we see: Several brick-like packages of No. 4 heroin\n wrapped in paper marked with Chinese writing, stamped with", "He removes one tablespoon of heroin from each of the\n baggies, and the now-almost-heroin-free powder is mixed", "Six kilos of heroin are illuminated by the trunk light.\n Frank and Trupo regard it in silence. Then -\n\n TRUPO\n Now what are we gonna do about this?", "Trupo reaches into the trunk, picks up two of the heroin\n bricks, tucks them under his arm and looks at Frank -\n\n (CONT)", "Trupo snaps the suitcase open revealing five half-kilo bags\n of uncut heroin in clear plastic bags. The other cops pull", "pure No. 4 heroin into United States.", "RICHIE\n But it's not even Frank Lucas I want. I\n want to know who he's working for: Which\n Italians are bringing the heroin in.", "Hands peel back the distinctive black and green \"evidence\"\n tape on the clear plastic bags. Dump the heroin into twenty", "Pharmaceutical scales balance to their counterweights as\n the five naked, masked women cut the heroin with quinine to\n Frank's exacting standards. Red Top puts on some coffee.", "Frank's cutter and sometimes-girlfriend, Red Top - sets a\n couple of packets of heroin in front of the servicemen.", "RICHIE\n Heroin, cocaine, amphetamines. No\n grass under a thousand pounds. Less than \n that, someone else can waste their time.", "RICHIE\n Frank Lucas.\n\n No one in the room, except Richie and Toback, has ever\n heard the name. The federal men regard one another blankly.", "Mules are loaded up with burlap bags containing 3,000 kilos\n of heroin.", "of Double UO Globe heroin. As they take them out, a gospel\n choir begins and continues over:", "The suitcase and \"heroin,\" and some weapons and money, have\n been arranged on an evidence table with the care of a Macy's", "RICHIE\n I believe Frank Lucas is above the mafia\n in the dope business. I believe he buys", "The courtroom doors swing open and Richie sees Frank Lucas,\n in a tailored suit, escorted in without cuffs by an amiable- \n looking federal marshal.", "RICHIE V/O\n His name is Frank Lucas ...\n\n170 INT. NARCOTICS SQUAD HQ - NEWARK - DAY 170", "JONES\n Stuff's ten percent pure. Strong\n enough to smoke for all those suburban\n white kids afraid of needles." ], [ "MRS. LUCAS\n It's perfect.\n (looks at the room)\n It's all perfect.\n (she looks at him)\n I'm so proud of you.", "MRS. LUCAS\n Is this her? Oh, she's beautiful,\n Frank. Look at her. She's an angel\n come down from heaven.", "MRS. LUCAS\n Sit down.\n\n He sits. She studies him in a way she hasn't since he was\n little. Eventually -", "Mrs. Lucas embraces Ana like family.\n\n105 OMIT 105 OMIT", "Downstairs, Mama Lucas puts washcloth on Ana's swollen\n cheek. They can hear the search continuing upstairs: things\n being ripped from the walls, the walls themselves splintered", "He comes down the stairs to where Doc waits. As they head\n for the door -\n\n MRS. LUCAS\n Frankie -", "Frank emerges from the church, kisses his mother and Ana and\n put them in a car with a driver. He climbs into Doc's", "Richie focuses on the Chincilla's date, a stunning girl, a\n beauty queen, then shifts back to her boyfriend who's now\n shaking the proffered hands of other Italians, then Don", "As an appraiser writes up an estimate, Richie observes\n Teddy, attending to paperwork inside.\n\n RICHIE V/O\n And Teddy Lucas, in Bergen County.", "The house is alive with the noise of family and scent of\n home-cooked food as the extended Lucas clan - there's more\n than twenty of them - sits around a big dining room table", "Ana's family and friends on one side of the aisle, the\n extended Lucas family - on the other. Frank's mother looks\n at her eldest son at the altar with pride.", "MRS. LUCAS\n I never asked you where all this came\n from because I didn't want to hear you\n lie to me. Don't lie to me. Don't do\n that, too.", "Another Lucas brother examines a lamp with a frayed cord\n brought in by Jones.\n\n RICHIE V/O\n Earl Lucas in Newark -", "Mrs. Lucas is in awe of the splendor of the bedroom and its\n furnishings. It's unlike anything she's used ever seen -", "Jimmy Racine comes in - sees Trupo - and leaves - but not\n before Trupo has seen him. And now he sees the Lucas Table", "Frank sees the car again, coming around the corner, walks\n briskly back to where Ana waits. The car is almost upon\n them as he grabs her by the wrist and pulls her hard along\n the sidewalk. The car guns its engine -", "Ana smiles like she knows better. Any second now, like\n every other guy she's ever met, she's sure he'll try to take\n her upstairs.", "He opens the door for her like a perfect gentleman, slides\n in after her.\n\n103 EXT. MAMA LUCAS'S TEANECK, N.J. HOUSE - DAY 103", "Frank doesn't carry Ana across the threshold. He strides in\n leaving her at the front door, throws a match in the gas\n fireplace, comes back from the bedroom a moment later with", "Silence. Sheila looks at him, but he's looking at Laurie,\n and speaks to her like they're alone in the room:" ], [ "RICHIE\n I believe Frank Lucas is above the mafia\n in the dope business. I believe he buys", "Pre-fight. Richie, blended in with the a group of press\n photographers, regards the organized crime figures ringside.\n He takes a few pictures with the long lens camera as -", "Lou Toback looks from a surveillance photo of the wedding\n party in his hands, to Richie's Table of Organization: The\n Lucas brothers and cousins - in the streets of New York and\n New Jersey, arranged in some imagined hierarchy.", "Another Lucas brother examines a lamp with a frayed cord\n brought in by Jones.\n\n RICHIE V/O\n Earl Lucas in Newark -", "TONY \n I had to. I had no choice. Neither do \n you. Leave Frank Lucas alone.", "He comes down the stairs to where Doc waits. As they head\n for the door -\n\n MRS. LUCAS\n Frankie -", "RICHIE\n Frank Lucas.\n\n No one in the room, except Richie and Toback, has ever\n heard the name. The federal men regard one another blankly.", "US ATTORNEY\n Who? Who's Frank Lucas?\n (no one seems to know)\n Who's he work for? Which family?", "Before the last word is out of Tango's mouth, Frank's got a\n gun pressed against his forehead. Silence. Everyone backs", "The courtroom doors swing open and Richie sees Frank Lucas,\n in a tailored suit, escorted in without cuffs by an amiable- \n looking federal marshal.", "RICHIE\n They sell dope for the Mazzano crime \n family. Which you all but put out of\n business.", "From around a corner, striding toward him, come four men\n looking like Gestapo thugs in leather coats, manicured hair -\n the Princes of the City. Richie detours into an alley as\n they enter the restaurant.", "Across the river, Richie, Rivera and Campizi sit in the car \n parked across from a closed social club. A man carrying a\n grocery bag comes out and Campizi ducks lower in the seat.", "RICHIE\n Won't get any informants. Not inside.\n It's like a Sicilian family. Like he's\n structured his own family the same way to\n protect himself.", "RICHIE\n But it's not even Frank Lucas I want. I\n want to know who he's working for: Which\n Italians are bringing the heroin in.", "FRANK\n Bullshit.\n\n RICHIE\n Is it? Tony the Bug. Benny Two-Socks.\n Carmine Camanetti.", "He holds out a business envelope fat with money. Nate\n hesitates, knowing Frank has just said he'll kill him if\n things don't go right, then takes it.", "As Frank moves through the gallery, Richie sees it's full of\n the gangster's friends, many of them celebrities, who smile\n and greet and fawn as if the Pope has arrived.", "Jimmy Racine comes in - sees Trupo - and leaves - but not\n before Trupo has seen him. And now he sees the Lucas Table", "TRUPO\n Jesus. What the fuck you doing here?\n You actually going to arrest Frank Lucas?\n What's the matter with you?" ], [ "Another Lucas brother examines a lamp with a frayed cord\n brought in by Jones.\n\n RICHIE V/O\n Earl Lucas in Newark -", "As Richie and his detectives climb into their cars, two \n Lucas cars fold in behind the laundry truck. The detectives \n follow at a distance -", "Cuffed, Earl Lucas is put in the back of a patrol car.\n\n341 EXT. CEMETERY - CONTINUED - DAY 341", "He comes down the stairs to where Doc waits. As they head\n for the door -\n\n MRS. LUCAS\n Frankie -", "Jimmy Racine comes in - sees Trupo - and leaves - but not\n before Trupo has seen him. And now he sees the Lucas Table", "Downstairs, Mama Lucas puts washcloth on Ana's swollen\n cheek. They can hear the search continuing upstairs: things\n being ripped from the walls, the walls themselves splintered", "Tosca - hands another to Frank. As Frank sets to shoot, Ana\n can seen behind them, with Tosca's wife in the opulent\n house, looking uncomfortable.", "The house is alive with the noise of family and scent of\n home-cooked food as the extended Lucas clan - there's more\n than twenty of them - sits around a big dining room table", "The room explodes with a boom and the detective crumples to\n the floor, clutching at his leg, blood running through his\n fingers onto the carpet. Frank stares.", "parked outside the garage. They'll probably be shot for\n trespassing.\n The front door opens and Frank comes out, trailed by his", "Lou Toback looks from a surveillance photo of the wedding\n party in his hands, to Richie's Table of Organization: The\n Lucas brothers and cousins - in the streets of New York and\n New Jersey, arranged in some imagined hierarchy.", "But even they know you don't shoot\n cops. Even I know that. Ana knows it.\n You seem to be the only one who doesn't.", "Richie sees a young Italian with tatoos - the only other\n white man in the place - dancing with a heavy black woman.\n Both Jones and Abruzzo look more like criminals than cops.", "in, guns drawn. They rough everybody up, get some down on\n the floor. One detective gathers the money and stuffs it in\n a bag. Another gathers the dope. The mechanic tries to", "Frank pulls the trigger and the big man falls back like\n someone hit with a board. Frank stands over him and empties\n the gun in his chest, the shots echoing down the street.", "can find a witness saw you shoot your\n girlfriend. It just took me a while. I\n even know what he'll look like. He'll", "As they dive to their knees to do what they're told, Laurie\n walks away with her son, who looks back over his shoulder at\n his father with his gun out.", "The door splinters - the room already in chaos - Teddy,\n panicked, runs for the bedroom - the detectives crash in", "337 INT/EXT. DRY CLEANERS - DAY 337\n\n Police cars outside. Eugene Lucas is cuffed and led away.", "Doc draws his two guns and fires back at the car, hitting\n it a couple times as it screeches off. He gathers Ana and" ], [ "Five naked women at work tables, their faces veiled by\n surgical masks, cutting heroin with lactose and quinine in a\n precise mixture of controlled purity. The Lucas brothers", "in, guns drawn. They rough everybody up, get some down on\n the floor. One detective gathers the money and stuffs it in\n a bag. Another gathers the dope. The mechanic tries to", "The door rips from its hinges and the detectives crash in.\n The wise guy - Campizi - hurries for the bathroom, slams the", "Trupo snaps the suitcase open revealing five half-kilo bags\n of uncut heroin in clear plastic bags. The other cops pull", "Six kilos of heroin are illuminated by the trunk light.\n Frank and Trupo regard it in silence. Then -\n\n TRUPO\n Now what are we gonna do about this?", "Hands peel back the distinctive black and green \"evidence\"\n tape on the clear plastic bags. Dump the heroin into twenty", "The room explodes with a boom and the detective crumples to\n the floor, clutching at his leg, blood running through his\n fingers onto the carpet. Frank stares.", "RICHIE V/O\n His name is Frank Lucas ...\n\n170 INT. NARCOTICS SQUAD HQ - NEWARK - DAY 170", "The courtroom doors swing open and Richie sees Frank Lucas,\n in a tailored suit, escorted in without cuffs by an amiable- \n looking federal marshal.", "As Richie and his detectives climb into their cars, two \n Lucas cars fold in behind the laundry truck. The detectives \n follow at a distance -", "Pharmaceutical scales balance to their counterweights as\n the five naked, masked women cut the heroin with quinine to\n Frank's exacting standards. Red Top puts on some coffee.", "The door splinters - the room already in chaos - Teddy,\n panicked, runs for the bedroom - the detectives crash in", "Trupo closes the trunk and walks away with his cut of the\n heroin, calling to his partner -\n\n TRUPO\n Let's go.", "Frank pulls the trigger and the big man falls back like\n someone hit with a board. Frank stands over him and empties\n the gun in his chest, the shots echoing down the street.", "As Frank pushes in past the doors with Ana, the windows\n explode. They dive to the floor, bullets ripping through\n the place.", "of Double UO Globe heroin. As they take them out, a gospel\n choir begins and continues over:", "Frank's cutter and sometimes-girlfriend, Red Top - sets a\n couple of packets of heroin in front of the servicemen.", "A cadaver drawer slides open revealing - not Tango - but\n Rivera, staring up lifeless, his arms, stomach, legs and \n toes dotted with the scabs of a longtime addict.", "Ana is taken upstairs, brought before the SIU detectives \n who wait for the NYPD cops to leave the room. The place\n has been torn apart.", "Downstairs, Mama Lucas puts washcloth on Ana's swollen\n cheek. They can hear the search continuing upstairs: things\n being ripped from the walls, the walls themselves splintered" ], [ "Richie keeps watching as the NY cops arrest no one - but\n take the dope and the money (Richie's money) - and stride\n out as abruptly as they appeared, like bandits. As they\n come past Richie -", "Legend: Frank Lucas was convicted of Conspiracy to\n Distribute Narcotics and sentenced to 70 years.\n He served 15 of them.", "Frank pulls the trigger and the big man falls back like\n someone hit with a board. Frank stands over him and empties\n the gun in his chest, the shots echoing down the street.", "Drugs on a coffee table. Body on the floor. Rivera, \n despondent, on the couch. The male paramedics, scared. \n Richie on the phone -", "The suitcase and \"heroin,\" and some weapons and money, have\n been arranged on an evidence table with the care of a Macy's", "A cadaver drawer slides open revealing - not Tango - but\n Rivera, staring up lifeless, his arms, stomach, legs and \n toes dotted with the scabs of a longtime addict.", "Legend: Six months later, he quit the Prosecutors Office\n to become a defense attorney. His first client was\n Frank Lucas.", "ROSSI V/O\n They seize it, arrest everybody,\n whack it up and sell it back to us.\n Our dope. They been living off it for\n years, these New York cops.", "in, guns drawn. They rough everybody up, get some down on\n the floor. One detective gathers the money and stuffs it in\n a bag. Another gathers the dope. The mechanic tries to", "RICHIE\n Is he dead?\n\n RIVERA V/O \n He's dead. I'm dead. They're gonna kill\n me.", "Legend: The day after he convicted Frank Lucas and 30 of\n his Country Boy relatives, Richard Roberts borrowed\n $400 from his credit union to help pay for a 3-day\n vacation to the Bahamas.", "The courtroom doors swing open and Richie sees Frank Lucas,\n in a tailored suit, escorted in without cuffs by an amiable- \n looking federal marshal.", "Sitting off by himself in Bumpy's elegant garden apartment,\n heretofore his private sanctuary, Frank surveys the mourners\n circling the place like vultures:", "He removes one tablespoon of heroin from each of the\n baggies, and the now-almost-heroin-free powder is mixed", "A single, half-empty packet of heroin, the same one from the\n morgue, in distinctive blue cellophane, tacked to a bulletin\n board. Richie, perched on a desk in front of it.", "even one junkie from dying? Because you\n won't. If it isn't me, it'll be someone\n else. With me or without me, nothing's", "FRANK\n A lot of things. He had a lot of\n friends. He served New York and it\n served him.\n\n ANA\n What was he to you?", "Frank's cutter and sometimes-girlfriend, Red Top - sets a\n couple of packets of heroin in front of the servicemen.", "but contempt and fear, like Rivera predicted. Neither will \n ever be trusted again. He climbs into his car, drives off.", "Richie and Toback sit before the Federal Attorneys and\n customs agents. The US Attorney hangs up a phone ... then:" ], [ "Legend: Frank Lucas was convicted of Conspiracy to\n Distribute Narcotics and sentenced to 70 years.\n He served 15 of them.", "Legend: The day after he convicted Frank Lucas and 30 of\n his Country Boy relatives, Richard Roberts borrowed\n $400 from his credit union to help pay for a 3-day\n vacation to the Bahamas.", "Cuffed, Earl Lucas is put in the back of a patrol car.\n\n341 EXT. CEMETERY - CONTINUED - DAY 341", "Richie dismantles the Lucas Table of Organization here,\n taking down the photographs. As it collapses -\n\n346 INT. COUNTY JAIL CELL - CONTINUED 346", "He comes down the stairs to where Doc waits. As they head\n for the door -\n\n MRS. LUCAS\n Frankie -", "The courtroom doors swing open and Richie sees Frank Lucas,\n in a tailored suit, escorted in without cuffs by an amiable- \n looking federal marshal.", "Legend: Six months later, he quit the Prosecutors Office\n to become a defense attorney. His first client was\n Frank Lucas.", "Another Lucas brother examines a lamp with a frayed cord\n brought in by Jones.\n\n RICHIE V/O\n Earl Lucas in Newark -", "125.\n \n\n\n\n\n352 INT. PRISON CELL - DAY (YEARS LATER) 352", "As an appraiser writes up an estimate, Richie observes\n Teddy, attending to paperwork inside.\n\n RICHIE V/O\n And Teddy Lucas, in Bergen County.", "MRS. LUCAS\n Sit down.\n\n He sits. She studies him in a way she hasn't since he was\n little. Eventually -", "New Jersey troopers cuff Turner Lucas and lead him away.\n\n340 EXT. ELECTRICAL SHOP - DAY 340", "Downstairs, Mama Lucas puts washcloth on Ana's swollen\n cheek. They can hear the search continuing upstairs: things\n being ripped from the walls, the walls themselves splintered", "Jimmy Racine comes in - sees Trupo - and leaves - but not\n before Trupo has seen him. And now he sees the Lucas Table", "FRANK\n I had it made. From memory.\n MRS. LUCAS\n You were five when they took it away.\n How could you remember it?", "The house is alive with the noise of family and scent of\n home-cooked food as the extended Lucas clan - there's more\n than twenty of them - sits around a big dining room table", "Frank emerges from the church, kisses his mother and Ana and\n put them in a car with a driver. He climbs into Doc's", "MRS. LUCAS\n It's perfect.\n (looks at the room)\n It's all perfect.\n (she looks at him)\n I'm so proud of you.", "173 INT. DRY CLEANERS - DAY 173\n\n A Lucas brother hands some dry cleaning to Spearman -", "Mrs. Lucas embraces Ana like family.\n\n105 OMIT 105 OMIT" ], [ "Frank pulls the trigger and the big man falls back like\n someone hit with a board. Frank stands over him and empties\n the gun in his chest, the shots echoing down the street.", "with him when he died.", "Richie arrives at the grave. Regards the monument to\n Ellsworth Johnson, and Frank sitting calmly regarding him.\n Richie glances around the peaceful surroundings ...", "Bumpy Johnson, an elderly but still sturdy black man,\n elegantly dressed - cashmere overcoat, gloves, Homburg -", "As the guy stands, pumping the shotgun, Spearman yanks it\n hard against his throat like a garrote, forcing him to the", "The room explodes with a boom and the detective crumples to\n the floor, clutching at his leg, blood running through his\n fingers onto the carpet. Frank stares.", "Sitting off by himself in Bumpy's elegant garden apartment,\n heretofore his private sanctuary, Frank surveys the mourners\n circling the place like vultures:", "He falls hard, dazed. Richie hurries through the broken \n window. Teddy comes to and fights back, until Richie breaks \n his femur with his bare hands. Teddy howls in excruciating\n pain -", "the shooting subsides, then stops altogether. Smoke from\n all the gunfire rises like mist around the half dozen Thais\n and Americans lying dead on the ground.", "but contempt and fear, like Rivera predicted. Neither will \n ever be trusted again. He climbs into his car, drives off.", "Bumpy stops before a display of cameras and stares in.\n They're all pointed at him as a pain grips his chest and he\n sinks to his knees. Frank kneels down.", "The door splinters - the room already in chaos - Teddy,\n panicked, runs for the bedroom - the detectives crash in", "A cadaver drawer slides open revealing - not Tango - but\n Rivera, staring up lifeless, his arms, stomach, legs and \n toes dotted with the scabs of a longtime addict.", "alone. His mother watches, wondering perhaps if he intends\n to go kill Trupo after all. As Doc's car leaves, so does\n another.", "With the rifles still pointed at him, Richie kneels down,\n pulls the latches of the coffins, half expecting to hear an\n accompanying barrage of gunfire. He lifts the lid. Sees a\n long black body bag inside -", "As Richie flings the subpoena in, the door slams on his \n hand. He wails in agony, tries to shoulder it open, hears", "As they dive to their knees to do what they're told, Laurie\n walks away with her son, who looks back over his shoulder at\n his father with his gun out.", "even one junkie from dying? Because you\n won't. If it isn't me, it'll be someone\n else. With me or without me, nothing's", "The people step back when they see the victim on the gurney:\n tubes in his nostrils, IV in his arm, eyes open. Before they", "Jones nudges Abruzzo to pay attention. Abruzzo elbows him\n back. Richie just waits like a teacher for their attention." ], [ "He comes down the stairs to where Doc waits. As they head\n for the door -\n\n MRS. LUCAS\n Frankie -", "Jimmy Racine comes in - sees Trupo - and leaves - but not\n before Trupo has seen him. And now he sees the Lucas Table", "Another Lucas brother examines a lamp with a frayed cord\n brought in by Jones.\n\n RICHIE V/O\n Earl Lucas in Newark -", "As an appraiser writes up an estimate, Richie observes\n Teddy, attending to paperwork inside.\n\n RICHIE V/O\n And Teddy Lucas, in Bergen County.", "Cuffed, Earl Lucas is put in the back of a patrol car.\n\n341 EXT. CEMETERY - CONTINUED - DAY 341", "He talks to them, returns to his car, takes a valise from\n the trunk. He snaps it open revealing stacks of cash, hands", "Downstairs, Mama Lucas puts washcloth on Ana's swollen\n cheek. They can hear the search continuing upstairs: things\n being ripped from the walls, the walls themselves splintered", "MRS. LUCAS\n Sit down.\n\n He sits. She studies him in a way she hasn't since he was\n little. Eventually -", "He holds out a business envelope fat with money. Nate\n hesitates, knowing Frank has just said he'll kill him if\n things don't go right, then takes it.", "The courtroom doors swing open and Richie sees Frank Lucas,\n in a tailored suit, escorted in without cuffs by an amiable- \n looking federal marshal.", "Richie dismantles the Lucas Table of Organization here,\n taking down the photographs. As it collapses -\n\n346 INT. COUNTY JAIL CELL - CONTINUED 346", "173 INT. DRY CLEANERS - DAY 173\n\n A Lucas brother hands some dry cleaning to Spearman -", "MRS. LUCAS\n It's perfect.\n (looks at the room)\n It's all perfect.\n (she looks at him)\n I'm so proud of you.", "10 and 20 dollar bills changing hands - decks of cash\n rubber-banded together - put into envelopes and delivered\n to the Lucas brothers, to:", "New Jersey troopers cuff Turner Lucas and lead him away.\n\n340 EXT. ELECTRICAL SHOP - DAY 340", "you complaining about. He's fine. Here -\n (peels off some money)\n Five hundred all right? Six? Look, he's", "As Richie and his detectives climb into their cars, two \n Lucas cars fold in behind the laundry truck. The detectives \n follow at a distance -", "The attorneys get up and leave. Richie takes their place.\n Frank regards him a moment, offering the same knowing smile\n from the courtroom. Richie offers nothing.", "Jones nudges Abruzzo to pay attention. Abruzzo elbows him\n back. Richie just waits like a teacher for their attention.", "As a police captain counts the stacks of money, Lou Toback,\n Richie's superior from the prosecutors office, walks in, his" ], [ "Richie keeps watching as the NY cops arrest no one - but\n take the dope and the money (Richie's money) - and stride\n out as abruptly as they appeared, like bandits. As they\n come past Richie -", "in, guns drawn. They rough everybody up, get some down on\n the floor. One detective gathers the money and stuffs it in\n a bag. Another gathers the dope. The mechanic tries to", "Richie and Toback sit before the Federal Attorneys and\n customs agents. The US Attorney hangs up a phone ... then:", "108 INT. NARCOTICS SQUAD HQ - NEWARK - LATER - DAY 108\n\n Richie and the others watch Jones tests the heroin.", "353 INT. NARCOTICS SQUAD HQ - NEWARK - DAY 353\n\n Richie, too, is packing, putting personal items into boxes.", "194 INT. NARCOTICS SQUAD HQ - NEWARK - CONTINUED 194", "Richie shows them his Bureau of Narcotics ID.", "179 INT. NARCOTICS SQUAD HQ - NEWARK - CONTINUED 179", "172 INT. NARCOTICS SQUAD HQ - NEWARK - CONTINUED 172", "188 OMIT 188 OMIT\n\n189 INT. NARCOTICS SQUAD HQ - NEWARK - CONTINUED 189", "184 INT. NARCOTICS SQUAD HQ - NEWARK - CONTINUED 184", "192 INT. NARCOTICS SQUAD HQ - NEWARK - CONTINUED 192", "198 INT. NARCOTICS SQUAD HQ - NEWARK - CONTINUED 198", "186 INT. NARCOTICS SQUAD HQ - NEWARK - CONTINUED 186", "Surveillance photographs of cops seen earlier taking\n envelopes of money on 116th Street and other drops go up\n on a new, elaborate Table of Organization - of cops.", "75.\n \n\n\n\n\n196 INT. NARCOTICS SQUAD HQ - NEWARK - CONTINUED 196", "149 INT. NARCOTICS SQUAD HQ - NEWARK - LATER - NIGHT 149 \n\n It's very late. Richie and Toback are alone. Eventually -", "Ana is taken upstairs, brought before the SIU detectives \n who wait for the NYPD cops to leave the room. The place\n has been torn apart.", "RICHIE\n I was promised when I took this job, it\n was about real arrests.\n\n US ATTORNEY\n Does that mean `none?'", "The suitcase and \"heroin,\" and some weapons and money, have\n been arranged on an evidence table with the care of a Macy's" ], [ "He comes down the stairs to where Doc waits. As they head\n for the door -\n\n MRS. LUCAS\n Frankie -", "MRS. LUCAS\n Sit down.\n\n He sits. She studies him in a way she hasn't since he was\n little. Eventually -", "Downstairs, Mama Lucas puts washcloth on Ana's swollen\n cheek. They can hear the search continuing upstairs: things\n being ripped from the walls, the walls themselves splintered", "As an appraiser writes up an estimate, Richie observes\n Teddy, attending to paperwork inside.\n\n RICHIE V/O\n And Teddy Lucas, in Bergen County.", "The house is alive with the noise of family and scent of\n home-cooked food as the extended Lucas clan - there's more\n than twenty of them - sits around a big dining room table", "Another Lucas brother examines a lamp with a frayed cord\n brought in by Jones.\n\n RICHIE V/O\n Earl Lucas in Newark -", "Jimmy Racine comes in - sees Trupo - and leaves - but not\n before Trupo has seen him. And now he sees the Lucas Table", "Mrs. Lucas embraces Ana like family.\n\n105 OMIT 105 OMIT", "MRS. LUCAS\n It's perfect.\n (looks at the room)\n It's all perfect.\n (she looks at him)\n I'm so proud of you.", "Richie slowly lifts himself from his chair, steps forward, \n turns to look at the jury that's studying him, finally finds \n his voice:", "Cuffed, Earl Lucas is put in the back of a patrol car.\n\n341 EXT. CEMETERY - CONTINUED - DAY 341", "Ana's family and friends on one side of the aisle, the\n extended Lucas family - on the other. Frank's mother looks\n at her eldest son at the altar with pride.", "They step back. Consider one other. Spearman volunteers\n with a nod, continues on alone as the others wait. He walks\n up to the guys with the guns.", "Then it's quiet again. Everyone's still looking him, but\n Frank doesn't run. Instead, he calmly reaches into Tango's", "Legend: Six months later, he quit the Prosecutors Office\n to become a defense attorney. His first client was\n Frank Lucas.", "Jones nudges Abruzzo to pay attention. Abruzzo elbows him\n back. Richie just waits like a teacher for their attention.", "Richie dismantles the Lucas Table of Organization here,\n taking down the photographs. As it collapses -\n\n346 INT. COUNTY JAIL CELL - CONTINUED 346", "The courtroom doors swing open and Richie sees Frank Lucas,\n in a tailored suit, escorted in without cuffs by an amiable- \n looking federal marshal.", "The attorneys get up and leave. Richie takes their place.\n Frank regards him a moment, offering the same knowing smile\n from the courtroom. Richie offers nothing.", "173 INT. DRY CLEANERS - DAY 173\n\n A Lucas brother hands some dry cleaning to Spearman -" ], [ "Legend: Frank Lucas was convicted of Conspiracy to\n Distribute Narcotics and sentenced to 70 years.\n He served 15 of them.", "He comes down the stairs to where Doc waits. As they head\n for the door -\n\n MRS. LUCAS\n Frankie -", "Jimmy Racine comes in - sees Trupo - and leaves - but not\n before Trupo has seen him. And now he sees the Lucas Table", "MRS. LUCAS\n Sit down.\n\n He sits. She studies him in a way she hasn't since he was\n little. Eventually -", "Cuffed, Earl Lucas is put in the back of a patrol car.\n\n341 EXT. CEMETERY - CONTINUED - DAY 341", "Richie dismantles the Lucas Table of Organization here,\n taking down the photographs. As it collapses -\n\n346 INT. COUNTY JAIL CELL - CONTINUED 346", "Downstairs, Mama Lucas puts washcloth on Ana's swollen\n cheek. They can hear the search continuing upstairs: things\n being ripped from the walls, the walls themselves splintered", "Another Lucas brother examines a lamp with a frayed cord\n brought in by Jones.\n\n RICHIE V/O\n Earl Lucas in Newark -", "New Jersey troopers cuff Turner Lucas and lead him away.\n\n340 EXT. ELECTRICAL SHOP - DAY 340", "Legend: The day after he convicted Frank Lucas and 30 of\n his Country Boy relatives, Richard Roberts borrowed\n $400 from his credit union to help pay for a 3-day\n vacation to the Bahamas.", "As an appraiser writes up an estimate, Richie observes\n Teddy, attending to paperwork inside.\n\n RICHIE V/O\n And Teddy Lucas, in Bergen County.", "The courtroom doors swing open and Richie sees Frank Lucas,\n in a tailored suit, escorted in without cuffs by an amiable- \n looking federal marshal.", "MRS. LUCAS\n It's perfect.\n (looks at the room)\n It's all perfect.\n (she looks at him)\n I'm so proud of you.", "Legend: Six months later, he quit the Prosecutors Office\n to become a defense attorney. His first client was\n Frank Lucas.", "He knows you had to sit here listening to\n something like this. And then you beat\n an attempted murder? Is he stupid?\n He'll assume you talked.", "Richie slowly lifts himself from his chair, steps forward, \n turns to look at the jury that's studying him, finally finds \n his voice:", "The house is alive with the noise of family and scent of\n home-cooked food as the extended Lucas clan - there's more\n than twenty of them - sits around a big dining room table", "FRANK\n I had it made. From memory.\n MRS. LUCAS\n You were five when they took it away.\n How could you remember it?", "As Richie and his detectives climb into their cars, two \n Lucas cars fold in behind the laundry truck. The detectives \n follow at a distance -", "Frank emerges from the church, kisses his mother and Ana and\n put them in a car with a driver. He climbs into Doc's" ], [ "Frank pulls the trigger and the big man falls back like\n someone hit with a board. Frank stands over him and empties\n the gun in his chest, the shots echoing down the street.", "Sitting off by himself in Bumpy's elegant garden apartment,\n heretofore his private sanctuary, Frank surveys the mourners\n circling the place like vultures:", "As they dive to their knees to do what they're told, Laurie\n walks away with her son, who looks back over his shoulder at\n his father with his gun out.", "Drugs on a coffee table. Body on the floor. Rivera, \n despondent, on the couch. The male paramedics, scared. \n Richie on the phone -", "RICHIE\n Is he dead?\n\n RIVERA V/O \n He's dead. I'm dead. They're gonna kill\n me.", "TONY\n Old friends like me.\n\n Richie feels horrible doing this. Silence. Then:", "alone. His mother watches, wondering perhaps if he intends\n to go kill Trupo after all. As Doc's car leaves, so does\n another.", "Richie, disgusted with him, lets go of him. Rivera is \n embarrassed, almost crying, pleading -", "but contempt and fear, like Rivera predicted. Neither will \n ever be trusted again. He climbs into his car, drives off.", "They step back. Consider one other. Spearman volunteers\n with a nod, continues on alone as the others wait. He walks\n up to the guys with the guns.", "She smiles and leaves. Frank pours some sugar in his\n coffee. Someone taps on the window and he looks up, sees\n two servicemen - one in uniform - one he recognizes.", "Frank emerges from the church, kisses his mother and Ana and\n put them in a car with a driver. He climbs into Doc's", "even one junkie from dying? Because you\n won't. If it isn't me, it'll be someone\n else. With me or without me, nothing's", "Before the last word is out of Tango's mouth, Frank's got a\n gun pressed against his forehead. Silence. Everyone backs", "the shooting subsides, then stops altogether. Smoke from\n all the gunfire rises like mist around the half dozen Thais\n and Americans lying dead on the ground.", "A cadaver drawer slides open revealing - not Tango - but\n Rivera, staring up lifeless, his arms, stomach, legs and \n toes dotted with the scabs of a longtime addict.", "RICHIE\n You're right. This is no place for him.\n Around me. Take him. The further away\n the better. For him.", "The girls gather their things and leave. Frank wipes at a\n modern leather chair with his handkerchief, throws it away,", "Ana looks vulnerable. Frank almost feels bad that it's his\n life and problems that have put them here. Eventually, to\n try to turn it around -", "Reaching the end of the welcoming line finally, Frank \n brushes by Richie and disappears from view somewhere within" ], [ "RICHIE\n It's got to be `Blue Magic.'", "FRANK\n I have to insist. You call it Blue\n Magic, that's misrepresentation.", "FRANK (CONT'D)\n Not a fuckin Datsun.\n (his look says, right?)\n Blue Magic is a brand name; as much a", "RICHIE\n It's where this dope is coming from. \n Blue Magic. Out of New York. What am\n I supposed to do, ignore it?", "FRANK\n Nobody owns me. Because I own my\n company.\n\n INTERCUT: Feminine hands stamp small packets of blue\n cellophane with the words `Blue Magic' -", "84.\n \n219 CONTINUED: 219\n\n\n JACKIE\n Pink Magic. Black Magic -", "FRANK\n Whack it down to nothing, tie a bow\n around it and call it Blue Dogshit if you\n want, just don't let me catch you doing\n this again.", "TONY\n What.\n\n RICHIE\n You don't have to talk about it, you\n don't want. What do you hear about Blue\n Magic? Anything?", "A single, half-empty packet of heroin, the same one from the\n morgue, in distinctive blue cellophane, tacked to a bulletin\n board. Richie, perched on a desk in front of it.", "(CONT)", "(CONT)", "(CONT)", "JACKIE\n Fine. I'll call it Red Magic, even\n though it doesn't sound as good.", "Blue the way it is. No one does. At a\n certain point it's just greed.", "TONY \n It's a scientific force like atomic \n energy. It rearranges the molecules.", "Stitched-up, black and blue hands dump a can of soup in a\n pot, put it on the stove.", "FRANK\n Because I don't have to.\n\n He smiles, and it's hard to tell which is more enchanted\n with the other.", "empty packet of heroin in blue cellophane. Richie takes the\n blue cellophane from the bag and, as the drawer closes\n entombing Sanders, holds it in his hand ...", "MECHANIC\n Yeah, yeah, it's `Blue.' You can pick\n it up here tomorrow. Where's the rest of\n the money?", "The laundry truck comes past a guard gate, leaves the base,\n drives past a stand of trees. As it passes, Richie, parked" ], [ "MRS. LUCAS\n It's perfect.\n (looks at the room)\n It's all perfect.\n (she looks at him)\n I'm so proud of you.", "MRS. LUCAS\n Is this her? Oh, she's beautiful,\n Frank. Look at her. She's an angel\n come down from heaven.", "MRS. LUCAS\n Sit down.\n\n He sits. She studies him in a way she hasn't since he was\n little. Eventually -", "Mrs. Lucas embraces Ana like family.\n\n105 OMIT 105 OMIT", "Downstairs, Mama Lucas puts washcloth on Ana's swollen\n cheek. They can hear the search continuing upstairs: things\n being ripped from the walls, the walls themselves splintered", "He comes down the stairs to where Doc waits. As they head\n for the door -\n\n MRS. LUCAS\n Frankie -", "Frank emerges from the church, kisses his mother and Ana and\n put them in a car with a driver. He climbs into Doc's", "Richie focuses on the Chincilla's date, a stunning girl, a\n beauty queen, then shifts back to her boyfriend who's now\n shaking the proffered hands of other Italians, then Don", "As an appraiser writes up an estimate, Richie observes\n Teddy, attending to paperwork inside.\n\n RICHIE V/O\n And Teddy Lucas, in Bergen County.", "The house is alive with the noise of family and scent of\n home-cooked food as the extended Lucas clan - there's more\n than twenty of them - sits around a big dining room table", "Ana's family and friends on one side of the aisle, the\n extended Lucas family - on the other. Frank's mother looks\n at her eldest son at the altar with pride.", "MRS. LUCAS\n I never asked you where all this came\n from because I didn't want to hear you\n lie to me. Don't lie to me. Don't do\n that, too.", "Another Lucas brother examines a lamp with a frayed cord\n brought in by Jones.\n\n RICHIE V/O\n Earl Lucas in Newark -", "Mrs. Lucas is in awe of the splendor of the bedroom and its\n furnishings. It's unlike anything she's used ever seen -", "Jimmy Racine comes in - sees Trupo - and leaves - but not\n before Trupo has seen him. And now he sees the Lucas Table", "Frank sees the car again, coming around the corner, walks\n briskly back to where Ana waits. The car is almost upon\n them as he grabs her by the wrist and pulls her hard along\n the sidewalk. The car guns its engine -", "Ana smiles like she knows better. Any second now, like\n every other guy she's ever met, she's sure he'll try to take\n her upstairs.", "He opens the door for her like a perfect gentleman, slides\n in after her.\n\n103 EXT. MAMA LUCAS'S TEANECK, N.J. HOUSE - DAY 103", "Frank doesn't carry Ana across the threshold. He strides in\n leaving her at the front door, throws a match in the gas\n fireplace, comes back from the bedroom a moment later with", "Silence. Sheila looks at him, but he's looking at Laurie,\n and speaks to her like they're alone in the room:" ], [ "RICHIE\n It's got to be `Blue Magic.'", "RICHIE\n It's where this dope is coming from. \n Blue Magic. Out of New York. What am\n I supposed to do, ignore it?", "FRANK (CONT'D)\n Not a fuckin Datsun.\n (his look says, right?)\n Blue Magic is a brand name; as much a", "FRANK\n Nobody owns me. Because I own my\n company.\n\n INTERCUT: Feminine hands stamp small packets of blue\n cellophane with the words `Blue Magic' -", "FRANK\n I have to insist. You call it Blue\n Magic, that's misrepresentation.", "84.\n \n219 CONTINUED: 219\n\n\n JACKIE\n Pink Magic. Black Magic -", "FRANK\n This is where I'm from. This is where\n my family is. My business. My mother.\n This is my place. This is my country.\n This is America.", "(CONT)", "(CONT)", "(CONT)", "She pulls a drawer open. Takes out their passports.\n Begins packing. The brothers watch, not sure what to do,\n or say. To them -", "The same farm and hut as before. Frank and the Chinese\n General sip tea. The four million dollars in cash Frank\n brought sits on the table.", "Frank doesn't say. It feels unseemly to him to be talking\n about money here. He watches Tango carelessly set a watery\n glass of ice on an antique inlaid chess table.", "Sitting off by himself in Bumpy's elegant garden apartment,\n heretofore his private sanctuary, Frank surveys the mourners\n circling the place like vultures:", "A single, half-empty packet of heroin, the same one from the\n morgue, in distinctive blue cellophane, tacked to a bulletin\n board. Richie, perched on a desk in front of it.", "Jackie glides into the club with his magazines and\n entourage. Frank watches him make the rounds, lingering at\n Miss Puerto Rico's table and holding her hand longer than he", "The brothers can't help but notice the storekeepers who wave\n to Frank, the women who smile, the men who step out of his\n path like there's a red carpet under his polished shoes.", "Stitched-up, black and blue hands dump a can of soup in a\n pot, put it on the stove.", "FRANK\n Whack it down to nothing, tie a bow\n around it and call it Blue Dogshit if you\n want, just don't let me catch you doing\n this again.", "Richie and the Amigos observe a buy from a parked car, the\n blue cellophane changing hands. Ignoring the buyer as he\n walks away, they keep watching the seller." ], [ "As an appraiser writes up an estimate, Richie observes\n Teddy, attending to paperwork inside.\n\n RICHIE V/O\n And Teddy Lucas, in Bergen County.", "Jimmy Racine comes in - sees Trupo - and leaves - but not\n before Trupo has seen him. And now he sees the Lucas Table", "Another Lucas brother examines a lamp with a frayed cord\n brought in by Jones.\n\n RICHIE V/O\n Earl Lucas in Newark -", "The house is alive with the noise of family and scent of\n home-cooked food as the extended Lucas clan - there's more\n than twenty of them - sits around a big dining room table", "He comes down the stairs to where Doc waits. As they head\n for the door -\n\n MRS. LUCAS\n Frankie -", "MRS. LUCAS\n Sit down.\n\n He sits. She studies him in a way she hasn't since he was\n little. Eventually -", "Jones nudges Abruzzo to pay attention. Abruzzo elbows him\n back. Richie just waits like a teacher for their attention.", "Another brother is photographed by Spearman from a parked\n car as he changes tires on a car up on a hoist.\n\n RICHIE V/O\n Turner Lucas, the Bronx -", "Downstairs, Mama Lucas puts washcloth on Ana's swollen\n cheek. They can hear the search continuing upstairs: things\n being ripped from the walls, the walls themselves splintered", "As Richie and his detectives climb into their cars, two \n Lucas cars fold in behind the laundry truck. The detectives \n follow at a distance -", "Louis acknowledges Richie only slightly more than not at \n all. Turns away to join his friends. Richie watches after \n him, stung by Louis's disregard.", "Cuffed, Earl Lucas is put in the back of a patrol car.\n\n341 EXT. CEMETERY - CONTINUED - DAY 341", "Ana's family and friends on one side of the aisle, the\n extended Lucas family - on the other. Frank's mother looks\n at her eldest son at the altar with pride.", "A laundry truck idles. Stevie, the Lucas nephew who could\n have played for Yankees, jumps down, helps the two privates\n toss several laundry bags into the back of the truck.", "173 INT. DRY CLEANERS - DAY 173\n\n A Lucas brother hands some dry cleaning to Spearman -", "MRS. LUCAS\n It's perfect.\n (looks at the room)\n It's all perfect.\n (she looks at him)\n I'm so proud of you.", "wagon, hoisting those that won't fit inside onto a roof\n rack. Two Lucas brothers tie them down with twine.", "337 INT/EXT. DRY CLEANERS - DAY 337\n\n Police cars outside. Eugene Lucas is cuffed and led away.", "Flashbulbs pop throughout the arena as Robert Goulet\n begins the National Anthem. Ali pointedly doesn't sing\n along. Richie frames the shadowy figure in the chinchilla", "Richie focuses on the Chincilla's date, a stunning girl, a\n beauty queen, then shifts back to her boyfriend who's now\n shaking the proffered hands of other Italians, then Don" ] ]

[ "What is Blue Magic?", "What does Lucas do for his family as his business grows?", "How many years in prison is Lucas sentenced to?", "How many years in jail does Lucas serve?", "What does Roberts offer Lucas in exchange for a shorter sentence?", "Why is Lucas noticed at the Fight Of The Century?", "What cuts off Lucas's supply of herion?", "How does Lucas get the herion into the country?", "How does Lucas's dog die?", "What is the name of Ellsworth Bumpy Johnson's right hand man?", "How did Bumpy die?", "How does Richie Robert's partner die?", "What is the name of the potent heroin that Lucas smuggles into the United States?", "Who does Lucas fall in love with?", "Who is the mob boss who threatens Lucas' family?", "Which of Lucas' relatives is caught by the detectives shooting a woman?", "Who is killed when the detectives enter Lucas' heroin processing facility?", "Who commits suicide after the mass arrests and convictions of the New York DEA?", "What year is Lucas finally released from prison?", "How does Johnson die?", "Who does Lucas offer to bribe?", "How many members of the New York DEA are arrested?", "Who defends Lucas?", "What is Lucas sentenced to?", "Who commits suicide?", "What is blue magic?", "Who does Lucas fall in love with?", "What country does the blue magic come from?", "Who does Lucas compete with?" ]

[ [ "A brand of herion", "a strong brand of heroin" ], [ "He buys his mother a mansion and has his brothers come work for him", "He buys a mansion for his mother and hires his brothers to work for him." ], [ "70", "70." ], [ "15", "Fifteen years" ], [ "The names of the dirty cops in the NYPD", "Aid in dirty cops investigation." ], [ "He has great seats and is wearing gaudy clothes", "he's wearing gaudy clothes and has better seats than the mobsters" ], [ "The fall of Saigon ", "The fall of Saigon " ], [ "In the coffins of fallen servicemen", "The heroin is in the coffins of dead returning servicemen." ], [ "He is killed when Trupo and his men steal Lucas's emergency cash supply", "Lucas's men were retrieving cash from under the dog house." ], [ "Frank Lucas", "Frank Lucas" ], [ "A heart attack", "a heart attack" ], [ "A heroin overdose", "commits suicide" ], [ "Blue Magic", "Blue Magic" ], [ "Eva, a Puerto Rican woman", "Eva" ], [ "Dominic Cattano", "Dominic Cattano." ], [ "His cousin", "His nephew" ], [ "Steve Lucas", "Steve Lucas" ], [ "Trupo", "Trupo" ], [ "1991", "1991" ], [ "Heart Attack", "Heart attack" ], [ "Roberts", "Roberts" ], [ "three quarters", "three quarters of all members" ], [ "Roberts", "Roberts. " ], [ "70 years in prison", "70 years in prison." ], [ "Trupo", "Trupo" ], [ "A brand of heroin", "A potent brand of heroin." ], [ "Eva", "Eva" ], [ "Thailand ", "Thailand" ], [ "Nicky Barnes", "Nicky Barnes." ] ]

[ [ "Adam made no reply to that, and no other word but \"good-night\" passed\nbetween them.\n\n\n\nChapter XXXI\n\nIn Hetty's Bed-Chamber", "Poor wandering Hetty, with the rounded childish face and the hard,\nunloving, despairing soul looking out of it--with the narrow heart", "\"Hetty,\" she said gently, \"do you know who it is that sits by your\nside?\"\n\n\"Yes,\" Hetty answered slowly, \"it's Dinah.\"", "Hetty did not speak, but Adam's face was very close to hers, and she\nput up her round cheek against his, like a kitten. She wanted to be\ncaressed--she wanted to feel as if Arthur were with her again.", "Adam cared for no words after that, and they hardly spoke through the\nrest of the walk. He only said, \"I may tell your uncle and aunt, mayn't\nI, Hetty?\" and she said, \"Yes.\"", "But they started asunder with beating hearts: something had fallen on\nthe ground with a rattling noise; it was Hetty's basket; all her little", "\"Why,\" said Martin, looking with sharper attention at Adam, \"ye look\nbad. Is there anything happened?\"\n\n\"Yes,\" said Adam, heavily. \"A sad thing's happened. I didna find Hetty\nat Snowfield.\"", "hands. At last Hetty whispered, \"I did do it, Dinah...I buried it in the\nwood...the little baby...and it cried...I heard it cry...ever such a way", "The old woman had seen the ghastly look of fear in Adam's face. But he\nwas not stunned or confounded: he was thinking eagerly where he could\ninquire about Hetty.", "It was an ill-smelling close place, but warm, and there was straw on\nthe ground. Hetty sank down on the straw with a sense of escape. Tears", "\"Dinah,\" Hetty sobbed out, throwing her arms round Dinah's neck, \"I will\nspeak...I will tell...I won't hide it any more.\"", "Adam assented silently. A puzzled alarm had taken possession of him. Had\nHetty a lover he didn't know of? For none of her relations, he was sure,", "\"Look there! She's fainting,\" said the landlady, hastening to support\nHetty, who had lost her miserable consciousness and looked like a\nbeautiful corpse. They carried her to the sofa and loosened her dress.", "Adam answered with a half-sob, \"Yes, I forgive thee Hetty. I forgave\nthee long ago.\"", "How Hetty's heart beat as Arthur approached her! He had hardly looked at\nher to-day: now he must take her hand. Would he press it? Would he look", "of him. It was the supreme moment of his suffering: Hetty was guilty;\nand he was silently calling to God for help. He heard no more of the\nevidence, and was unconscious when the case for the prosecution had", "Again there was a slight startled movement through Hetty's frame,\nand without uncovering her face, she raised her head a little, as if\nlistening.\n\n\"Hetty...Dinah is come to you.\"", "Adam's words relieved one of Hetty's fears, but they also carried a\nmeaning which sickened her with a strengthened foreboding. She was pale", "\"No, I've never seen her, child--at least not as she is now,\" said Mrs.\nIrwine, continuing to look at Hetty. \"Well-looking, indeed! She's a", "\"And tell him,\" Hetty said, in rather a stronger voice, \"tell him...for\nthere's nobody else to tell him...as I went after him and couldn't find" ], [ "\"Hetty,\" she said gently, \"do you know who it is that sits by your\nside?\"\n\n\"Yes,\" Hetty answered slowly, \"it's Dinah.\"", "It was an ill-smelling close place, but warm, and there was straw on\nthe ground. Hetty sank down on the straw with a sense of escape. Tears", "hands. At last Hetty whispered, \"I did do it, Dinah...I buried it in the\nwood...the little baby...and it cried...I heard it cry...ever such a way", "faces by. Dinah stood still for a minute, hesitating to speak because\nHetty might be asleep, and looking at the motionless heap with a\nyearning heart. Then she said, softly, \"Hetty!\"", "Again there was a slight startled movement through Hetty's frame,\nand without uncovering her face, she raised her head a little, as if\nlistening.\n\n\"Hetty...Dinah is come to you.\"", "But they started asunder with beating hearts: something had fallen on\nthe ground with a rattling noise; it was Hetty's basket; all her little", "Hetty did not speak, but Adam's face was very close to hers, and she\nput up her round cheek against his, like a kitten. She wanted to be\ncaressed--she wanted to feel as if Arthur were with her again.", "rescue of this helpless one. At last she was prompted to speak and find\nout how far Hetty was conscious of the present.", "\"Look there! She's fainting,\" said the landlady, hastening to support\nHetty, who had lost her miserable consciousness and looked like a\nbeautiful corpse. They carried her to the sofa and loosened her dress.", "\"Speak to him, Hetty,\" Dinah said; \"tell him what is in your heart.\"\n\nHetty obeyed her, like a little child.", "\"And tell him,\" Hetty said, in rather a stronger voice, \"tell him...for\nthere's nobody else to tell him...as I went after him and couldn't find", "what was considered Hetty's proper work. But now she came forward, and,\nputting out her arms, said, \"Come Totty, come and let Dinah carry her", "leaving Hetty more at ease. He lingered, because he wanted to see her\nsafely through that evening, and he was delighted to find how much", "By this time Molly had come with bonnet and shawl, and as soon as she\nhad taken Totty, Adam placed the locket in Hetty's hand. She took it", "Slowly, while Dinah was speaking, Hetty rose, took a step forward, and\nwas clasped in Dinah's arms.", "Adam made no reply to that, and no other word but \"good-night\" passed\nbetween them.\n\n\n\nChapter XXXI\n\nIn Hetty's Bed-Chamber", "\"Dinah,\" Hetty sobbed out, throwing her arms round Dinah's neck, \"I will\nspeak...I will tell...I won't hide it any more.\"", "Hetty told her she was quite well this morning. She had only been very\ntired and overcome with her journey, for she had come a long way to ask", "Dinah, having taken off her bonnet and shawl, had hitherto kept quietly\nseated in the background, not liking to thrust herself between Hetty and", "Seth in these parting moments. But when they saw Hetty, they paused and\nshook hands; Seth turned homewards, and Dinah came on alone." ], [ "town would tell him the way to Sloman's End. So Adam got on his horse\nagain and rode to the town, putting up at the old inn and taking a", "himself to the Saracen's Head, which was doing a thriving business in\nthe back street of a neighbouring market-town. But, oddly enough, he has", "Dinah. It was at a thatched cottage outside the town, a little way from\nthe mill--an old cottage, standing sideways towards the road, with a", "THE next Saturday evening there was much excited discussion at the\nDonnithorne Arms concerning an incident which had occurred that very", "his own home, only not quite so charming. Here was a market-town--very\nmuch like Treddleston--where the arms of the neighbouring lord of the", "Stoniton, and when she got down at the inn where the coach stopped, she\nhastened away with her basket to another part of the town. When she", "And another evening she was gone to Treddleston to buy some things;\nthough, to his great surprise, as he was returning home, he saw her at", "Book Two\n\n\n\n\nChapter XVII\n\nIn Which the Story Pauses a Little", "afterwards, and I trust her heart is touched. But I've noticed that\nin these villages where the people lead a quiet life among the green\npastures and the still waters, tilling the ground and tending the", "The old squire's funeral had taken place that morning, the will had been\nread, and now in the first breathing-space, Arthur Donnithorne had come", "He hastened out of the cottage, and the old woman followed him to the\ngate, watching him sadly with her shaking head as he almost ran towards\nthe town. He was going to inquire at the place where the Oakbourne coach\nstopped.", "\"And then I got to Stoniton, and I began to feel frightened that night,\nbecause I was so near home. And then the little baby was born, when I", "Windsor, they told her. Oh what a large world it was, and what hard work\nfor her to find her way in it! She went by mistake to Stratford-on-Avon,", "All hands worked on in silence for some minutes, until the church clock\nbegan to strike six. Before the first stroke had died away, Sandy Jim", "About a quarter to seven there was an unusual appearance of excitement\nin the village of Hayslope, and through the whole length of its", "It was an ill-smelling close place, but warm, and there was straw on\nthe ground. Hetty sank down on the straw with a sense of escape. Tears", "It was after twelve o'clock on Tuesday night when Adam reached\nTreddleston; and, unwilling to disturb his mother and Seth, and also", "before a door at which he knocked gently. \"Come in,\" said a woman's\nvoice, and he entered a room so darkened by blinds and curtains that", "AN upper room in a dull Stoniton street, with two beds in it--one laid\non the floor. It is ten o'clock on Thursday night, and the dark wall", "\"Close by here. I inquired all about him of Mr. Irwine. He lodges over\na tinman's shop, in the street on the right hand as you entered the" ], [ "They sat down opposite each other in the old places, and Arthur said,\n\"I'm going away, Adam; I'm going into the army.\"", "With a \"good-bye,\" a bright glance, and a bow to Hetty Arthur left the\ndairy. But he was mistaken in imagining himself waited for. The rector", "Arthur wanted to go home without saying any more--he was too painfully\nembarrassed in mind, as well as too weak in body, to wish for any", "Arthur cantered for five miles beyond the Chase, till he was at the foot\nof a hill where there were no hedges or trees to hem in the road. Then\nhe threw the bridle on Meg's neck and prepared to make up his mind.", "Arthur had passed the village of Hayslope and was approaching the\nBroxton side of the hill, when, at a turning in the road, he saw a", "himself. Perhaps the whole thing had been contrived by him, and he had\ngiven her directions how to follow him to Ireland--for Adam knew that\nArthur had been gone thither three weeks ago, having recently learnt it", "These were Arthur's chief thoughts, so far as a man's thoughts through\nhours of travelling can be compressed into a few sentences, which are", "then, when she got to Stoniton, where nobody knew her, she would ask\nfor the coach that would take her on the way to Windsor. Arthur was at\nWindsor, and she would go to him.", "Arthur gave his horse to the groom at the rectory gate, and walked along\nthe gravel towards the door which opened on the garden. He knew that the", "except Hetty, who knew now where Arthur was gone, but was only the\nmore puzzled and uneasy. For it appeared that his absence was quite", "Arthur rose from his seat with the last words, and went to one of the\nwindows, looking out and turning his back on Adam, as he continued,", "There was no answer for some moments. Then Arthur said, \"I'll see you\nto-morrow. I can bear no more now; I'm ill.\" He rose as he spoke, and\nreached his cap, as if intending to go.", "away. And she was gone to him. The old indignation and jealousy\nrose again, and prompted the suspicion that Arthur had been dealing", "\"What I want to say to you,\" Arthur continued, \"is this: one of my\nreasons for going away is that no one else may leave Hayslope--may leave", "matter to attend to, Arthur,\" continued Mr. Irwine, rising to leave the\nroom, \"and then I shall be ready to set out with you.\"", "Arthur had no sooner come to this determination than he began to think\nwhich of the paths would lead him home, and made as short a walk thither", "As for Arthur, he rushed back through the wood, as if he wanted to put\na wide space between himself and Hetty. He would not go to the Hermitage", "It was a long while--more than an hour before Arthur had brought his\nmeditations to this point; but once arrived there, he could stay no", "Arthur read no more. He started up from his chair and stood for a single\nminute with a sense of violent convulsion in his whole frame, as if the", "trust. She must run away; she must hide herself where no familiar eyes\ncould detect her; and then the terror of wandering out into the world,\nof which she knew nothing, made the possibility of going to Arthur a" ], [ "agonizing fears. Hetty had been deceiving herself in thinking that she\ncould love and marry him: she had been loving Arthur all the while; and\nnow, in her desperation at the nearness of their marriage, she had run", "love Adam well enough to marry him. She saw too clearly the absence of\nany warm, self-devoting love in Hetty's nature to regard the coldness of\nher behaviour towards Adam as any indication that he was not the man", "Hetty, of allowing himself any opportunity for such slight caresses as\nhe had been betrayed into already--than he refused to believe such a\nfuture possible for himself. To flirt with Hetty was a very different", "think of marrying. It would always be a hard struggle with his mother,\nhe knew: she would be jealous of any wife he might choose, and she had\nset her mind especially against Hetty--perhaps for no other reason than", "influence lasts, for he was certainly not in love with Hetty now. He\nhad been earnestly desiring, for months, that she should marry Adam,\nand there was nothing that contributed more to his happiness in these", "her, and so shut himself out from Mary Burge and the partnership as\neffectually as by marrying Hetty.", "Snowfield and said \"it was no use--Dinah's heart wasna turned towards\nmarrying.\" For when he told his mother that Hetty was willing they", "\"Why, you're not very fit for travelling,\" she said, glancing while she\nspoke at Hetty's ringless hand. \"Have you come far?\"", "which cannot possibly happen. For, dear Hetty, if I were to do what you\none day spoke of, and make you my wife, I should do what you yourself", "Arthur dared not turn his eyes towards Hetty while Mrs. Irwine was\nspeaking of her. He feigned not to hear, and to be occupied with", "And Hetty? You know quite well that Adam was mistaken about her. Like\nmany other men, he thought the signs of love for another were signs of", "wi' telling her as her aunt wants her, for all she writes o' not being\nable to come.\" Hetty had not liked the thought of going to Snowfield,", "When Hetty was gone upstairs he said, \"I canna make it out as she should\nwant to go away, for I thought she'd got a mind t' Adam Bede. She's\nlooked like it o' late.\"", "Dinah paused and released Hetty's hands that she might not hinder her.\nHetty sat quite still; she felt no response within herself to Dinah's", "\"Hey, hey,\" said Mr. Poyser, while Hetty stood without moving, \"not go\nto Cousin Hetty? That's like a babby. Totty's a little woman, an' not a\nbabby.\"", "\"Speak to him, Hetty,\" Dinah said; \"tell him what is in your heart.\"\n\nHetty obeyed her, like a little child.", "Adam assented silently. A puzzled alarm had taken possession of him. Had\nHetty a lover he didn't know of? For none of her relations, he was sure,", "The blood rushed to Hetty's face with anger. \"I belong to respectable\nfolks,\" she said; \"I'm not a thief.\"", "last view of the matter must be the true one. How could Hetty have\nan accepted lover, quite unknown to him? She was never away from her", "that she suspected Hetty to be the woman he HAD chosen. It would never\ndo, he feared, for his mother to live in the same house with him when" ], [ "\"Hetty Sorrel is in prison, and will be tried on Friday for the crime of\nchild-murder.\"...", "of him. It was the supreme moment of his suffering: Hetty was guilty;\nand he was silently calling to God for help. He heard no more of the\nevidence, and was unconscious when the case for the prosecution had", "The effect of this evidence on Adam was electrical; it gave him new\nforce. Hetty could not be guilty of the crime--her heart must have clung", "The blood rushed to Hetty's face, and then fled back again as she\nlooked up at the judge and kept her wide-open eyes fixed on him, as if", "And Hetty? You know quite well that Adam was mistaken about her. Like\nmany other men, he thought the signs of love for another were signs of", "\"Yes,\" said Hetty. Then, after a pause, she added, \"But you can do\nnothing for me. You can't make 'em do anything. They'll hang me o'\nMonday--it's Friday now.\"", "and Hetty had brought disgrace on them all--disgrace that could never\nbe wiped out. That was the all-conquering feeling in the mind both of", "\"Dinah,\" Hetty sobbed out, throwing her arms round Dinah's neck, \"I will\nspeak...I will tell...I won't hide it any more.\"", "hands. At last Hetty whispered, \"I did do it, Dinah...I buried it in the\nwood...the little baby...and it cried...I heard it cry...ever such a way", "\"Hetty,\" she said gently, \"do you know who it is that sits by your\nside?\"\n\n\"Yes,\" Hetty answered slowly, \"it's Dinah.\"", "Adam answered with a half-sob, \"Yes, I forgive thee Hetty. I forgave\nthee long ago.\"", "All Stoniton had heard of Dinah Morris, the young Methodist woman who\nhad brought the obstinate criminal to confess, and there was as much\neagerness to see her as to see the wretched Hetty.", "Hetty did not speak, but Adam's face was very close to hers, and she\nput up her round cheek against his, like a kitten. She wanted to be\ncaressed--she wanted to feel as if Arthur were with her again.", "It was an ill-smelling close place, but warm, and there was straw on\nthe ground. Hetty sank down on the straw with a sense of escape. Tears", "Again there was a slight startled movement through Hetty's frame,\nand without uncovering her face, she raised her head a little, as if\nlistening.\n\n\"Hetty...Dinah is come to you.\"", "But they started asunder with beating hearts: something had fallen on\nthe ground with a rattling noise; it was Hetty's basket; all her little", "Adam had not been shaken in his belief that Hetty was innocent of the\ncrime she was charged with, for Mr. Irwine, feeling that the belief in", "The blood rushed to Hetty's face with anger. \"I belong to respectable\nfolks,\" she said; \"I'm not a thief.\"", "Arthur Donnithorne, too, had the same sort of notion about Hetty, so\nfar as he had thought of her nature of all. He felt sure she was a", "\"Speak to him, Hetty,\" Dinah said; \"tell him what is in your heart.\"\n\nHetty obeyed her, like a little child." ], [ "\"Hetty,\" she said gently, \"do you know who it is that sits by your\nside?\"\n\n\"Yes,\" Hetty answered slowly, \"it's Dinah.\"", "rescue of this helpless one. At last she was prompted to speak and find\nout how far Hetty was conscious of the present.", "Adam answered with a half-sob, \"Yes, I forgive thee Hetty. I forgave\nthee long ago.\"", "Hetty did not speak, but Adam's face was very close to hers, and she\nput up her round cheek against his, like a kitten. She wanted to be\ncaressed--she wanted to feel as if Arthur were with her again.", "\"Dinah,\" Hetty sobbed out, throwing her arms round Dinah's neck, \"I will\nspeak...I will tell...I won't hide it any more.\"", "It was an ill-smelling close place, but warm, and there was straw on\nthe ground. Hetty sank down on the straw with a sense of escape. Tears", "Slowly, while Dinah was speaking, Hetty rose, took a step forward, and\nwas clasped in Dinah's arms.", "How Hetty's heart beat as Arthur approached her! He had hardly looked at\nher to-day: now he must take her hand. Would he press it? Would he look", "Arthur had laid his hand on the soft arm that was nearest to him, and\nwas stooping towards Hetty with a look of coaxing entreaty. Hetty lifted", "Adam made no reply to that, and no other word but \"good-night\" passed\nbetween them.\n\n\n\nChapter XXXI\n\nIn Hetty's Bed-Chamber", "\"Speak to him, Hetty,\" Dinah said; \"tell him what is in your heart.\"\n\nHetty obeyed her, like a little child.", "of him. It was the supreme moment of his suffering: Hetty was guilty;\nand he was silently calling to God for help. He heard no more of the\nevidence, and was unconscious when the case for the prosecution had", "leaving Hetty more at ease. He lingered, because he wanted to see her\nsafely through that evening, and he was delighted to find how much", "\"And tell him,\" Hetty said, in rather a stronger voice, \"tell him...for\nthere's nobody else to tell him...as I went after him and couldn't find", "The old woman had seen the ghastly look of fear in Adam's face. But he\nwas not stunned or confounded: he was thinking eagerly where he could\ninquire about Hetty.", "faces by. Dinah stood still for a minute, hesitating to speak because\nHetty might be asleep, and looking at the motionless heap with a\nyearning heart. Then she said, softly, \"Hetty!\"", "And Hetty? You know quite well that Adam was mistaken about her. Like\nmany other men, he thought the signs of love for another were signs of", "agonizing fears. Hetty had been deceiving herself in thinking that she\ncould love and marry him: she had been loving Arthur all the while; and\nnow, in her desperation at the nearness of their marriage, she had run", "The blood rushed to Hetty's face, and then fled back again as she\nlooked up at the judge and kept her wide-open eyes fixed on him, as if", "Again there was a slight startled movement through Hetty's frame,\nand without uncovering her face, she raised her head a little, as if\nlistening.\n\n\"Hetty...Dinah is come to you.\"" ], [ "his mother, but it was a case in which he must make her feel that his\nwill was strong--it would be better for her in the end. For himself,\nhe would have liked that they should all live together till Seth was", "skill. The money gained in this way, with the good wages he received\nas foreman, would soon enable them to get beforehand with the world,\nso sparingly as they would all live now. No sooner had this little", "Edenlike peace and loveliness, the stalwart strength of the two brothers\nin their rusty working clothes, and the long coffin on their shoulders.\nThey paused for the last time before a small farmhouse outside the", "And they walked on so in silence, while the warm tears fell. Adam was\ncontent, and said nothing. It was Dinah who spoke first.", "herself. There is but one thing left to her: she must go away, go where\nthey can't find her.", "afterwards, and I trust her heart is touched. But I've noticed that\nin these villages where the people lead a quiet life among the green\npastures and the still waters, tilling the ground and tending the", "business of his own, which he and Seth will carry on, and will perhaps\nbe able to enlarge by degrees. So he has agreed at last, and I have", "into rest. He conceived no picture of the future but one made up of\nhard-working days such as he lived through, with growing contentment and\nintensity of interest, every fresh week. Love, he thought, could never", "It was a long time before the convulsed throat was quiet, and even\nthen they sat some time in stillness and darkness, holding each other's", "fields, and who would now have a place in her loving remembrance for\never. She thought of the struggles and the weariness that might lie\nbefore them in the rest of their life's journey, when she would be away", "So, when the good-byes had been said, Dinah and Adam left the Hall Farm\ntogether.\n\n\n\nChapter L\n\nIn the Cottage", "\"Well, Mrs. Bede,\" said Mrs. Poyser, as they walked on together, \"you\nmust keep up your heart; husbands and wives must be content when they've\nlived to rear their children and see one another's hair grey.\"", "Adam paused and looked into her sincere eyes.\n\n\"Then we'll never part any more, Dinah, till death parts us.\"\n\nAnd they kissed each other with a deep joy.", "her life Hetty wished no one would look at her. She set out walking\nagain; but this day she was fortunate, for she was soon overtaken by", "Jonathan Burge and settle with his mother and Seth in a home within\nreach of the friends to whom he felt bound by a mutual sorrow.", "And when they were all gone, the old man leaned on the gate again,\nwatching them across the lane along the Home Close, and through the", "should all live together and there was no more need of them to think of\nparting, she said, in a more contented tone than he had heard her speak", "But they started asunder with beating hearts: something had fallen on\nthe ground with a rattling noise; it was Hetty's basket; all her little", "With this exit speech, which he considered effective, Wiry Ben\nshouldered his basket and left the workshop, quickly followed by Mum\nTaft and Sandy Jim. Seth lingered, and looked wistfully at Adam, as if\nhe expected him to say something.", "Chapter LIV\n\nThe Meeting on the Hill" ], [ "That was Adam's state of mind in this second autumn of his sorrow. His\nwork, as you know, had always been part of his religion, and from very", "For Adam, though you see him quite master of himself, working hard and\ndelighting in his work after his inborn inalienable nature, had not", "\"Well, Adam, how are you?\" said Arthur, holding out his hand. He never\nshook hands with any of the farmers, and Adam felt the honour keenly. \"I", "As Adam was getting over a stile at this point in his reflections, he\nperceived a man walking along the field before him. He knew it was Seth,\nreturning from an evening preaching, and made haste to overtake him.", "the world of a masculine kind. But tell me about Adam. Has he accepted\nthe post? I don't see that it can be much more profitable than his", "\"Yes,\" said Adam, pleased to have her ask a question about himself. \"Ten\nyears ago, when I was a lad, I went with father to see about some work", "Chapter XIX\n\nAdam on a Working Day", "\"Sit down here.\" He pointed to a chair just opposite to him, at no more\nthan a yard's distance from his own, and Adam sat down with a sense", "It's a little drama I've got up in honour of my friend Adam. He's a fine\nfellow, and I like the opportunity of letting people know that I think\nso.\"", "Adam spoke these words with the firm distinctness of a man who is\nresolved to leave nothing unsaid that he is bound to say; but he went on\nwith more hesitation.", "Adam was unable to speak. The strong man, accustomed to suppress the\nsigns of sorrow, had felt his heart swell like a child's at this first\napproach of sympathy. He fell on Seth's neck and sobbed.", "until the tall slim figure in deep mourning suddenly stood before him at\nonly two yards' distance. They both started, and looked at each other\nin silence. Often, in the last fortnight, Adam had imagined himself", "Adam had refolded the letter, and was sitting meditatively with his head\nresting on his arm at the head of the bed, when Seth came upstairs.\n\n\"Hast read the letter?\" said Seth.", "You would hardly have known it was Adam without being told. His face has\ngot thinner this last week: he has the sunken eyes, the neglected beard", "work, takes to preachin' an' that, like Seth Bede. But you see Adam, as\nhas got one o' the best head-pieces hereabout, knows better; he's a good", "interests of those who employ him as for his own. I'm proud to say that\nI was very fond of Adam when I was a little boy, and I have never lost", "Adam had on his working-dress again, now, for he had thrown off the\nother with a sense of relief as soon as he came home; and if he had had", "see her quite well. And so the time passed pleasantly till Adam got up\nto go. He was pressed to come again soon, but not to stay longer, for at", "But Adam had been refreshed by his long rest, and with his habitual\nimpatience of mere passivity, he was eager to begin the new day and", "with a letter in his hand and gave it to Adam, saying that the captain\nwas too busy to see him, and had written everything he had to say.\nThe letter was directed to Adam, but he went out of doors again before" ], [ "\"Hetty Sorrel is in prison, and will be tried on Friday for the crime of\nchild-murder.\"...", "of him. It was the supreme moment of his suffering: Hetty was guilty;\nand he was silently calling to God for help. He heard no more of the\nevidence, and was unconscious when the case for the prosecution had", "The blood rushed to Hetty's face, and then fled back again as she\nlooked up at the judge and kept her wide-open eyes fixed on him, as if", "And Hetty? You know quite well that Adam was mistaken about her. Like\nmany other men, he thought the signs of love for another were signs of", "The effect of this evidence on Adam was electrical; it gave him new\nforce. Hetty could not be guilty of the crime--her heart must have clung", "Hetty did not speak, but Adam's face was very close to hers, and she\nput up her round cheek against his, like a kitten. She wanted to be\ncaressed--she wanted to feel as if Arthur were with her again.", "Hetty, of allowing himself any opportunity for such slight caresses as\nhe had been betrayed into already--than he refused to believe such a\nfuture possible for himself. To flirt with Hetty was a very different", "Adam made no reply to that, and no other word but \"good-night\" passed\nbetween them.\n\n\n\nChapter XXXI\n\nIn Hetty's Bed-Chamber", "But they started asunder with beating hearts: something had fallen on\nthe ground with a rattling noise; it was Hetty's basket; all her little", "The blood rushed to Hetty's face with anger. \"I belong to respectable\nfolks,\" she said; \"I'm not a thief.\"", "Arthur Donnithorne, too, had the same sort of notion about Hetty, so\nfar as he had thought of her nature of all. He felt sure she was a", "\"That man played with Hetty's feelings, and behaved to her as he'd no\nright to do to a girl in her station o' life--made her presents and used", "\"Hetty,\" she said gently, \"do you know who it is that sits by your\nside?\"\n\n\"Yes,\" Hetty answered slowly, \"it's Dinah.\"", "Again there was a slight startled movement through Hetty's frame,\nand without uncovering her face, she raised her head a little, as if\nlistening.\n\n\"Hetty...Dinah is come to you.\"", "What a strange contrast the two figures made, visible enough in that\nmingled twilight and moonlight! Hetty, her cheeks flushed and her eyes", "\"Speak to him, Hetty,\" Dinah said; \"tell him what is in your heart.\"\n\nHetty obeyed her, like a little child.", "It was an ill-smelling close place, but warm, and there was straw on\nthe ground. Hetty sank down on the straw with a sense of escape. Tears", "\"Yes,\" said Hetty. Then, after a pause, she added, \"But you can do\nnothing for me. You can't make 'em do anything. They'll hang me o'\nMonday--it's Friday now.\"", "and Hetty had brought disgrace on them all--disgrace that could never\nbe wiped out. That was the all-conquering feeling in the mind both of", "the strongest suspicions without any proof of guilt. His mind was so\noccupied with imaginary arguments against such suspicions, that he\ncould not listen to the cross-examination by Hetty's counsel, who tried," ], [ "\"Hetty,\" she said gently, \"do you know who it is that sits by your\nside?\"\n\n\"Yes,\" Hetty answered slowly, \"it's Dinah.\"", "\"Yes,\" said Hetty. Then, after a pause, she added, \"But you can do\nnothing for me. You can't make 'em do anything. They'll hang me o'\nMonday--it's Friday now.\"", "\"I want to go to Hetty Sorrel, the young woman who has been condemned\nto death--and to stay with her, if I may be permitted. Have you power in\nthe prison, sir?\"", "\"Dinah,\" Hetty sobbed out, throwing her arms round Dinah's neck, \"I will\nspeak...I will tell...I won't hide it any more.\"", "\"No, Hetty, I won't leave you. I'll stay with you to the last....But,\nHetty, there is some one else in this cell besides me, some one close to\nyou.\"", "\"And tell him,\" Hetty said, in rather a stronger voice, \"tell him...for\nthere's nobody else to tell him...as I went after him and couldn't find", "The blood rushed to Hetty's face, and then fled back again as she\nlooked up at the judge and kept her wide-open eyes fixed on him, as if", "Adam answered with a half-sob, \"Yes, I forgive thee Hetty. I forgave\nthee long ago.\"", "\"You will go with me to Stoniton, Adam?\" he said again, after a moment's\npause. \"We have to see if it is really Hetty who is there, you know.\"", "\"Speak to him, Hetty,\" Dinah said; \"tell him what is in your heart.\"\n\nHetty obeyed her, like a little child.", "Hetty did not speak, but Adam's face was very close to hers, and she\nput up her round cheek against his, like a kitten. She wanted to be\ncaressed--she wanted to feel as if Arthur were with her again.", "and cunning as he was himself. As for any real harm in Hetty's case, it\nwas out of the question: Arthur Donnithorne accepted his own bond for\nhimself with perfect confidence.", "Slowly, while Dinah was speaking, Hetty rose, took a step forward, and\nwas clasped in Dinah's arms.", "faces by. Dinah stood still for a minute, hesitating to speak because\nHetty might be asleep, and looking at the motionless heap with a\nyearning heart. Then she said, softly, \"Hetty!\"", "Hetty obeyed Dinah's movement, and sank on her knees. They still held\neach other's hands, and there was long silence. Then Dinah said, \"Hetty,", "you hang on my arm, Hetty?\" in a pleading tone, as if he had already\nasked her and she had refused. Hetty looked up at him smilingly and put", "Hetty said, \"Very well.\" She was really as anxious as Adam was that she\nshould have some private talk with him. She wondered what he thought of", "How Hetty's heart beat as Arthur approached her! He had hardly looked at\nher to-day: now he must take her hand. Would he press it? Would he look", "of him. It was the supreme moment of his suffering: Hetty was guilty;\nand he was silently calling to God for help. He heard no more of the\nevidence, and was unconscious when the case for the prosecution had", "Adam assented silently. A puzzled alarm had taken possession of him. Had\nHetty a lover he didn't know of? For none of her relations, he was sure," ], [ "of him. It was the supreme moment of his suffering: Hetty was guilty;\nand he was silently calling to God for help. He heard no more of the\nevidence, and was unconscious when the case for the prosecution had", "The blood rushed to Hetty's face, and then fled back again as she\nlooked up at the judge and kept her wide-open eyes fixed on him, as if", "\"Yes,\" said Hetty. Then, after a pause, she added, \"But you can do\nnothing for me. You can't make 'em do anything. They'll hang me o'\nMonday--it's Friday now.\"", "Adam made no reply to that, and no other word but \"good-night\" passed\nbetween them.\n\n\n\nChapter XXXI\n\nIn Hetty's Bed-Chamber", "\"Hetty Sorrel is in prison, and will be tried on Friday for the crime of\nchild-murder.\"...", "weary prisoner might think of the possible pillory. They would think her\nconduct shameful, and shame was torture. That was poor little Hetty's\nconscience.", "then to be hanged by the neck till you be dead,\" a piercing shriek rang\nthrough the hall. It was Hetty's shriek. Adam started to his feet and", "wi' telling her as her aunt wants her, for all she writes o' not being\nable to come.\" Hetty had not liked the thought of going to Snowfield,", "And Hetty? You know quite well that Adam was mistaken about her. Like\nmany other men, he thought the signs of love for another were signs of", "The effect of this evidence on Adam was electrical; it gave him new\nforce. Hetty could not be guilty of the crime--her heart must have clung", "Hetty, of allowing himself any opportunity for such slight caresses as\nhe had been betrayed into already--than he refused to believe such a\nfuture possible for himself. To flirt with Hetty was a very different", "Hetty did not speak, but Adam's face was very close to hers, and she\nput up her round cheek against his, like a kitten. She wanted to be\ncaressed--she wanted to feel as if Arthur were with her again.", "\"And tell him,\" Hetty said, in rather a stronger voice, \"tell him...for\nthere's nobody else to tell him...as I went after him and couldn't find", "\"Hetty,\" she said gently, \"do you know who it is that sits by your\nside?\"\n\n\"Yes,\" Hetty answered slowly, \"it's Dinah.\"", "It was very much in this way that our friend Adam Bede thought about\nHetty; only he put his thoughts into different words. If ever she", "At three o'clock that day, when Hetty was on the coach that was to take\nher, they said, to Leicester--part of the long, long way to Windsor--she", "Hetty told her she was quite well this morning. She had only been very\ntired and overcome with her journey, for she had come a long way to ask", "It was an ill-smelling close place, but warm, and there was straw on\nthe ground. Hetty sank down on the straw with a sense of escape. Tears", "influence lasts, for he was certainly not in love with Hetty now. He\nhad been earnestly desiring, for months, that she should marry Adam,\nand there was nothing that contributed more to his happiness in these", "\"Speak to him, Hetty,\" Dinah said; \"tell him what is in your heart.\"\n\nHetty obeyed her, like a little child." ], [ "And Hetty? You know quite well that Adam was mistaken about her. Like\nmany other men, he thought the signs of love for another were signs of", "love towards himself. When Adam was approaching unseen by her, she was\nabsorbed as usual in thinking and wondering about Arthur's possible\nreturn. The sound of any man's footstep would have affected her just in", "\"Dear, dear Hetty, sweet as our love has been to me, sweet as it would\nbe to me for you to love me always, I feel that it would have been", "\"Dinah,\" he said suddenly, taking both her hands between his, \"I love\nyou with my whole heart and soul. I love you next to God who made me.\"", "with silk clocks to them; for he must love her very much--no one else\nhad ever put his arm round her and kissed her in that way. He would want", "sure they could never love anything more insignificant than a Diana, and\nyet have found themselves in middle life happily settled with a wife who\nwaddles. Yes! Thank God; human feeling is like the mighty rivers that", "that he loved her and would not care to look at Mary Burge. He could no\nmore stir in her the emotions that make the sweet intoxication of young\nlove than the mere picture of a sun can stir the spring sap in the", "\"Because, Hetty, you are shutting up your soul against him, by trying\nto hide the truth. God's love and mercy can overcome all things--our", "picture she is the central figure in fine clothes; Captain Donnithorne\nis very close to her, putting his arm round her, perhaps kissing her,\nand everybody else is admiring and envying her--especially Mary Burge,", "\"But now, dear, dear Dinah, now you know I love you better than you love\nme...it's all different now. You won't think o' going. You'll stay, and", "Seth and said, in her tender but calm treble notes, \"Seth Bede, I thank\nyou for your love towards me, and if I could think of any man as more", "agonizing fears. Hetty had been deceiving herself in thinking that she\ncould love and marry him: she had been loving Arthur all the while; and\nnow, in her desperation at the nearness of their marriage, she had run", "hanging over the orchard wall, within sight of everybody, and everybody\nmust long for her! To be sure, if she loved him very much, she would be", "from her, full of one thought, and a thought of which she only is the\nobject. He is going to see Hetty again: that is the longing which has", "\"Adam,\" Arthur said, impelled to full confession now, \"it would never\nhave happened if I'd known you loved her. That would have helped to save", "with a terrible pang that there was something in Hetty's life unknown to\nhim; that while he had been rocking himself in the hope that she would\ncome to love him, she was already loving another. The pleasure of the", "both told Mr. Irwine all about it--that Adam had been deeply in love\nwith Hetty these two years, and that now it was agreed they were to be", "Dinah's confession that Sunday afternoon. There is a wonderful amount\nof sustenance in the first few words of love. But towards the middle\nof October the resolution began to dwindle perceptibly, and showed", "That is a simple scene, reader. But it is almost certain that you, too,\nhave been in love--perhaps, even, more than once, though you may not", "me,\" he said to himself, \"to love her and know as she loves me. I shall\nlook t' her to help me to see things right. For she's better than I" ], [ "to her baby--else why should she have taken it with her? She might have\nleft it behind. The little creature had died naturally, and then she\nhad hidden it. Babies were so liable to death--and there might be", "choppings, and took out the child. It had got comfortable clothes on,\nbut its body was cold, and I thought it must be dead. I made haste back", "I was in the wood and heard the cry. I don't know what I felt till I saw\nthe baby was gone. And when I'd put it there, I thought I should like", "how I felt about the baby. I seemed to hate it--it was like a heavy\nweight hanging round my neck; and yet its crying went through me, and I", "of me. And I stooped down on hands and knees to pick it up. And I saw it\nwas a little baby's hand.\"", "insistence that she should look at \"Baby,\" that is, at a large wooden\ndoll with no legs and a long skirt, whose bald head Totty, seated in her", "frightened to death. I thought that man in the smock-frock 'ud see me\nand know I put the baby there. But I went on, for all that. I'd left off", "He ran back to Seth, and the two sons lifted the sad burden in\nheart-stricken silence. The wide-open glazed eyes were grey, like", "But they started asunder with beating hearts: something had fallen on\nthe ground with a rattling noise; it was Hetty's basket; all her little", "particular. She had already addressed Sandy Jim, who was now holding the\nbaby to relieve his wife, and the big soft-hearted man had rubbed away\nsome tears with his fist, with a confused intention of being a better", "thought he was going to the wood and would perhaps find the baby. And I\nwent right on, till I came to a village, a long way off from the wood,", "The witness then stated that in the night a child was born, and she\nidentified the baby-clothes then shown to her as those in which she had\nherself dressed the child.", "baby was crying. And I saw a wood a little way off...I thought there'd\nperhaps be a ditch or a pond there...and it was so early I thought I", "sudden I saw a hole under the nut-tree, like a little grave. And it\ndarted into me like lightning--I'd lay the baby there and cover it with", "and I was very sick, and faint, and hungry. I got something to eat\nthere, and bought a loaf. But I was frightened to stay. I heard the baby", "\"And then I got to Stoniton, and I began to feel frightened that night,\nbecause I was so near home. And then the little baby was born, when I", "and the baby was warm against me; and I must have gone to sleep for a\ngood while, for when I woke it was morning, but not very light, and the", "and when we went in, the candle was standing burning just as I left it,\nbut the prisoner and the baby were both gone. She'd taken her cloak and", "felt so weak. I knew I couldn't run away, and everybody as saw me 'ud\nknow about the baby. My heart went like a stone. I couldn't wish or try", "and hunger--a tiny infant in her arms. The woman was rescued and taken\nto the parish. \"The parish!\" You can perhaps hardly understand the" ], [ "When Hetty was gone upstairs he said, \"I canna make it out as she should\nwant to go away, for I thought she'd got a mind t' Adam Bede. She's\nlooked like it o' late.\"", "so piteously at the thought of leaving Adam that he had gone to Hetty\nand asked her if, for the love of him, she would put up with his", "She would like to run away that very morning, and never see any of the\nold faces again. But Hetty's was not a nature to face difficulties--to", "It was an ill-smelling close place, but warm, and there was straw on\nthe ground. Hetty sank down on the straw with a sense of escape. Tears", "Seth was silent from utter astonishment: he knew nothing that could\nsuggest to him a reason for Hetty's going away.\n\n\"Hast any notion what she's done it for?\" he said, at last.", "But they started asunder with beating hearts: something had fallen on\nthe ground with a rattling noise; it was Hetty's basket; all her little", "so he was silent for the length of that field. The calm patience\nwith which he had once waited for Hetty's love, content only with her\npresence and the thought of the future, had forsaken him since that", "hands. At last Hetty whispered, \"I did do it, Dinah...I buried it in the\nwood...the little baby...and it cried...I heard it cry...ever such a way", "distressed for Hetty's sake, and distressed for his own, that he\nmust leave her behind. He had always, both in making and breaking\nresolutions, looked beyond his passion and seen that it must speedily", "love Adam well enough to marry him. She saw too clearly the absence of\nany warm, self-devoting love in Hetty's nature to regard the coldness of\nher behaviour towards Adam as any indication that he was not the man", "wi' telling her as her aunt wants her, for all she writes o' not being\nable to come.\" Hetty had not liked the thought of going to Snowfield,", "Dinah, having taken off her bonnet and shawl, had hitherto kept quietly\nseated in the background, not liking to thrust herself between Hetty and", "But Hetty's tears were not for Adam--not for the anguish that would come\nupon him when he found she was gone from him for ever. They were for the", "that she suspected Hetty to be the woman he HAD chosen. It would never\ndo, he feared, for his mother to live in the same house with him when", "leaving Hetty more at ease. He lingered, because he wanted to see her\nsafely through that evening, and he was delighted to find how much", "As soon as Hetty had determined on this scheme, she rose from the\ngrassy bank of the pool, took up her basket, and went on her way to", "Without waiting for her to speak, he turned away from her and hurried\nback towards the road that led to the Hermitage, leaving Hetty to pursue", "Snowfield and said \"it was no use--Dinah's heart wasna turned towards\nmarrying.\" For when he told his mother that Hetty was willing they", "the meadowy banks of the Avon. But how wearily long it was to Hetty!\nIt seemed to her as if this country of flat fields, and hedgerows, and", "Adam made no reply to that, and no other word but \"good-night\" passed\nbetween them.\n\n\n\nChapter XXXI\n\nIn Hetty's Bed-Chamber" ], [ "Adam paused and looked into her sincere eyes.\n\n\"Then we'll never part any more, Dinah, till death parts us.\"\n\nAnd they kissed each other with a deep joy.", "sure they could never love anything more insignificant than a Diana, and\nyet have found themselves in middle life happily settled with a wife who\nwaddles. Yes! Thank God; human feeling is like the mighty rivers that", "into rest. He conceived no picture of the future but one made up of\nhard-working days such as he lived through, with growing contentment and\nintensity of interest, every fresh week. Love, he thought, could never", "The last time they had met his was when he parted from her with his\nheart full of joyous hopeful love, and they looked out with a tearful", "It was a long time before the convulsed throat was quiet, and even\nthen they sat some time in stillness and darkness, holding each other's", "\"Dinah,\" he said suddenly, taking both her hands between his, \"I love\nyou with my whole heart and soul. I love you next to God who made me.\"", "Behind this last couple came Mr. Irwine, glad at heart over this good\nmorning's work of joining Adam and Dinah. For he had seen Adam in the", "agonizing fears. Hetty had been deceiving herself in thinking that she\ncould love and marry him: she had been loving Arthur all the while; and\nnow, in her desperation at the nearness of their marriage, she had run", "And Hetty? You know quite well that Adam was mistaken about her. Like\nmany other men, he thought the signs of love for another were signs of", "Seth and said, in her tender but calm treble notes, \"Seth Bede, I thank\nyou for your love towards me, and if I could think of any man as more", "What greater thing is there for two human souls than to feel that they\nare joined for life--to strengthen each other in all labour, to rest on", "love was welcomed by the wretched lost one. The light got fainter as\nthey stood, and when at last they sat down on the straw pallet together,\ntheir faces had become indistinct.", "moments than the thought of their marriage. It was the exaggerating\neffect of imagination that made his heart still beat a little more\nquickly at the thought of her. When he saw the little thing again as she", "both told Mr. Irwine all about it--that Adam had been deeply in love\nwith Hetty these two years, and that now it was agreed they were to be", "were while their eyes met and his arms touched her! Love is such a\nsimple thing when we have only one-and-twenty summers and a sweet girl", "Adam did not speak immediately. They sat looking at each other in\ndelicious silence--for the first sense of mutual love excludes other\nfeelings; it will have the soul all to itself.", "Adam took the blanched wasted hand she put out to him, and they gave\neach other the solemn unspeakable kiss of a lifelong parting.", "What was she thinking of as she wound up the hill? Perhaps she had found\ncomplete repose without him, and had ceased to feel any need of his\nlove. On the verge of a decision we all tremble: hope pauses with\nfluttering wings.", "themselves loved when they are not loved, cease loving on all\nproper occasions, and marry the woman most fitted for them in every", "on Sundays. But a happy time, nevertheless, for it was taking him nearer\nand nearer to March, when they were to be married, and all the little\npreparations for their new housekeeping marked the progress towards the" ], [ "Arthur dared not turn his eyes towards Hetty while Mrs. Irwine was\nspeaking of her. He feigned not to hear, and to be occupied with", "Arthur had laid his hand on the soft arm that was nearest to him, and\nwas stooping towards Hetty with a look of coaxing entreaty. Hetty lifted", "\"Yes, sir,\" Hetty answered, with a tremulous, almost whispering voice.\nShe didn't know one bit how to speak to a gentleman like Mr. Arthur, and\nher very vanity made her more coy of speech.", "How Hetty's heart beat as Arthur approached her! He had hardly looked at\nher to-day: now he must take her hand. Would he press it? Would he look", "The hopes he felt about Hetty softened a little his feeling towards\nArthur. Surely his attentions to Hetty must have been of a slight kind;", "Hetty did not speak, but Adam's face was very close to hers, and she\nput up her round cheek against his, like a kitten. She wanted to be\ncaressed--she wanted to feel as if Arthur were with her again.", "Yes; for Arthur was at ease about Hetty--not quite at ease about the\npast, for a certain burning of the ears would come whenever he thought", "Arthur had felt pure distress and self-reproach at discovering that\nAdam's happiness was involved in his relation to Hetty. If there had", "agonizing fears. Hetty had been deceiving herself in thinking that she\ncould love and marry him: she had been loving Arthur all the while; and\nnow, in her desperation at the nearness of their marriage, she had run", "except Hetty, who knew now where Arthur was gone, but was only the\nmore puzzled and uneasy. For it appeared that his absence was quite", "Arthur Donnithorne, too, had the same sort of notion about Hetty, so\nfar as he had thought of her nature of all. He felt sure she was a", "use it. That look of Hetty's oppressed Arthur with a dread which yet had\nsomething of a terrible unconfessed delight in it, that she loved him", "as he had agreed with Arthur beforehand, to see how the merriment of the\ncottagers was prospering. Meanwhile, all the less distinguished couples\nhad taken their places: Hetty was led out by the inevitable Mr. Craig,", "Irwine had not mentioned Arthur's name to Burge, and yet the story of\nhis conduct towards Hetty, with all the dark shadows cast upon it by\nits terrible consequences, was presently as well known as that his", "Poor Adam was led on to speak about Arthur because he thought Hetty\nwould be pleased to know that the young squire was so ready to befriend", "a special claim on him--Hetty herself should feel that any pain she\nhad suffered through Arthur in the past was compensated to her a\nhundredfold. For really she could not have felt much, since she had so", "And while he was dreaming this, Arthur was leading Hetty to the dance\nand saying to her in low hurried tones, \"I shall be in the wood the day", "While Hetty's hands were busy packing up the butter, and her head filled\nwith these pictures of the morrow, Arthur Donnithorne, riding by Mr.", "\"It's Captain Donnithorne,\" said Hetty tremulously, her heart beginning\nto beat painfully at this disappointment of her hope that she should\nfind Arthur at once.", "not to see Arthur Donnithorne again, if it were possible to avoid him.\nHe had no message to deliver from Hetty now, for Hetty had seen Arthur." ], [ "\"Speak to him, Hetty,\" Dinah said; \"tell him what is in your heart.\"\n\nHetty obeyed her, like a little child.", "\"Dinah,\" Hetty sobbed out, throwing her arms round Dinah's neck, \"I will\nspeak...I will tell...I won't hide it any more.\"", "Again there was a slight startled movement through Hetty's frame,\nand without uncovering her face, she raised her head a little, as if\nlistening.\n\n\"Hetty...Dinah is come to you.\"", "Dinah had shown her, and those words of Dinah in the bed-chamber--that\nHetty must think of her as a friend in trouble. Suppose she were to go", "Slowly, while Dinah was speaking, Hetty rose, took a step forward, and\nwas clasped in Dinah's arms.", "Dinah, having taken off her bonnet and shawl, had hitherto kept quietly\nseated in the background, not liking to thrust herself between Hetty and", "to Dinah, and ask her to help her? Dinah did not think about things as\nother people did. She was a mystery to Hetty, but Hetty knew she was", "Hetty obeyed Dinah's movement, and sank on her knees. They still held\neach other's hands, and there was long silence. Then Dinah said, \"Hetty,", "\"Aye,\" said Seth, rather timidly, \"and Dinah's fond o' Hetty too; she\nthinks a deal about her.\"", "She had had a letter from Dinah lately, full of kind words about the\ncoming marriage, which she had heard of from Seth; and when Hetty had", "Hetty clung round Dinah and shuddered again. The silence seemed long\nbefore she went on.", "Seth in these parting moments. But when they saw Hetty, they paused and\nshook hands; Seth turned homewards, and Dinah came on alone.", "faces by. Dinah stood still for a minute, hesitating to speak because\nHetty might be asleep, and looking at the motionless heap with a\nyearning heart. Then she said, softly, \"Hetty!\"", "As Hetty said the last words, she clung closer to Dinah, shuddering.", "Hetty kept her eyes fixed on Dinah's face--at first like an animal that\ngazes, and gazes, and keeps aloof.", "Still there was silence. At last Hetty spoke, in a tone of beseeching--\n\n\"Dinah...help me...I can't feel anything like you...my heart is hard.\"", "But Dinah was hardly conscious of the multitude. When Hetty had\ncaught sight of the vast crowd in the distance, she had clutched Dinah\nconvulsively.", "come up to her. They, too, like Hetty, had lingered a little in their\nwalk, for Dinah was trying to speak words of comfort and strength to", "Hetty was silent, but she shuddered again, as if there was still\nsomething behind; and Dinah waited, for her heart was so full that tears", "Dinah began to doubt whether Hetty was conscious who it was that sat\nbeside her. She thought suffering and fear might have driven the poor" ], [ "That was Adam's state of mind in this second autumn of his sorrow. His\nwork, as you know, had always been part of his religion, and from very", "For Adam, though you see him quite master of himself, working hard and\ndelighting in his work after his inborn inalienable nature, had not", "Chapter XIX\n\nAdam on a Working Day", "\"Well, Adam, how are you?\" said Arthur, holding out his hand. He never\nshook hands with any of the farmers, and Adam felt the honour keenly. \"I", "As Adam was getting over a stile at this point in his reflections, he\nperceived a man walking along the field before him. He knew it was Seth,\nreturning from an evening preaching, and made haste to overtake him.", "\"Yes,\" said Adam, pleased to have her ask a question about himself. \"Ten\nyears ago, when I was a lad, I went with father to see about some work", "\"Sit down here.\" He pointed to a chair just opposite to him, at no more\nthan a yard's distance from his own, and Adam sat down with a sense", "work, takes to preachin' an' that, like Seth Bede. But you see Adam, as\nhas got one o' the best head-pieces hereabout, knows better; he's a good", "the world of a masculine kind. But tell me about Adam. Has he accepted\nthe post? I don't see that it can be much more profitable than his", "It's a little drama I've got up in honour of my friend Adam. He's a fine\nfellow, and I like the opportunity of letting people know that I think\nso.\"", "Adam had on his working-dress again, now, for he had thrown off the\nother with a sense of relief as soon as he came home; and if he had had", "Adam spoke these words with the firm distinctness of a man who is\nresolved to leave nothing unsaid that he is bound to say; but he went on\nwith more hesitation.", "Adam had refolded the letter, and was sitting meditatively with his head\nresting on his arm at the head of the bed, when Seth came upstairs.\n\n\"Hast read the letter?\" said Seth.", "Adam was unable to speak. The strong man, accustomed to suppress the\nsigns of sorrow, had felt his heart swell like a child's at this first\napproach of sympathy. He fell on Seth's neck and sobbed.", "see her quite well. And so the time passed pleasantly till Adam got up\nto go. He was pressed to come again soon, but not to stay longer, for at", "interests of those who employ him as for his own. I'm proud to say that\nI was very fond of Adam when I was a little boy, and I have never lost", "But Adam had been refreshed by his long rest, and with his habitual\nimpatience of mere passivity, he was eager to begin the new day and", "\"Yes,\" said Adam, entering. \"That was Seth Bede. I'm his brother Adam.\nHe told me to give his respects to you and your good master.\"", "You would hardly have known it was Adam without being told. His face has\ngot thinner this last week: he has the sunken eyes, the neglected beard", "Adam took his chair again mechanically, and Bartle, for whom there was\nno chair remaining, sat on the bed in the background.\n\n\"Have you seen her, sir?\" said Adam tremulously." ], [ "When Hetty was gone upstairs he said, \"I canna make it out as she should\nwant to go away, for I thought she'd got a mind t' Adam Bede. She's\nlooked like it o' late.\"", "so piteously at the thought of leaving Adam that he had gone to Hetty\nand asked her if, for the love of him, she would put up with his", "love Adam well enough to marry him. She saw too clearly the absence of\nany warm, self-devoting love in Hetty's nature to regard the coldness of\nher behaviour towards Adam as any indication that he was not the man", "But Hetty's tears were not for Adam--not for the anguish that would come\nupon him when he found she was gone from him for ever. They were for the", "influence lasts, for he was certainly not in love with Hetty now. He\nhad been earnestly desiring, for months, that she should marry Adam,\nand there was nothing that contributed more to his happiness in these", "It seems strange that Adam, in the incessant occupation of his mind\nabout Hetty, should never have alighted on the probability that she had\ngone to Windsor, ignorant that Arthur was no longer there. Perhaps the", "Adam made no reply to that, and no other word but \"good-night\" passed\nbetween them.\n\n\n\nChapter XXXI\n\nIn Hetty's Bed-Chamber", "Adam paused and looked at Hetty, who was plucking the leaves from the\nfilbert-trees and tearing them up in her hand. Her little plans and", "Hetty did not speak, but Adam's face was very close to hers, and she\nput up her round cheek against his, like a kitten. She wanted to be\ncaressed--she wanted to feel as if Arthur were with her again.", "agonizing fears. Hetty had been deceiving herself in thinking that she\ncould love and marry him: she had been loving Arthur all the while; and\nnow, in her desperation at the nearness of their marriage, she had run", "Adam assented silently. A puzzled alarm had taken possession of him. Had\nHetty a lover he didn't know of? For none of her relations, he was sure,", "The old woman had seen the ghastly look of fear in Adam's face. But he\nwas not stunned or confounded: he was thinking eagerly where he could\ninquire about Hetty.", "Hetty said, \"Very well.\" She was really as anxious as Adam was that she\nshould have some private talk with him. She wondered what he thought of", "Without waiting for her to speak, he turned away from her and hurried\nback towards the road that led to the Hermitage, leaving Hetty to pursue", "She would like to run away that very morning, and never see any of the\nold faces again. But Hetty's was not a nature to face difficulties--to", "Adam had never behaved so much like a determined lover before. As soon\nas the boys had both set off, he looked down at Hetty and said, \"Won't", "Adam cared for no words after that, and they hardly spoke through the\nrest of the walk. He only said, \"I may tell your uncle and aunt, mayn't\nI, Hetty?\" and she said, \"Yes.\"", "\"How do you know? How durst you say so?\" said Hetty, pausing in her walk\nand trembling. The terrible decision of Adam's tone shook her with fear.", "Hetty to Adam went to convince him that he was making a sacrifice.", "With a \"good-bye,\" a bright glance, and a bow to Hetty Arthur left the\ndairy. But he was mistaken in imagining himself waited for. The rector" ], [ "Adam made no reply to that, and no other word but \"good-night\" passed\nbetween them.\n\n\n\nChapter XXXI\n\nIn Hetty's Bed-Chamber", "Poor wandering Hetty, with the rounded childish face and the hard,\nunloving, despairing soul looking out of it--with the narrow heart", "\"Hetty,\" she said gently, \"do you know who it is that sits by your\nside?\"\n\n\"Yes,\" Hetty answered slowly, \"it's Dinah.\"", "Hetty did not speak, but Adam's face was very close to hers, and she\nput up her round cheek against his, like a kitten. She wanted to be\ncaressed--she wanted to feel as if Arthur were with her again.", "Adam cared for no words after that, and they hardly spoke through the\nrest of the walk. He only said, \"I may tell your uncle and aunt, mayn't\nI, Hetty?\" and she said, \"Yes.\"", "But they started asunder with beating hearts: something had fallen on\nthe ground with a rattling noise; it was Hetty's basket; all her little", "\"Why,\" said Martin, looking with sharper attention at Adam, \"ye look\nbad. Is there anything happened?\"\n\n\"Yes,\" said Adam, heavily. \"A sad thing's happened. I didna find Hetty\nat Snowfield.\"", "hands. At last Hetty whispered, \"I did do it, Dinah...I buried it in the\nwood...the little baby...and it cried...I heard it cry...ever such a way", "The old woman had seen the ghastly look of fear in Adam's face. But he\nwas not stunned or confounded: he was thinking eagerly where he could\ninquire about Hetty.", "It was an ill-smelling close place, but warm, and there was straw on\nthe ground. Hetty sank down on the straw with a sense of escape. Tears", "\"Dinah,\" Hetty sobbed out, throwing her arms round Dinah's neck, \"I will\nspeak...I will tell...I won't hide it any more.\"", "Adam assented silently. A puzzled alarm had taken possession of him. Had\nHetty a lover he didn't know of? For none of her relations, he was sure,", "\"Look there! She's fainting,\" said the landlady, hastening to support\nHetty, who had lost her miserable consciousness and looked like a\nbeautiful corpse. They carried her to the sofa and loosened her dress.", "Adam answered with a half-sob, \"Yes, I forgive thee Hetty. I forgave\nthee long ago.\"", "How Hetty's heart beat as Arthur approached her! He had hardly looked at\nher to-day: now he must take her hand. Would he press it? Would he look", "of him. It was the supreme moment of his suffering: Hetty was guilty;\nand he was silently calling to God for help. He heard no more of the\nevidence, and was unconscious when the case for the prosecution had", "Again there was a slight startled movement through Hetty's frame,\nand without uncovering her face, she raised her head a little, as if\nlistening.\n\n\"Hetty...Dinah is come to you.\"", "Adam's words relieved one of Hetty's fears, but they also carried a\nmeaning which sickened her with a strengthened foreboding. She was pale", "\"No, I've never seen her, child--at least not as she is now,\" said Mrs.\nIrwine, continuing to look at Hetty. \"Well-looking, indeed! She's a", "\"And tell him,\" Hetty said, in rather a stronger voice, \"tell him...for\nthere's nobody else to tell him...as I went after him and couldn't find" ], [ "\"Dinah,\" Hetty sobbed out, throwing her arms round Dinah's neck, \"I will\nspeak...I will tell...I won't hide it any more.\"", "Slowly, while Dinah was speaking, Hetty rose, took a step forward, and\nwas clasped in Dinah's arms.", "Again there was a slight startled movement through Hetty's frame,\nand without uncovering her face, she raised her head a little, as if\nlistening.\n\n\"Hetty...Dinah is come to you.\"", "\"Speak to him, Hetty,\" Dinah said; \"tell him what is in your heart.\"\n\nHetty obeyed her, like a little child.", "Dinah, having taken off her bonnet and shawl, had hitherto kept quietly\nseated in the background, not liking to thrust herself between Hetty and", "She had had a letter from Dinah lately, full of kind words about the\ncoming marriage, which she had heard of from Seth; and when Hetty had", "faces by. Dinah stood still for a minute, hesitating to speak because\nHetty might be asleep, and looking at the motionless heap with a\nyearning heart. Then she said, softly, \"Hetty!\"", "to Dinah, and ask her to help her? Dinah did not think about things as\nother people did. She was a mystery to Hetty, but Hetty knew she was", "Hetty obeyed Dinah's movement, and sank on her knees. They still held\neach other's hands, and there was long silence. Then Dinah said, \"Hetty,", "\"Aye,\" said Seth, rather timidly, \"and Dinah's fond o' Hetty too; she\nthinks a deal about her.\"", "Seth in these parting moments. But when they saw Hetty, they paused and\nshook hands; Seth turned homewards, and Dinah came on alone.", "But Dinah was hardly conscious of the multitude. When Hetty had\ncaught sight of the vast crowd in the distance, she had clutched Dinah\nconvulsively.", "As Hetty said the last words, she clung closer to Dinah, shuddering.", "Dinah had shown her, and those words of Dinah in the bed-chamber--that\nHetty must think of her as a friend in trouble. Suppose she were to go", "Hetty clung round Dinah and shuddered again. The silence seemed long\nbefore she went on.", "\"Don't you know me, Hetty? Don't you remember Dinah? Did you think I\nwouldn't come to you in trouble?\"", "Dinah began to doubt whether Hetty was conscious who it was that sat\nbeside her. She thought suffering and fear might have driven the poor", "Dinah paused and released Hetty's hands that she might not hinder her.\nHetty sat quite still; she felt no response within herself to Dinah's", "it, and wanted to do some mending for her. Dinah was a riddle to her;\nHetty looked at her much in the same way as one might imagine a little", "Hetty kept her eyes fixed on Dinah's face--at first like an animal that\ngazes, and gazes, and keeps aloof." ], [ "Arthur dared not turn his eyes towards Hetty while Mrs. Irwine was\nspeaking of her. He feigned not to hear, and to be occupied with", "except Hetty, who knew now where Arthur was gone, but was only the\nmore puzzled and uneasy. For it appeared that his absence was quite", "As for Arthur, he rushed back through the wood, as if he wanted to put\na wide space between himself and Hetty. He would not go to the Hermitage", "It seems strange that Adam, in the incessant occupation of his mind\nabout Hetty, should never have alighted on the probability that she had\ngone to Windsor, ignorant that Arthur was no longer there. Perhaps the", "When Hetty was gone upstairs he said, \"I canna make it out as she should\nwant to go away, for I thought she'd got a mind t' Adam Bede. She's\nlooked like it o' late.\"", "With a \"good-bye,\" a bright glance, and a bow to Hetty Arthur left the\ndairy. But he was mistaken in imagining himself waited for. The rector", "wi' telling her as her aunt wants her, for all she writes o' not being\nable to come.\" Hetty had not liked the thought of going to Snowfield,", "Adam himself was not come back from Stoniton, for though he shrank from\nseeing Hetty, he could not bear to go to a distance from her again.", "then be something to detain them at Snowfield. But when a fortnight had\npassed they began to feel a little surprise that Hetty did not return;", "agonizing fears. Hetty had been deceiving herself in thinking that she\ncould love and marry him: she had been loving Arthur all the while; and\nnow, in her desperation at the nearness of their marriage, she had run", "Seth was silent from utter astonishment: he knew nothing that could\nsuggest to him a reason for Hetty's going away.\n\n\"Hast any notion what she's done it for?\" he said, at last.", "not to see Arthur Donnithorne again, if it were possible to avoid him.\nHe had no message to deliver from Hetty now, for Hetty had seen Arthur.", "resemblance was not much the less because Hetty felt very unhappy all\nthe while. The parting with Arthur was a double pain to her--mingling\nwith the tumult of passion and vanity there was a dim undefined fear", "distance, that no one's attention might be disturbed from the young\nsquire, the hero of the day. Arthur did not venture to stop near Hetty,", "his pocket, and was anxious to have an opportunity of talking to Hetty\nalone. He could not see her face at church, for she had changed her", "Irwine had not mentioned Arthur's name to Burge, and yet the story of\nhis conduct towards Hetty, with all the dark shadows cast upon it by\nits terrible consequences, was presently as well known as that his", "\"It's Captain Donnithorne,\" said Hetty tremulously, her heart beginning\nto beat painfully at this disappointment of her hope that she should\nfind Arthur at once.", "Without waiting for her to speak, he turned away from her and hurried\nback towards the road that led to the Hermitage, leaving Hetty to pursue", "She would like to run away that very morning, and never see any of the\nold faces again. But Hetty's was not a nature to face difficulties--to", "\"What I want to say to you,\" Arthur continued, \"is this: one of my\nreasons for going away is that no one else may leave Hayslope--may leave" ], [ "\"Yes,\" said Hetty. Then, after a pause, she added, \"But you can do\nnothing for me. You can't make 'em do anything. They'll hang me o'\nMonday--it's Friday now.\"", "Adam answered with a half-sob, \"Yes, I forgive thee Hetty. I forgave\nthee long ago.\"", "then to be hanged by the neck till you be dead,\" a piercing shriek rang\nthrough the hall. It was Hetty's shriek. Adam started to his feet and", "of him. It was the supreme moment of his suffering: Hetty was guilty;\nand he was silently calling to God for help. He heard no more of the\nevidence, and was unconscious when the case for the prosecution had", "\"Hetty,\" she said gently, \"do you know who it is that sits by your\nside?\"\n\n\"Yes,\" Hetty answered slowly, \"it's Dinah.\"", "The effect of this evidence on Adam was electrical; it gave him new\nforce. Hetty could not be guilty of the crime--her heart must have clung", "influence lasts, for he was certainly not in love with Hetty now. He\nhad been earnestly desiring, for months, that she should marry Adam,\nand there was nothing that contributed more to his happiness in these", "Hetty did not speak, but Adam's face was very close to hers, and she\nput up her round cheek against his, like a kitten. She wanted to be\ncaressed--she wanted to feel as if Arthur were with her again.", "\"I want to go to Hetty Sorrel, the young woman who has been condemned\nto death--and to stay with her, if I may be permitted. Have you power in\nthe prison, sir?\"", "The hopes he felt about Hetty softened a little his feeling towards\nArthur. Surely his attentions to Hetty must have been of a slight kind;", "\"Dinah,\" Hetty sobbed out, throwing her arms round Dinah's neck, \"I will\nspeak...I will tell...I won't hide it any more.\"", "you hang on my arm, Hetty?\" in a pleading tone, as if he had already\nasked her and she had refused. Hetty looked up at him smilingly and put", "and cunning as he was himself. As for any real harm in Hetty's case, it\nwas out of the question: Arthur Donnithorne accepted his own bond for\nhimself with perfect confidence.", "And Hetty? You know quite well that Adam was mistaken about her. Like\nmany other men, he thought the signs of love for another were signs of", "The blood rushed to Hetty's face, and then fled back again as she\nlooked up at the judge and kept her wide-open eyes fixed on him, as if", "The old woman had seen the ghastly look of fear in Adam's face. But he\nwas not stunned or confounded: he was thinking eagerly where he could\ninquire about Hetty.", "Adam assented silently. A puzzled alarm had taken possession of him. Had\nHetty a lover he didn't know of? For none of her relations, he was sure,", "had impressed on Hetty that it would be fatal to betray, by word or\nlook, that there had been the least intimacy between them; and Adam, who\nknew half their secret, would rather help them to keep it than betray", "\"Hetty Sorrel is in prison, and will be tried on Friday for the crime of\nchild-murder.\"...", "\"Because, Hetty, you are shutting up your soul against him, by trying\nto hide the truth. God's love and mercy can overcome all things--our" ], [ "soon made up her mind to marry Adam.", "IN little more than a month after that meeting on the hill--on a rimy\nmorning in departing November--Adam and Dinah were married.", "love Adam well enough to marry him. She saw too clearly the absence of\nany warm, self-devoting love in Hetty's nature to regard the coldness of\nher behaviour towards Adam as any indication that he was not the man", "Why should she not marry Adam? She did not care what she did, so that\nit made some change in her life. She felt confident that he would still", "want to marry her, and any further thought about Adam's happiness in the\nmatter had never yet visited her.", "Adam paused and looked into her sincere eyes.\n\n\"Then we'll never part any more, Dinah, till death parts us.\"\n\nAnd they kissed each other with a deep joy.", "marrying Adam presented itself to her in a new light. In a mind where no\nstrong sympathies are at work, where there is no supreme sense of\nright to which the agitated nature can cling and steady itself to quiet", "A new light had broken in on Seth. He turned round, and laying his\nhand on Adam's shoulder, said, \"Why, wouldst like her to marry THEE,\nBrother?\"", "\"I hope you have no objections against me for her husband,\" said Adam;\n\"I'm a poor man as yet, but she shall want nothing as I can work for.\"", "without the least grumbling or pouting. It must be, after all, that she\nhad set her heart on Adam at last, and her sudden freak of wanting to", "all sorts of answers to our own yearnings. It was impossible for Adam\nnot to feel that what had happened in the last week had brought the\nprospect of marriage nearer to him. Hitherto he had felt keenly the", "Adam did not speak immediately. They sat looking at each other in\ndelicious silence--for the first sense of mutual love excludes other\nfeelings; it will have the soul all to itself.", "\"Yes, Adam,\" Dinah said, \"I know marriage is a holy state for those who\nare truly called to it, and have no other drawing; but from my childhood", "\"She must ha' done,\" said Adam. \"She didn't like our marriage when it\ncame to the point--that must be it. She'd mistook her feelings.\"", "\"Yes,\" said Adam, pleased to have her ask a question about himself. \"Ten\nyears ago, when I was a lad, I went with father to see about some work", "Adam took the blanched wasted hand she put out to him, and they gave\neach other the solemn unspeakable kiss of a lifelong parting.", "They went out and walked towards the fields, where they would meet the\nfamily coming from church. Adam said, \"Take my arm, Dinah,\" and she took", "obliged to get up early or be scolded by anybody. She thought, if Adam\nhad been rich and could have given her these things, she loved him well\nenough to marry him.", "Adam got up, blushing like a small maiden--great strong fellow as he\nwas--and, putting his arm round Hetty stooped down and gently kissed her\nlips.", "Chapter LII\n\nAdam and Dinah" ], [ "the village, and set off, through the fields, towards the Farm. It was\nan immense relief to him, as he came near the Home Close, to see Mr.", "Arthur had passed the village of Hayslope and was approaching the\nBroxton side of the hill, when, at a turning in the road, he saw a", "About a quarter to seven there was an unusual appearance of excitement\nin the village of Hayslope, and through the whole length of its", "pasture and woodyard towards the green corn-fields and walnut-trees of\nthe Hall Farm; but apparently there was more interest for him in the\nliving groups close at hand. Every generation in the village was there,", "afterwards, and I trust her heart is touched. But I've noticed that\nin these villages where the people lead a quiet life among the green\npastures and the still waters, tilling the ground and tending the", "The Green lay at the extremity of the village, and from it the road\nbranched off in two directions, one leading farther up the hill by the", "\"Why, what's up in your pretty village, landlord?\" he continued, getting\ndown. \"There seems to be quite a stir.\"", "He determined to go to the village, in the first place, attend to his\nbusiness for an hour, and give notice to Burge of his being obliged to", "It was an event much thought of in the village. All Mr. Burge's men had\na holiday, and all Mr. Poyser's, and most of those who had a holiday", "thought he was going to the wood and would perhaps find the baby. And I\nwent right on, till I came to a village, a long way off from the wood,", "But do not imagine them gathered in a knot. Villagers never swarm: a\nwhisper is unknown among them, and they seem almost as incapable of an", "more than the pleasure of lounging in the evening sunshine. The\nDonnithorne Arms stood at the entrance of the village, and a small\nfarmyard and stackyard which flanked it, indicating that there was a", "The old squire's funeral had taken place that morning, the will had been\nread, and now in the first breathing-space, Arthur Donnithorne had come", "village of Broxton. By six o'clock the task was done, the coffin nailed\ndown, and Adam and Seth were on their way home. They chose a shorter", "at him as a stranger. But an experienced eye would have fixed on him at\nonce as the village blacksmith, after seeing the humble deference with\nwhich the big saucy fellow took off his hat and stroked his hair to the", "Maskery out of the village with rope-ends and pitchforks; and then, when\nI had furnished them with half a sovereign to get gloriously drunk after", "himself to the Saracen's Head, which was doing a thriving business in\nthe back street of a neighbouring market-town. But, oddly enough, he has", "corn-fields which lay between the village and the Hall Farm. Dinah had\ntaken off her little Quaker bonnet again, and was holding it in\nher hands that she might have a freer enjoyment of the cool evening", "Adam hastened with long strides, Gyp close to his heels, out of the\nworkyard, and along the highroad leading away from the village and down", "THE next day, at evening, two men were walking from opposite points\ntowards the same scene, drawn thither by a common memory. The scene was\nthe Grove by Donnithorne Chase: you know who the men were." ], [ "IT is near the end of June, in 1807. The workshops have been shut\nup half an hour or more in Adam Bede's timber-yard, which used to", "\"Yes,\" said Adam, pleased to have her ask a question about himself. \"Ten\nyears ago, when I was a lad, I went with father to see about some work", "Book Two\n\n\n\n\nChapter XVII\n\nIn Which the Story Pauses a Little", "THE thirtieth of July was come, and it was one of those half-dozen warm\ndays which sometimes occur in the middle of a rainy English summer. No", "But now he could not help saying to himself that the heaviest part of\nhis burden was removed, and that even before the end of another year\nhis circumstances might be brought into a shape that would allow him to", "\"Aye, they'd have a deal to say to one another,\" said Seth, \"and the\nmeeting 'ud touch 'em both pretty closish. Why, it's getting on towards\neight years since they parted.\"", "IT was a busy time for Adam--the time between the beginning of November\nand the beginning of February, and he could see little of Hetty, except", "years; and she may die under it, and never know comfort any more.\"", "The old squire's funeral had taken place that morning, the will had been\nread, and now in the first breathing-space, Arthur Donnithorne had come", "It was then past nine by the clock, which was always in advance of\nthe days, and before it had struck ten the latch was lifted and Seth\nentered. He had heard the sound of the tools as he was approaching.", "All hands worked on in silence for some minutes, until the church clock\nbegan to strike six. Before the first stroke had died away, Sandy Jim", "IT was beyond the middle of August--nearly three weeks after the\nbirthday feast. The reaping of the wheat had begun in our north midland", "odour like that of a flower-garden borne on the evening breeze. Foolish\nthoughts! But all this happened, you must remember, nearly sixty years", "kitchen, at well-graduated distances from the blazing fire. And for the\nlast two years, at least, Hetty had been in the habit of hearing her", "has undergone, as well as the years which have changed us all. And the\ndeath of the poor wanderer, when she was coming back to us, has been\nsorrow upon sorrow.\"", "IT was only a few minutes measured by the clock--though Adam always\nthought it had been a long while--before he perceived a gleam of", "\"You will know by and by, mother. It would not be right for me to tell\nyou at present. Good-night: you'll sleep now you have no longer anything\nto listen for.\"", "free from that weakness are those who have no work to call their own. It\nwas nearly seven before he had finished and put on his jacket again; and\non giving a last look round, he observed that Seth, who had been working", "Adam sat looking at the clock: the minute-hand was hurrying along the\nlast five minutes to ten with a loud, hard, indifferent tick, and Adam", "AN upper room in a dull Stoniton street, with two beds in it--one laid\non the floor. It is ten o'clock on Thursday night, and the dark wall" ], [ "irritation to Arthur. There was no having his own way in the stables;\neverything was managed in the stingiest fashion. His grandfather\npersisted in retaining as head groom an old dolt whom no sort of", "Arthur gave his horse to the groom at the rectory gate, and walked along\nthe gravel towards the door which opened on the garden. He knew that the", "loved and been proud of in old days; but nearer memories would not be\nthrust away. He was silent; yet Arthur saw an answer in his face that\ninduced him to go on, with growing earnestness.", "These were Arthur's chief thoughts, so far as a man's thoughts through\nhours of travelling can be compressed into a few sentences, which are", "grandfather is in the drawing-room with the ladies. Something that will\nsurprise you,\" he continued, as they sat down. \"My grandfather has come\nround after all.\"", "members of the family, which tells that the visitor is on the best terms\nwith the visited. The young gentleman was Arthur Donnithorne, known", "to come, and he would not have to say \"good-bye\" to the grand old woods,\nbut would like them better because they were Arthur's. For this new", "Arthur knew the rector too well to suppose that a clever invention would\nbe of any use, so he said, with his accustomed frankness, \"No, I went to", "Arthur's, as you know, was a loving nature. Deeds of kindness were as\neasy to him as a bad habit: they were the common issue of his weaknesses", "The old squire's funeral had taken place that morning, the will had been\nread, and now in the first breathing-space, Arthur Donnithorne had come", "They sat down opposite each other in the old places, and Arthur said,\n\"I'm going away, Adam; I'm going into the army.\"", "Old John's wooden, deep-wrinkled face was the first object that met\nArthur's eyes as he entered the stable-yard, and it quite poisoned for", "that Arthur wanted to tell him something, and thought of smoothing\nthe way for him by this direct question. But he was mistaken. Brought\nsuddenly and involuntarily to the brink of confession, Arthur shrank", "and had real provocation. No, Arthur had not an evil feeling in his mind\ntowards any human being: he was happy, and would make every one else\nhappy that came within his reach.", "Arthur paused a moment and then added, pleadingly, \"You know that's a\ngood work to do for the sake of other people, besides the owner. And", "\"Well, Adam, how are you?\" said Arthur, holding out his hand. He never\nshook hands with any of the farmers, and Adam felt the honour keenly. \"I", "he thought far more of Arthur's good qualities, and attached far more\nvalue to very slight actions of his, than if they had been the qualities\nand actions of a common workman like himself. He felt sure it would be", "Mr. Irwine gave up his intention of sending a letter to meet Arthur,\nsince it would not now hasten his return: the news of his grandfather's", "\"Good-night, sir,\" said Adam. But he heard no reply; Arthur had turned\ninto the house.\n\n\n\nChapter XXIX\n\nThe Next Morning", "\"Yes, Ralph was gone before the news was brought to us. Dear Arthur, I\nshall live now to see him master at the Chase, and making good times on" ] ]

[ "What happens to Hetty's child?", "Who helps Hetty deliver her baby?", "Where, in what town, does the story take place?", "Where does Arthur go when he leaves his hometown?", "What stops Hetty from getting married?", "What crime is Hetty convicted of?", "Who saves Hetty?", "Which of the 4 characters eventually build a life together?", "What is Adam's profession?", "What is Hetty charged with?", "Who pledges to stand by Hetty until execution?", "Why is Hetty's sentence changed to transportation?", "Who is involved in the \"love rectangle\"?", "How does the baby die?", "Why does Hetty choose to leave the baby in the field?", "Which couple finds love together by the end?", "What is Arthur to Hetty?", "What is Hetty to Dinah?", "What is Adam's job?", "Why does Hetty leave before her wedding to Adam?", "What happens to Hetty's child?", "How are Dinah and Hetty related?", "Why does Hetty stay away from the village when she fails to find Arthur?", "Who has Hetty's hanging cancelled?", "Who does Adam marry?", "What is the name of the village?", "What year is it?", "What is Arthur's grandfather's job?" ]

[ [ "He dies from exposure after being abondoned in a field by Hetty.", "It died after Hetty left it in a field" ], [ "a friendly woman", "A friendly woman Hetty encounters." ], [ "Hayslope", "Hayslope." ], [ "He goes back to the militia.", "Back to his militia." ], [ "She goes to look for, Arthur, the potential father of her unborn child.", "She finds out she is pregnant" ], [ "Hetty is convicted of murdering her child.", "Child murder" ], [ "Arthur was back in town from military leave and he is able to have her sentence commuted to transportation.", "Arthur Donnithorne." ], [ "Adam and Dinah", "Adam and Dinah" ], [ "Carpenter", "local carpenter" ], [ "Child murder", "child murder" ], [ "Dinah", "Dinah" ], [ "Hetty confesses the exact sequence of events that occurred before the murder and is heard by Arthur.", "Arthur Donnithorne has the sentence commuted." ], [ "Adam, Arthur, Dinah and Hetty.", "Adam and Dinah" ], [ "Exposure from being left in the field.", "Exposure" ], [ "To avoid shame from her fellow villagers.", "She did not want shame soon her." ], [ "Adam and Dinah", "Adam and Dinah." ], [ "The young squire that gains her affection.", "He's her lover." ], [ "Her cousin", "she's her cousin." ], [ "carpenter", "Carpenter." ], [ "she is pregnant by Arthur.", "She discovers she is pregnant." ], [ "it dies of exposure after she abandons it.", "It dies of exposure." ], [ "They're cousins.", "they are cousins" ], [ "she doesn't want to face shame ", "Fear of shame and ostracism" ], [ "Arthur.", "Arthur Donnithorne" ], [ "Dinah.", "Dinah" ], [ "Hayslope", "Hayslope" ], [ "1799", "1799" ], [ "squire.", "the local squire" ] ]

[ [ "Bianca stares at her, dumbfounded\n \n BIANCA\n But\n \n KAT", "KAT\n Go away\n \n Bianca opens the door and looks at her sister with the", "Kat stands up slowly\n \n KAT\n That's not\n \n BIANCA", "If Kat's not going, you're not going.\n \n Bianca turns to Kat, eyes ablaze\n \n BIANCA", "She turns to Kat.\n \n BIANCA\n (continuing)\n I swear -- I didn't know about the", "and attempts to twist Kat's hair into a chignon.\n \n She wacks Bianca away.\n \n BIANCA", "WALTER\n (to Bianca; upset)\n Who drove you home?\n \n Bianca glares at Kat then turns to Walter", "Kat shoots her a glare\n \n BIANCA\n (continuing; \n excited)", "KAT\n BIANCA\n \n PATRICK\n No offense, but you're sister is", "BIANCA\n Come in.\n \n Kat enters and sits down on the bed, muting the TV.", "Kat turns to him, getting angry.\n \n KAT\n Why are you doing this?\n \n KAT", "KAT\n You're freaked over this, aren't you?\n \n Bianca hands her the yearbook", "You set me up.\n \n BIANCA\n I just wanted --\n \n KAT", "Kat doesn't move, so Bianca crosses to the stereo, turning \n down the volume.\n \n BIANCA", "KAT\n So did you\n \n Bianca gives her a squeeze, then jumps up when the DOORBELL", "BIANCA\n \n Bianca keeps walking, ignoring Kat\n \n A GUY pouring shots hands Kat one She downs it and accepts", "story.\n \n BIANCA\n As in...\n \n Kat takes a deep breath.", "KAT\n Bianca, I need to talk to you -- I need \n to tell you --", "in, yanking Bianca from her chair and dragging her toward \n the hallway.\n \n KAT \n (to the teacher)", "KAT\n (continuing)\n Where've you been?\n \n BIANCA" ], [ "Kat sits at her desk, burying her face in a book as the \n others enter. The White Rastas are first.", "KAT\n I know about the goddamn party. I'm \n going.", "Do you know about any party? Katarina?\n \n Kat shrugs as she comes back out of the kitchen with an \n apple", "If Kat's not going, you're not going.\n \n Bianca turns to Kat, eyes ablaze\n \n BIANCA", "KAT \n No fear.\n \n They approach Bruce. Kat puts on her happy, shiny face", "Kat doesn't answer\n \n PATRICK \n (continuing)", "KAT\n So he has this huge raging fit about \n Sarah Lawrence and insists that I go to", "Kat turns to him, getting angry.\n \n KAT\n Why are you doing this?\n \n KAT", "Because she'll scare them away.\n \n Kat stomps to the door, grabbing her car keys off the hall", "KAT\n You're welcome.\n \n She pushes past her and leaves the bathroom.", "You know the deal. I can ' t go if Kat \n doesn't go --\n \n In the background, a RASTA crumples to the ground. Hit", "You're not gonna change my mind, Kat. \n Rules stick.\n \n Kat starts to panic, as Patrick has yet to make the jump for", "(continuing)\n Kat! Wake up! \n \n KAT\n (waking)\n What?", "KAT\n Go away\n \n Bianca opens the door and looks at her sister with the", "you'd forbid me to go since \"Gloria \n Steinem\" over there isn't going --\n \n She points to Kat -- Walkman blaring -- who comes", "I can't go, because you won ' t.\n \n Kat clears her throat\n \n KAT", "Go to the prom with me\n \n Kat's smile disappears.\n \n KAT", "and attempts to twist Kat's hair into a chignon.\n \n She wacks Bianca away.\n \n BIANCA", "KAT\n Sadly, no. But it's only four-thirty.\n \n Bianca walks in.", "Kat enters, then quickly tries to make an about face. Joey \n sees her and rushes over to block her, standing in the \n doorway." ], [ "WALTER\n No! You're not dating until your sister \n starts dating. End of discussion.\n \n BIANCA", "WALTER\n (to Bianca)\n Promise me you won't talk to any boys", "Bianca enters and walks over to Walter\n \n BIANCA\n Daddy, I want to discuss the prom with", "your sister does.\n \n BIANCA\n But she doesn't want to date.\n \n WALTER", "Walter rises. Sharon pulls him back down on the couch\n \n SHARON \n (to Bianca)", "WALTER\n I'm missing something.\n \n BIANCA", "Daddy, I --\n \n WALTER\n And where're you going?\n \n BIANCA", "of some guy.\n \n WALTER\n Bianca did what?\n \n KAT", "A startled Walter clutches Bianca in a protective hug.\n \n WALTER\n Oh, God. It's starting.", "Walter scurries takes off his glasses and looks from Bianca \n to Sharon.\n \n SHARON", "WALTER\n (to Bianca; upset)\n Who drove you home?\n \n Bianca glares at Kat then turns to Walter", "WALTER\n Hello, precious.\n \n Walter kisses Bianca back as Kat heads up the stairs", "unless your sister is present.\n \n BIANCA\n Why?\n \n WALTER", "BIANCA\n I hope so.\n \n The door shuts behind her as Walter enters.", "BIANCA\n Daddy, people expect me to be there!\n \n WALTER", "Walter emerges from the kitchen with a mile-high sandwich \n The girls are like statues. Walter jumps.\n \n BIANCA", "I'm here to pick up Bianca.\n \n WALTER\n late", "WALTER\n Which parts?\n \n KAT\n The part where Bianca beat the hell out", "a dead guy, too.\n \n WALTER\n Girls\n \n Kat stares Bianca down", "BIANCA\n It's just a party. Daddy.\n \n Walter looks dazed.\n \n WALTER" ], [ "Joey turns back to Patrick and Kat.\n \n JOEY \n (continuing)", "this whole thing up so Cameron can get \n the girl.\n \n Patrick smiles. He likes the idea of Joey being a pawn in", "He pulls out his wallet and hands Patrick a wad of money\n \n JOEY \n (continuing)\n Take it", "EXT. PARKING LOT - DAY \n \n Joey leans against Patrick's Jeep. Patrick is inside.", "Michael and Cameron approach Joey as he continues to taunt \n Patrick who keeps quiet, realizing the weight of this \n situation.", "Joey enters, grabbing Patrick by the shoulder, distracting \n him from his task.\n \n JOEY\n My man", "MICHAEL\n Patrick, Pat, you're not looking at the \n big picture. Joey's just a pawn. We set", "JOEY\n You better hope you're as smooth as you \n think you are, Verona.\n \n Patrick takes the money with a smile.", "JOEY \n Maybe we should ask Verona\n \n Patrick enters, late, and slinks to his desk. Kat looks up,", "PATRICK\n Yeah\n \n JOEY \n What do you think?", "PATRICK\n Sure, Sparky. I'll get right on it.\n \n JOEY \n You just said", "has decided that he doesn't need to wear pants.\n \n Patrick pulls out his wallet, takes the wad of money Joey \n gave him and hands it to the homeless guy.", "MICHAEL\n Exactly\n \n Joey turns to look at Michael.", "It's incredibly obvious that he's lying. Joey eyes him then \n turns to Cameron.\n \n JOEY", "Patrick is showing a scar to an inebriated, enraptured \n cheerleader. He looks up at Kat and smiles meets his eyes \n then looks away.", "MICHAEL \n (continuing)\n Joey, pal, compadre. Let's take it \n easy.", "PATRICK \n I just upped my price\n \n JOEY \n (turning)", "money. I didn't even know Joey was \n involved. I would never intentionally \n hurt you, Kat.", "Why 're you doing this?\n \n PATRICK\n I told you\n \n KAT", "But you'd go out with her if you had \n the cake?\n \n Patrick stares at Joey deadpan. His dislike for the guy" ], [ "Kat looks up in surprise.\n \n WALTER\n (continuing)", "Walter sits down on the arm of the chair and watches the \n infomercial with Kat.\n \n WALTER\n (continuing)", "KAT\n I know.\n \n WALTER\n I thought we decided you were going to", "WALTER\n Hello, precious.\n \n Walter kisses Bianca back as Kat heads up the stairs", "KAT\n How touching.\n \n Walter holds up a letter to Kat\n \n WALTER", "WALTER\n (to Bianca; upset)\n Who drove you home?\n \n Bianca glares at Kat then turns to Walter", "WALTER\n As a parent, that's my right\n \n KAT\n So what I want doesn't matter?", "school look. She wanders toward the kitchen.\n \n Walter directs his attention toward Kat.\n \n WALTER", "KAT \n No fear.\n \n They approach Bruce. Kat puts on her happy, shiny face", "WALTER\n Was that your sister?\n \n KAT\n Yeah. She left with some bikers Big", "a dead guy, too.\n \n WALTER\n Girls\n \n Kat stares Bianca down", "KAT\n You're welcome.\n \n She pushes past her and leaves the bathroom.", "Walter rises. Sharon pulls him back down on the couch\n \n SHARON \n (to Bianca)", "Walter paces as Kat sits calmly on the couch.\n \n WALTER\n My insurance does not cover PMS", "Bianca enters and walks over to Walter\n \n BIANCA\n Daddy, I want to discuss the prom with", "No one moves. Then Kat slowly stands up.\n \n KAT\n I'11 go\n \n Patrick looks up.", "you. It's tomorrow night --\n \n WALTER\n The prom? Kat has a date?", "of some guy.\n \n WALTER\n Bianca did what?\n \n KAT", "KAT\n No, Daddy.\n \n WALTER\n (dreading the \n answer)", "Kat pulls forward and backs into his car again. Smiling \n sweetly.\n \n INT. STRATFORD HOUSE - NIGHT" ], [ "waiting, looks around. She spots Patrick a few feet away\n \n KAT \n (continuing to \n herself)", "KAT \n (continuing)\n Damn it!\n \n Patrick grabs her in a victorious tackle. They land,", "PATRICK \n Hey. Girlie.\n \n Kat stops and turns slowly to look at him.", "No one moves. Then Kat slowly stands up.\n \n KAT\n I'11 go\n \n Patrick looks up.", "Mandella watches Kat as she stares after Patrick\n \n MANDELLA\n Has he importun'd you with love in", "Patrick enters, walking to the counter to order. He sees Kat \n and smiles.\n \n PATRICK\n Hey", "PATRICK\n (cheery)\n See you next week!\n \n Kat stands and Patrick sees her.", "Joey turns back to Patrick and Kat.\n \n JOEY \n (continuing)", "None of her usual \"attitude\". Patrick is transfixed. And \n most definitely attracted.\n \n NEAR THE STAGE Kat looks at Mandella.", "Patrick pulls up in Kat's driveway. Their paint wardrobe \n has dried by now and they look like refugees from some \n strange, yet colorful, war.", "KAT \n Two waters.\n \n She looks at Patrick again. He's completely absorbed in the", "Kat doesn't answer\n \n PATRICK \n (continuing)", "home?\n \n INT. KAT'S CAR - NIGHT\n \n Patrick drives as Kat sits in the passenger seat, fiddling", "Kat stands at her locker, gathering her books. Patrick \n appears at her side, smiling.\n \n PATRICK\n Hey", "KAT\n Is that right?\n \n PATRICK\n Yeah, but then I fucked up. I fell for", "Patrick is showing a scar to an inebriated, enraptured \n cheerleader. He looks up at Kat and smiles meets his eyes \n then looks away.", "As Patrick turns, Kat breaks free and dives into the sea of \n dancing people in the dining room.\n \n PATRICK", "KAT'S CAR - NIGHT\n \n Kat's in the driver's seat. Patrick leans in and takes the \n keys out of the ignition.", "Kat pulls up in her car, emerging resplendent in an ice \n gown.\n \n Patrick sits on the steps, waiting. In a tux.", "You're not gonna change my mind, Kat. \n Rules stick.\n \n Kat starts to panic, as Patrick has yet to make the jump for" ], [ "INT. BOGEY'S LIVING ROOM - NIGHT \n \n Bianca stands next to Joey, sipping from her beer", "line to go out with a guy like Joey.\n \n There's a KNOCK at the door. Bianca opens it to find a very \n drunken Kat.", "Joey never told you we went out, did \n he?\n \n BIANCA\n What?", "Joey pushes through the crowd but a HAND drags him back. \n It's Bianca. And she BELTS the hell out of him", "Joey takes the bow and arrow from Bianca's hand. He draws \n back and takes aim.\n \n JOEY", "Hear me out. You want Bianca don't \n you?\n \n Joey sits back and cackles at his drawing.", "They watch Joey's car as he slows next to Bianca and \n Chastity as they walk toward the school bus.\n \n ON BIANCA AND CHASTITY", "Joey stands ac his open locker with Bianca. The locker is \n an homage to Joey's \"modeling\" career. Cheesy PRINT ADS of", "Bianca and Chastity can't get in Joey's car fast enough. He \n pulls away with a smile.", "Joey nods thoughtfully.\n \n JOEY \n It's more\n \n BIANCA", "Joey swaggers up to Bianca, who is taking careful aim. \n Chastity watches from across the row.\n \n JOEY", "BIANCA\n No, but\n \n WALTER\n It's that hot rod Joey, right? That ' s", "CHASTITY \n Who?\n \n BIANCA\n Joey.", "JOEY\n Yeah, whatever. I want you to go out \n with her.", "BIANCA\n Surprise me.\n \n He heads for the kitchen. Joey walks up and grabs her \n around the waist.", "I don't have to be home 'til two.\n \n JOEY \n Then, c'mon.\n (to Bianca)", "this whole thing up so Cameron can get \n the girl.\n \n Patrick smiles. He likes the idea of Joey being a pawn in", "BIANCA What're you talking about?\n \n CHASTITY \n Joey Dorsey is only after one thing - -", "Joey saunters in and takes his seat.\n \n JOEY\n Kat, babe, you were on fire.", "Joey, drunk, disorderly and pissed off, walks in with a few \n stray jocks - also dateless. He zeroes in on Cameron, now" ], [ "Patrick pulls up in Kat's driveway. Their paint wardrobe \n has dried by now and they look like refugees from some \n strange, yet colorful, war.", "waiting, looks around. She spots Patrick a few feet away\n \n KAT \n (continuing to \n herself)", "PATRICK \n Hey. Girlie.\n \n Kat stops and turns slowly to look at him.", "Patrick is showing a scar to an inebriated, enraptured \n cheerleader. He looks up at Kat and smiles meets his eyes \n then looks away.", "KAT \n Two waters.\n \n She looks at Patrick again. He's completely absorbed in the", "PATRICK\n (cheery)\n See you next week!\n \n Kat stands and Patrick sees her.", "Patrick enters, walking to the counter to order. He sees Kat \n and smiles.\n \n PATRICK\n Hey", "INT. BOOK STORE - DAY\n \n Kat browses through the feminist lit section\n Patrick appears, through a hole in the books.", "Joey turns back to Patrick and Kat.\n \n JOEY \n (continuing)", "No one moves. Then Kat slowly stands up.\n \n KAT\n I'11 go\n \n Patrick looks up.", "As Patrick turns, Kat breaks free and dives into the sea of \n dancing people in the dining room.\n \n PATRICK", "KAT \n (continuing)\n Damn it!\n \n Patrick grabs her in a victorious tackle. They land,", "Kat pulls up in her car, emerging resplendent in an ice \n gown.\n \n Patrick sits on the steps, waiting. In a tux.", "truly walk the earth.\n \n Patrick gives Kat one last look before the door shuts, then \n smiles-", "Patrick looks at her, surprised\n \n PATRICK \n (yelling) \n hey. Great show, huh?", "Kat stands at her locker, gathering her books. Patrick \n appears at her side, smiling.\n \n PATRICK\n Hey", "Patrick smiles at her as he finishes the verse with a big \n finale.\n \n PATRICK \n (continuing)", "KAT \n (frowning)\n What are you doing here?\n \n PATRICK", "KAT'S CAR - NIGHT\n \n Kat's in the driver's seat. Patrick leans in and takes the \n keys out of the ignition.", "AT THE BAR\n \n Patrick signals to get the bartender's attention and looks \n across the bouncing surge of the crowd. He spots Kat and" ], [ "Listen, I want to talk to you about the \n prom.\n \n BIANCA", "Bianca TAPS on the open door.\n \n BIANCA\n Quick question -- are you going to the \n prom?", "Bianca enters and walks over to Walter\n \n BIANCA\n Daddy, I want to discuss the prom with", "Just who I was looking for.\n \n He puts his arm around Bianca and escorts her out\n \n KAT", "line to go out with a guy like Joey.\n \n There's a KNOCK at the door. Bianca opens it to find a very \n drunken Kat.", "to woo Bianca.\n \n Cameron grins and puts an arm around him\n \n CAMERON", "Michael processes this.\n \n MICHAEL\n You know, if you do go out with Bianca,", "He melts\n \n CAMERON\n You have my word. As a gentleman\n \n BIANCA", "MICHAEL\n Bianca Stratford. Sophomore. Don't \n even think about it", "being the Prada guy next year.\n \n He looks over her shoulder and waves at someone. Bianca \n takes the opportunity to escape.", "Good sir.\n \n Patrick rolls his eyes.\n \n INT. PROM - NIGHT - LATER", "BIANCA\n I wish I had that luxury. I'm the only \n sophomore that got asked to the prom and", "INT. SOPHOMORE ENGLISH CLASS - DAY\n \n Bianca ignores the droning teacher as she writes a note in \n big flowing handwriting.", "Well, there's someone I think might be \n --\n \n Bianca's eyes light up", "(embarrassed)\n Forget it.\n \n Bianca seizes an opportunity.", "Cam and Bianca dance nearby, glowing with happiness. She \n whispers something in his ear and heads for the ladies' room\n \n INT. LADIES ROOM - NIGHT", "Cameron exits the party and stops when he sees Bianca \n standing alone.\n \n CAMERON\n (slightly", "CHASTITY \n You think you ' re the only sophomore \n at the prom?\n \n BIANCA", "and girls alike.\n \n BOY\n (adoring)\n Hey, Bianca.", "You set me up.\n \n BIANCA\n I just wanted --\n \n KAT" ], [ "WALTER\n No! You're not dating until your sister \n starts dating. End of discussion.\n \n BIANCA", "your sister does.\n \n BIANCA\n But she doesn't want to date.\n \n WALTER", "WALTER\n (to Bianca)\n Promise me you won't talk to any boys", "Bianca enters and walks over to Walter\n \n BIANCA\n Daddy, I want to discuss the prom with", "WALTER\n (to Bianca; upset)\n Who drove you home?\n \n Bianca glares at Kat then turns to Walter", "WALTER\n Hello, precious.\n \n Walter kisses Bianca back as Kat heads up the stairs", "a dead guy, too.\n \n WALTER\n Girls\n \n Kat stares Bianca down", "of some guy.\n \n WALTER\n Bianca did what?\n \n KAT", "Daddy, I --\n \n WALTER\n And where're you going?\n \n BIANCA", "WALTER\n Which parts?\n \n KAT\n The part where Bianca beat the hell out", "WALTER\n Was that your sister?\n \n KAT\n Yeah. She left with some bikers Big", "WALTER\n As a parent, that's my right\n \n KAT\n So what I want doesn't matter?", "unless your sister is present.\n \n BIANCA\n Why?\n \n WALTER", "A startled Walter clutches Bianca in a protective hug.\n \n WALTER\n Oh, God. It's starting.", "Walter rises. Sharon pulls him back down on the couch\n \n SHARON \n (to Bianca)", "If Kat's not going, you're not going.\n \n Bianca turns to Kat, eyes ablaze\n \n BIANCA", "you. It's tomorrow night --\n \n WALTER\n The prom? Kat has a date?", "Kat doesn't move, so Bianca crosses to the stereo, turning \n down the volume.\n \n BIANCA", "KAT\n No, Daddy.\n \n WALTER\n (dreading the \n answer)", "Walter emerges from the kitchen with a mile-high sandwich \n The girls are like statues. Walter jumps.\n \n BIANCA" ], [ "Bianca enters and walks over to Walter\n \n BIANCA\n Daddy, I want to discuss the prom with", "(eyeing Walter)\n Nowhere... Hi, Daddy.\n \n She kisses him on the cheek", "Walter emerges from the kitchen with a mile-high sandwich \n The girls are like statues. Walter jumps.\n \n BIANCA", "WALTER\n Was that your sister?\n \n KAT\n Yeah. She left with some bikers Big", "The door SLAMS. As Sharon looks at Walter with a grin, a \n blur rushes down the stairs and out the door. The blur has \n Kat ' s voice.", "Walter scurries takes off his glasses and looks from Bianca \n to Sharon.\n \n SHARON", "WALTER\n Hello, precious.\n \n Walter kisses Bianca back as Kat heads up the stairs", "your sister does.\n \n BIANCA\n But she doesn't want to date.\n \n WALTER", "a dead guy, too.\n \n WALTER\n Girls\n \n Kat stares Bianca down", "BIANCA\n I hope so.\n \n The door shuts behind her as Walter enters.", "WALTER\n No! You're not dating until your sister \n starts dating. End of discussion.\n \n BIANCA", "Daddy, I --\n \n WALTER\n And where're you going?\n \n BIANCA", "BIANCA\n Hi, Mommy.\n (looking away)\n WALTER", "SHARON\n Your daughters went to the prom.\n \n WALTER\n Did I have anything to say about it?", "BIANCA\n Daddy, people expect me to be there!\n \n WALTER", "WALTER\n (to Bianca; upset)\n Who drove you home?\n \n Bianca glares at Kat then turns to Walter", "A startled Walter clutches Bianca in a protective hug.\n \n WALTER\n Oh, God. It's starting.", "WALTER\n I'm missing something.\n \n BIANCA", "unless your sister is present.\n \n BIANCA\n Why?\n \n WALTER", "Walter rises. Sharon pulls him back down on the couch\n \n SHARON \n (to Bianca)" ], [ "TEN THINGS I HATE ABOUT YOU\n \n written by Karen McCullah Lutz & Kirsten Smith", "I hate your big dumb combat boots/ and \n the way you read my mind/ I hate you so \n much it makes me sick/ it even makes me", "KAT \n (continuing)\n I hate the way you're always right/ I \n hate it when you lie/ I hate it when you", "I hate the way you talk to me/ and the \n way you cut your hair/ I hate the way \n you drive my car/ I hate it when you", "Ms. Blaise hands him the sonnet. He shifts uncomfortably in \n his seat. Then grins.\n \n DEREK", "I'd like you all to write your own \n version of Shakespeare's Sonnet #141.\n \n Groans.", "make me laugh/ even worse when you make \n me cry/ I hate it that you're not \n around/ and the fact that you didn't", "call/ But mostly I hate the way I don ' \n t hate you/ not even close, not even a \n little bit, not even any at all.", "I heard there was a poetry reading.\n \n KAT\n You 're so --\n \n PATRICK", "\" I think I love you I \"\n \n INSIDE\n \n The other students laugh, clap, cheer, etc. Kat sinks down,", "KAT \n (kindly)\n Listen, I know you hate having to sit \n home because I'm not Susie High School.", "KAT\n Tell me something true.\n \n PATRICK\n I hate peas.", "(reading; in his \n Rasta stoner drawl)\n In faith, I do not love thee with mine", "INT. SOPHOMORE ENGLISH CLASS - DAY\n \n Bianca ignores the droning teacher as she writes a note in \n big flowing handwriting.", "PATRICK\n Dorsey.\n \n KAT\n I hate him.", "The other students roll their eyes.\n \n KAT\n (continuing)\n Frankly, I'm baffled as to why we still", "the one person I truly hate. I knew it \n was a set-up!\n \n PATRICK", "\"Undulating with desire, Adrienne \n removes her crimson cape, revealing her \n creamy --\"", "Listen, I want to talk to you about the \n prom.\n \n BIANCA", "shirt. In the other, he's pouting in a black shirt.\n \n BIANCA\n I think I like the white shirt" ], [ "WALTER\n No! You're not dating until your sister \n starts dating. End of discussion.\n \n BIANCA", "Bianca enters and walks over to Walter\n \n BIANCA\n Daddy, I want to discuss the prom with", "WALTER\n (to Bianca)\n Promise me you won't talk to any boys", "your sister does.\n \n BIANCA\n But she doesn't want to date.\n \n WALTER", "Walter rises. Sharon pulls him back down on the couch\n \n SHARON \n (to Bianca)", "A startled Walter clutches Bianca in a protective hug.\n \n WALTER\n Oh, God. It's starting.", "WALTER\n Hello, precious.\n \n Walter kisses Bianca back as Kat heads up the stairs", "Daddy, I --\n \n WALTER\n And where're you going?\n \n BIANCA", "WALTER\n (to Bianca; upset)\n Who drove you home?\n \n Bianca glares at Kat then turns to Walter", "BIANCA\n I hope so.\n \n The door shuts behind her as Walter enters.", "Walter scurries takes off his glasses and looks from Bianca \n to Sharon.\n \n SHARON", "of some guy.\n \n WALTER\n Bianca did what?\n \n KAT", "WALTER\n I'm missing something.\n \n BIANCA", "Walter emerges from the kitchen with a mile-high sandwich \n The girls are like statues. Walter jumps.\n \n BIANCA", "unless your sister is present.\n \n BIANCA\n Why?\n \n WALTER", "BIANCA\n Daddy, people expect me to be there!\n \n WALTER", "a dead guy, too.\n \n WALTER\n Girls\n \n Kat stares Bianca down", "BIANCA\n It's just a party. Daddy.\n \n Walter looks dazed.\n \n WALTER", "BIANCA\n No, but\n \n WALTER\n It's that hot rod Joey, right? That ' s", "BIANCA\n Hi, Mommy.\n (looking away)\n WALTER" ], [ "in, yanking Bianca from her chair and dragging her toward \n the hallway.\n \n KAT \n (to the teacher)", "and attempts to twist Kat's hair into a chignon.\n \n She wacks Bianca away.\n \n BIANCA", "BIANCA\n That's for making my date bleed\n \n She BELTS him again", "she jerks away and flees down the stairs and out of sight.\n \n Bianca stands at the top of the stairs, watching. She's \n never looked more guilty.", "MISS PERKY \n Just smack her now.\n \n Bianca rises, taking Kat by the arm.", "story.\n \n BIANCA\n As in...\n \n Kat takes a deep breath.", "between two rows of lockers.\n \n BIANCA\n Let go!\n \n KAT", "WALTER\n Which parts?\n \n KAT\n The part where Bianca beat the hell out", "Just who I was looking for.\n \n He puts his arm around Bianca and escorts her out\n \n KAT", "Bianca stares at her, dumbfounded\n \n BIANCA\n But\n \n KAT", "(embarrassed)\n Forget it.\n \n Bianca seizes an opportunity.", "She shuts her book and puts on a seductive smile\n \n BIANCA\n (continuing)", "You set me up.\n \n BIANCA\n I just wanted --\n \n KAT", "KAT\n Go away\n \n Bianca opens the door and looks at her sister with the", "He hangs the belly on her as she stands mortified.\n \n BIANCA\n You are so completely unbalanced.", "Joey swaggers up to Bianca, who is taking careful aim. \n Chastity watches from across the row.\n \n JOEY", "BIANCA\n \n Bianca keeps walking, ignoring Kat\n \n A GUY pouring shots hands Kat one She downs it and accepts", "Joey pushes through the crowd but a HAND drags him back. \n It's Bianca. And she BELTS the hell out of him", "Kat stands up slowly\n \n KAT\n That's not\n \n BIANCA", "A KNOCK sounds\n \n BIANCA\n Come in.\n \n Kat opens the door and peers in with a grin" ], [ "Listen, I want to talk to you about the \n prom.\n \n BIANCA", "Bianca TAPS on the open door.\n \n BIANCA\n Quick question -- are you going to the \n prom?", "Bianca enters and walks over to Walter\n \n BIANCA\n Daddy, I want to discuss the prom with", "Michael processes this.\n \n MICHAEL\n You know, if you do go out with Bianca,", "line to go out with a guy like Joey.\n \n There's a KNOCK at the door. Bianca opens it to find a very \n drunken Kat.", "Just who I was looking for.\n \n He puts his arm around Bianca and escorts her out\n \n KAT", "He melts\n \n CAMERON\n You have my word. As a gentleman\n \n BIANCA", "to woo Bianca.\n \n Cameron grins and puts an arm around him\n \n CAMERON", "If Kat's not going, you're not going.\n \n Bianca turns to Kat, eyes ablaze\n \n BIANCA", "(embarrassed)\n Forget it.\n \n Bianca seizes an opportunity.", "being the Prada guy next year.\n \n He looks over her shoulder and waves at someone. Bianca \n takes the opportunity to escape.", "Cameron exits the party and stops when he sees Bianca \n standing alone.\n \n CAMERON\n (slightly", "Good sir.\n \n Patrick rolls his eyes.\n \n INT. PROM - NIGHT - LATER", "So that's the kind of guy she likes? \n Pretty ones?\n \n BIANCA", "Well, there's someone I think might be \n --\n \n Bianca's eyes light up", "Cam and Bianca dance nearby, glowing with happiness. She \n whispers something in his ear and heads for the ladies' room\n \n INT. LADIES ROOM - NIGHT", "You set me up.\n \n BIANCA\n I just wanted --\n \n KAT", "INT. SOPHOMORE ENGLISH CLASS - DAY\n \n Bianca ignores the droning teacher as she writes a note in \n big flowing handwriting.", "BIANCA\n (reluctant)\n Well, no...\n \n CAMERON", "shirt. In the other, he's pouting in a black shirt.\n \n BIANCA\n I think I like the white shirt" ], [ "WALTER STRATFORD, a blustery, mad scientist-type \n obstetrician, enters through the front door, wearing a \n doctor's white jacket and carrying his black bag.", "BIANCA\n I hope so.\n \n The door shuts behind her as Walter enters.", "Kat looks up in surprise.\n \n WALTER\n (continuing)", "Walter scurries takes off his glasses and looks from Bianca \n to Sharon.\n \n SHARON", "Bianca enters and walks over to Walter\n \n BIANCA\n Daddy, I want to discuss the prom with", "The door SLAMS. As Sharon looks at Walter with a grin, a \n blur rushes down the stairs and out the door. The blur has \n Kat ' s voice.", "WALTER\n I'm missing something.\n \n BIANCA", "Enough!\n \n He pulls out a small tape recorder from his black bag.\n \n WALTER", "Walter rises. Sharon pulls him back down on the couch\n \n SHARON \n (to Bianca)", "(eyeing Walter)\n Nowhere... Hi, Daddy.\n \n She kisses him on the cheek", "of some guy.\n \n WALTER\n Bianca did what?\n \n KAT", "Walter sits down on the arm of the chair and watches the \n infomercial with Kat.\n \n WALTER\n (continuing)", "Exactly my point\n \n His BEEPER goes off and he grabs his bag again\n \n WALTER", "Walter emerges from the kitchen with a mile-high sandwich \n The girls are like statues. Walter jumps.\n \n BIANCA", "A startled Walter clutches Bianca in a protective hug.\n \n WALTER\n Oh, God. It's starting.", "BIANCA\n Hi, Mommy.\n (looking away)\n WALTER", "WALTER\n Was that your sister?\n \n KAT\n Yeah. She left with some bikers Big", "BIANCA\n It's just a party. Daddy.\n \n Walter looks dazed.\n \n WALTER", "WALTER\n \n I hope dinner's ready because I only have ten minutes before \n Mrs. Johnson squirts out a screamer.", "KAT\n How touching.\n \n Walter holds up a letter to Kat\n \n WALTER" ], [ "Good sir.\n \n Patrick rolls his eyes.\n \n INT. PROM - NIGHT - LATER", "Patrick is showing a scar to an inebriated, enraptured \n cheerleader. He looks up at Kat and smiles meets his eyes \n then looks away.", "waiting, looks around. She spots Patrick a few feet away\n \n KAT \n (continuing to \n herself)", "Kat stands at her locker, gathering her books. Patrick \n appears at her side, smiling.\n \n PATRICK\n Hey", "Patrick pulls up in Kat's driveway. Their paint wardrobe \n has dried by now and they look like refugees from some \n strange, yet colorful, war.", "No one moves. Then Kat slowly stands up.\n \n KAT\n I'11 go\n \n Patrick looks up.", "PATRICK \n Hey. Girlie.\n \n Kat stops and turns slowly to look at him.", "KAT\n He just wants me to be someone I'm not.\n \n PATRICK\n Who?", "Patrick enters, walking to the counter to order. He sees Kat \n and smiles.\n \n PATRICK\n Hey", "Joey turns back to Patrick and Kat.\n \n JOEY \n (continuing)", "PATRICK\n (cheery)\n See you next week!\n \n Kat stands and Patrick sees her.", "KAT\n Is that right?\n \n PATRICK\n Yeah, but then I fucked up. I fell for", "KAT\n Oh, right. Friday.\n \n PATRICK backs up a little. He uses his most seductive tone", "this whole thing up so Cameron can get \n the girl.\n \n Patrick smiles. He likes the idea of Joey being a pawn in", "KAT'S CAR - NIGHT\n \n Kat's in the driver's seat. Patrick leans in and takes the \n keys out of the ignition.", "You're not gonna change my mind, Kat. \n Rules stick.\n \n Kat starts to panic, as Patrick has yet to make the jump for", "KAT \n (yelling)\n That's what you want, isn't it?\n \n PATRICK", "That's where we can help you. With \n Kat.\n \n PATRICK \n So Dorsey can get the girl?", "(impatient)\n Then, go get her\n \n Patrick continues walking an oblivious Kat outside. Cameron", "PATRICK\n Then why'd you ask?\n \n KAT\n Why'd you lie?" ], [ "He pulls out his wallet and hands Patrick a wad of money\n \n JOEY \n (continuing)\n Take it", "Joey turns back to Patrick and Kat.\n \n JOEY \n (continuing)", "JOEY\n You better hope you're as smooth as you \n think you are, Verona.\n \n Patrick takes the money with a smile.", "Joey enters, grabbing Patrick by the shoulder, distracting \n him from his task.\n \n JOEY\n My man", "this whole thing up so Cameron can get \n the girl.\n \n Patrick smiles. He likes the idea of Joey being a pawn in", "has decided that he doesn't need to wear pants.\n \n Patrick pulls out his wallet, takes the wad of money Joey \n gave him and hands it to the homeless guy.", "Michael and Cameron approach Joey as he continues to taunt \n Patrick who keeps quiet, realizing the weight of this \n situation.", "EXT. PARKING LOT - DAY \n \n Joey leans against Patrick's Jeep. Patrick is inside.", "Joey thinks for a frustrated moment, PUNCHES the locker, \n then peels another fifty out of his wallet with a menacing \n scowl.", "PATRICK \n I just upped my price\n \n JOEY \n (turning)", "PATRICK\n Sure, Sparky. I'll get right on it.\n \n JOEY \n You just said", "PATRICK\n Yeah\n \n JOEY \n What do you think?", "band. She scowls. The bottled water arrives and she \n marches off, forgetting to pay.\n \n She walks up to Patrick.", "PATRICK\n You need money to take a girl out\n \n JOEY", "Patrick sits on the bleachers nearby, watching. A cigarette \n dangles from his mouth. His pal, SCURVY is next to him.", "JOEY \n Maybe we should ask Verona\n \n Patrick enters, late, and slinks to his desk. Kat looks up,", "MICHAEL\n Patrick, Pat, you're not looking at the \n big picture. Joey's just a pawn. We set", "money. I didn't even know Joey was \n involved. I would never intentionally \n hurt you, Kat.", "Patrick does, with a smile, as he ROARS out of the parking \n lot.", "Patrick laughs and goes into the club\n \n INT. CLUB - NIGHT" ], [ "Cameron exits the party and stops when he sees Bianca \n standing alone.\n \n CAMERON\n (slightly", "ON BIANCA AND CAMERON As they argue on the patio.\n \n CAMERON\n They do to!", "Michael spots Bianca and Chastity, watching the skirmish, \n and points Cameron's body in her direction.", "The DOORBELL RINGS. Bianca runs to open it. There stands \n CAMERON. He takes in Bianca's outfit.", "Cameron watches as Bianca flounces back into the building.\n \n EXT. SCHOOL PARKING LOT - DAY", "ACROSS THE ROOM\n \n Michael spots the altercation and dances Mandella over to \n Cameron and Bianca.", "Cameron and Bianca lean against the wall -inconspicuously. \n Bianca plays it cool.\n \n BIANCA", "BIANCA\n Where?\n \n Out of desperation, Cameron awkwardly lunges across", "CAMERON'S CAR - NIGHT\n \n Bianca and Cameron ride in silence.\n He finally breaks it.", "between two rows of lockers.\n \n BIANCA\n Let go!\n \n KAT", "Cameron closes the French book\n \n CAMERON\n You got something on your mind?\n \n BIANCA", "CAMERON\n No...\n \n Bianca stares at him for a moment.\n \n BIANCA", "Cam and Bianca dance nearby, glowing with happiness. She \n whispers something in his ear and heads for the ladies' room\n \n INT. LADIES ROOM - NIGHT", "Cameron sits with an empty chair beside him. Bianca arrives \n in a flurry of blonde hair.\n \n BIANCA", "BIANCA\n (reluctant)\n Well, no...\n \n CAMERON", "Cameron and Bianca sit together at their study cubby. She \n fingers a strand of her hair.\n \n BIANCA", "Patrick's path. Patrick shoves him back against the wall \n without a thought. Cameron lands in a THUD at Bianca's \n feet.", "Cameron stops listening as BIANCA walks by, and we go SLO \n MO. Pure and perfect, she passes Cameron and Michael \n without a look.", "He starts to walk on\n \n BIANCA\n (continuing)\n Cameron?", "CAMERON\n Wow\n \n BIANCA\n Let's go." ], [ "Kat, the girl we saw as we entered the school, slowly cakes \n off her glasses and speaks up.\n \n KAT", "KAT \n (kindly)\n Listen, I know you hate having to sit \n home because I'm not Susie High School.", "KAT STRATFORD, eighteen, pretty -- but trying hard not to be \n -- in a baggy granny dress and glasses, balances a cup of", "Kat sits at her desk, burying her face in a book as the \n others enter. The White Rastas are first.", "INT. ENGLISH CLASS - DAY\n \n Kat and the other students sit at their desks, taking a quiz", "KAT\n The fact that you're cutting gym so you \n can T.A. Sophomore English just to hear", "INT. SCHOOL COURTYARD - DAY \n \n Kat and Mandella deface a prom flyer.\n \n KAT", "Kat stands at her locker, gathering her books. Patrick \n appears at her side, smiling.\n \n PATRICK\n Hey", "Kat wins the game and high fives the others, who are scared \n of her.\n \n PATRICK\n Two legs, nice rack...", "The other students roll their eyes.\n \n KAT\n (continuing)\n Frankly, I'm baffled as to why we still", "Kat pushes the door shut with a SLAM\n \n INT. STUDY HALL - DAY", "So, I'll see you in school\n \n Kat stares at him, pissed. Then gets out of the car, \n SLAMMING the door shut behind her.", "KAT\n In 9th. For a month\n \n BIANCA\n (confused)", "INT. GUIDANCE COUNSELOR'S OFFICE - DAY\n \n Kat now sits before Miss Perky.", "Kat stands behind her, reading over her shoulder as she \n types.\n \n KAT", "KAT\n You're freaked over this, aren't you?\n \n Bianca hands her the yearbook", "INT. HALLWAY - DAY \n \n Kat stomps up the hallway, full of menace\n \n CLASSROOM - DAY", "KAT \n No fear.\n \n They approach Bruce. Kat puts on her happy, shiny face", "KAT\n So he has this huge raging fit about \n Sarah Lawrence and insists that I go to", "(continuing)\n Kat! Wake up! \n \n KAT\n (waking)\n What?" ], [ "She gathers her things and bolts out the door. Patrick \n looks at Mandella, who shrugs and follows Kat.", "Kat doesn't answer\n \n PATRICK \n (continuing)", "The crowd files out of the club, Kat and Mandella amongst \n them. A^ they're walking toward the parking lot, Patrick", "waiting, looks around. She spots Patrick a few feet away\n \n KAT \n (continuing to \n herself)", "No one moves. Then Kat slowly stands up.\n \n KAT\n I'11 go\n \n Patrick looks up.", "home?\n \n INT. KAT'S CAR - NIGHT\n \n Patrick drives as Kat sits in the passenger seat, fiddling", "KAT'S CAR - NIGHT\n \n Kat's in the driver's seat. Patrick leans in and takes the \n keys out of the ignition.", "KAT\n You're welcome.\n \n She pushes past her and leaves the bathroom.", "As Patrick turns, Kat breaks free and dives into the sea of \n dancing people in the dining room.\n \n PATRICK", "PATRICK \n Hey. Girlie.\n \n Kat stops and turns slowly to look at him.", "KAT\n He left! I sprung the dickhead and he \n cruised on me.\n \n PATRICK", "Patrick pulls up in Kat's driveway. Their paint wardrobe \n has dried by now and they look like refugees from some \n strange, yet colorful, war.", "(impatient)\n Then, go get her\n \n Patrick continues walking an oblivious Kat outside. Cameron", "Patrick PEELS out of the driveway. Kat turns at the front \n door and watches him go\n \n EXT. STREET - NIGHT", "KAT \n Two waters.\n \n She looks at Patrick again. He's completely absorbed in the", "Joey turns back to Patrick and Kat.\n \n JOEY \n (continuing)", "KAT\n Is that right?\n \n PATRICK\n Yeah, but then I fucked up. I fell for", "KAT \n (frowning)\n What are you doing here?\n \n PATRICK", "PATRICK\n (cheery)\n See you next week!\n \n Kat stands and Patrick sees her.", "You're not gonna change my mind, Kat. \n Rules stick.\n \n Kat starts to panic, as Patrick has yet to make the jump for" ], [ "Kat sits at her desk, burying her face in a book as the \n others enter. The White Rastas are first.", "Kat, the girl we saw as we entered the school, slowly cakes \n off her glasses and speaks up.\n \n KAT", "KAT \n (kindly)\n Listen, I know you hate having to sit \n home because I'm not Susie High School.", "KAT STRATFORD, eighteen, pretty -- but trying hard not to be \n -- in a baggy granny dress and glasses, balances a cup of", "The problem is, she's completely anti-social.\n \n CAMERON\n Why?", "The other students roll their eyes.\n \n KAT\n (continuing)\n Frankly, I'm baffled as to why we still", "KAT\n I got drunk. I puked. I got rejected. \n It was big fun.", "Because I like to torture you.\n \n KAT\n Oh, Bianca? Can you get me my freshman \n yearbook?", "INT. SCHOOL COURTYARD - DAY \n \n Kat and Mandella deface a prom flyer.\n \n KAT", "KAT\n You're freaked over this, aren't you?\n \n Bianca hands her the yearbook", "Kat wins the game and high fives the others, who are scared \n of her.\n \n PATRICK\n Two legs, nice rack...", "KAT\n So he has this huge raging fit about \n Sarah Lawrence and insists that I go to", "KAT\n The fact that you're cutting gym so you \n can T.A. Sophomore English just to hear", "suck.\n \n She smiles sweetly and shuts the door behind her. Kat \n doesn't bat an eye. She grabs her purse and opens the door", "So, I'll see you in school\n \n Kat stares at him, pissed. Then gets out of the car, \n SLAMMING the door shut behind her.", "INT. ENGLISH CLASS - DAY\n \n Kat and the other students sit at their desks, taking a quiz", "Kat pushes the door shut with a SLAM\n \n INT. STUDY HALL - DAY", "Kat and Mandella walk in, Mandella nervously pulling out her \n fake ID. The giant, afroed bouncer, BRUCE, looks typically \n mono-syllabic.", "Kat turns back to face Mandella and forces her yogurt into \n Mandella's hand.\n \n KAT\n (continuing)", "EXT. MISS PERKY'S OFFICE - DAY\n \n Kat sits outside waiting for her appointment, bored and \n annoyed." ], [ "WALTER\n I'm missing something.\n \n BIANCA", "WALTER\n (to Bianca; upset)\n Who drove you home?\n \n Bianca glares at Kat then turns to Walter", "WALTER\n (to Bianca)\n Promise me you won't talk to any boys", "of some guy.\n \n WALTER\n Bianca did what?\n \n KAT", "Walter scurries takes off his glasses and looks from Bianca \n to Sharon.\n \n SHARON", "Bianca enters and walks over to Walter\n \n BIANCA\n Daddy, I want to discuss the prom with", "Walter rises. Sharon pulls him back down on the couch\n \n SHARON \n (to Bianca)", "WALTER\n Hello, precious.\n \n Walter kisses Bianca back as Kat heads up the stairs", "BIANCA\n I hope so.\n \n The door shuts behind her as Walter enters.", "A startled Walter clutches Bianca in a protective hug.\n \n WALTER\n Oh, God. It's starting.", "BIANCA\n No, but\n \n WALTER\n It's that hot rod Joey, right? That ' s", "WALTER\n No! You're not dating until your sister \n starts dating. End of discussion.\n \n BIANCA", "a dead guy, too.\n \n WALTER\n Girls\n \n Kat stares Bianca down", "your sister does.\n \n BIANCA\n But she doesn't want to date.\n \n WALTER", "Daddy, I --\n \n WALTER\n And where're you going?\n \n BIANCA", "unless your sister is present.\n \n BIANCA\n Why?\n \n WALTER", "BIANCA\n Hi, Mommy.\n (looking away)\n WALTER", "Walter emerges from the kitchen with a mile-high sandwich \n The girls are like statues. Walter jumps.\n \n BIANCA", "I'm here to pick up Bianca.\n \n WALTER\n late", "BIANCA\n Daddy, people expect me to be there!\n \n WALTER" ], [ "WALTER\n No! You're not dating until your sister \n starts dating. End of discussion.\n \n BIANCA", "your sister does.\n \n BIANCA\n But she doesn't want to date.\n \n WALTER", "Bianca enters and walks over to Walter\n \n BIANCA\n Daddy, I want to discuss the prom with", "WALTER\n (to Bianca)\n Promise me you won't talk to any boys", "What if she never starts dating?\n \n WALTER\n Then neither will you. And I'll get to \n sleep at night.", "SHARON\n Your daughters went to the prom.\n \n WALTER\n Did I have anything to say about it?", "(eyeing Walter)\n Nowhere... Hi, Daddy.\n \n She kisses him on the cheek", "Walter emerges from the kitchen with a mile-high sandwich \n The girls are like statues. Walter jumps.\n \n BIANCA", "Walter rises. Sharon pulls him back down on the couch\n \n SHARON \n (to Bianca)", "Daddy, I --\n \n WALTER\n And where're you going?\n \n BIANCA", "WALTER\n You're eighteen. You don't know what \n you want. You won't know until you're", "doesn't matter. She's not allowed to \n date until her older sister does. And \n that's an impossibility.", "The sound of a fifteen-year-old in \n labor.\n \n WALTER\n This is why you're not dating until", "Walter scurries takes off his glasses and looks from Bianca \n to Sharon.\n \n SHARON", "The door SLAMS. As Sharon looks at Walter with a grin, a \n blur rushes down the stairs and out the door. The blur has \n Kat ' s voice.", "You know, fathers don't like to admit \n that their daughters are capable of \n running their own lives. It means we've", "A startled Walter clutches Bianca in a protective hug.\n \n WALTER\n Oh, God. It's starting.", "unless your sister is present.\n \n BIANCA\n Why?\n \n WALTER", "BIANCA\n Daddy, people expect me to be there!\n \n WALTER", "WALTER\n Was that your sister?\n \n KAT\n Yeah. She left with some bikers Big" ], [ "Listen, I want to talk to you about the \n prom.\n \n BIANCA", "Bianca TAPS on the open door.\n \n BIANCA\n Quick question -- are you going to the \n prom?", "Bianca enters and walks over to Walter\n \n BIANCA\n Daddy, I want to discuss the prom with", "Just who I was looking for.\n \n He puts his arm around Bianca and escorts her out\n \n KAT", "line to go out with a guy like Joey.\n \n There's a KNOCK at the door. Bianca opens it to find a very \n drunken Kat.", "to woo Bianca.\n \n Cameron grins and puts an arm around him\n \n CAMERON", "Michael processes this.\n \n MICHAEL\n You know, if you do go out with Bianca,", "He melts\n \n CAMERON\n You have my word. As a gentleman\n \n BIANCA", "being the Prada guy next year.\n \n He looks over her shoulder and waves at someone. Bianca \n takes the opportunity to escape.", "Good sir.\n \n Patrick rolls his eyes.\n \n INT. PROM - NIGHT - LATER", "BIANCA\n I wish I had that luxury. I'm the only \n sophomore that got asked to the prom and", "Well, there's someone I think might be \n --\n \n Bianca's eyes light up", "(embarrassed)\n Forget it.\n \n Bianca seizes an opportunity.", "MICHAEL\n Bianca Stratford. Sophomore. Don't \n even think about it", "Cam and Bianca dance nearby, glowing with happiness. She \n whispers something in his ear and heads for the ladies' room\n \n INT. LADIES ROOM - NIGHT", "CHASTITY \n You think you ' re the only sophomore \n at the prom?\n \n BIANCA", "Cameron exits the party and stops when he sees Bianca \n standing alone.\n \n CAMERON\n (slightly", "INT. SOPHOMORE ENGLISH CLASS - DAY\n \n Bianca ignores the droning teacher as she writes a note in \n big flowing handwriting.", "and girls alike.\n \n BOY\n (adoring)\n Hey, Bianca.", "Look, Clem even wore his good boots\n \n Kat steps forward, looking around and spots Cameron and \n Bianca dancing cheek to cheek. She smiles." ], [ "waiting, looks around. She spots Patrick a few feet away\n \n KAT \n (continuing to \n herself)", "PATRICK \n Hey. Girlie.\n \n Kat stops and turns slowly to look at him.", "Kat stands at her locker, gathering her books. Patrick \n appears at her side, smiling.\n \n PATRICK\n Hey", "Patrick enters, walking to the counter to order. He sees Kat \n and smiles.\n \n PATRICK\n Hey", "KAT\n He just wants me to be someone I'm not.\n \n PATRICK\n Who?", "KAT\n Is that right?\n \n PATRICK\n Yeah, but then I fucked up. I fell for", "PATRICK\n Then why'd you ask?\n \n KAT\n Why'd you lie?", "Mandella watches Kat as she stares after Patrick\n \n MANDELLA\n Has he importun'd you with love in", "Patrick is showing a scar to an inebriated, enraptured \n cheerleader. He looks up at Kat and smiles meets his eyes \n then looks away.", "PATRICK\n (cheery)\n See you next week!\n \n Kat stands and Patrick sees her.", "Kat doesn't answer\n \n PATRICK \n (continuing)", "gets a boyfriend. And that's the catch. \n She doesn't want a boyfriend.\n \n PATRICK", "Joey turns back to Patrick and Kat.\n \n JOEY \n (continuing)", "Why 're you doing this?\n \n PATRICK\n I told you\n \n KAT", "Patrick pulls up in Kat's driveway. Their paint wardrobe \n has dried by now and they look like refugees from some \n strange, yet colorful, war.", "KAT\n Oh, right. Friday.\n \n PATRICK backs up a little. He uses his most seductive tone", "KAT \n (frowning)\n What are you doing here?\n \n PATRICK", "KAT \n (yelling)\n That's what you want, isn't it?\n \n PATRICK", "No one moves. Then Kat slowly stands up.\n \n KAT\n I'11 go\n \n Patrick looks up.", "KAT \n Two waters.\n \n She looks at Patrick again. He's completely absorbed in the" ], [ "INT. BOGEY'S LIVING ROOM - NIGHT \n \n Bianca stands next to Joey, sipping from her beer", "line to go out with a guy like Joey.\n \n There's a KNOCK at the door. Bianca opens it to find a very \n drunken Kat.", "Joey pushes through the crowd but a HAND drags him back. \n It's Bianca. And she BELTS the hell out of him", "Hear me out. You want Bianca don't \n you?\n \n Joey sits back and cackles at his drawing.", "Joey takes the bow and arrow from Bianca's hand. He draws \n back and takes aim.\n \n JOEY", "Joey never told you we went out, did \n he?\n \n BIANCA\n What?", "They watch Joey's car as he slows next to Bianca and \n Chastity as they walk toward the school bus.\n \n ON BIANCA AND CHASTITY", "Joey nods thoughtfully.\n \n JOEY \n It's more\n \n BIANCA", "Joey stands ac his open locker with Bianca. The locker is \n an homage to Joey's \"modeling\" career. Cheesy PRINT ADS of", "Bianca and Chastity can't get in Joey's car fast enough. He \n pulls away with a smile.", "Joey swaggers up to Bianca, who is taking careful aim. \n Chastity watches from across the row.\n \n JOEY", "JOEY\n Yeah, whatever. I want you to go out \n with her.", "BIANCA\n No, but\n \n WALTER\n It's that hot rod Joey, right? That ' s", "BIANCA\n Surprise me.\n \n He heads for the kitchen. Joey walks up and grabs her \n around the waist.", "CHASTITY \n Who?\n \n BIANCA\n Joey.", "this whole thing up so Cameron can get \n the girl.\n \n Patrick smiles. He likes the idea of Joey being a pawn in", "I don't have to be home 'til two.\n \n JOEY \n Then, c'mon.\n (to Bianca)", "BIANCA What're you talking about?\n \n CHASTITY \n Joey Dorsey is only after one thing - -", "Listen, I want to talk to you about the \n prom.\n \n BIANCA", "Bianca TAPS on the open door.\n \n BIANCA\n Quick question -- are you going to the \n prom?" ], [ "Cliques now descend on Joey, punching him wildly.\n \n COWBOY\n And that's for the fourth grade,", "Cameron holds his nose as it bleeds onto his tux\n \n The various cliques descend angrily and Joey is soon \n surrounded by seething Cowboys, Coffee Kids and White", "Joey, drunk, disorderly and pissed off, walks in with a few \n stray jocks - also dateless. He zeroes in on Cameron, now", "Good sir.\n \n Patrick rolls his eyes.\n \n INT. PROM - NIGHT - LATER", "Joey pushes through the crowd but a HAND drags him back. \n It's Bianca. And she BELTS the hell out of him", "Joey thinks for a frustrated moment, PUNCHES the locker, \n then peels another fifty out of his wallet with a menacing \n scowl.", "JOEY\n Lookin' fresh tonight, Pussy-Kat\n \n Kat gives him a death look and then stops and points at his \n forehead.", "(shrugging them \n off)\n What?\n \n Joey points", "Joey turns back to Patrick and Kat.\n \n JOEY \n (continuing)", "They watch Joey's car as he slows next to Bianca and \n Chastity as they walk toward the school bus.\n \n ON BIANCA AND CHASTITY", "action. So get your ass on hers by the \n end of the week.\n \n Joey starts to walk off", "MICHAEL\n Exactly\n \n Joey turns to look at Michael.", "EXT. PARKING LOT - DAY \n \n Joey leans against Patrick's Jeep. Patrick is inside.", "line to go out with a guy like Joey.\n \n There's a KNOCK at the door. Bianca opens it to find a very \n drunken Kat.", "JOEY See that girl?\n \n Patrick follows his line of vision to Kat as she spikes the \n ball into some poor cowboy's face.", "He pulls out his wallet and hands Patrick a wad of money\n \n JOEY \n (continuing)\n Take it", "Kat's face shows utter hatred\n \n KAT \n Leave my sister alone.\n \n JOEY", "Joey saunters in and takes his seat.\n \n JOEY\n Kat, babe, you were on fire.", "Joey enters, grabbing Patrick by the shoulder, distracting \n him from his task.\n \n JOEY\n My man", "Michael and Cameron approach Joey as he continues to taunt \n Patrick who keeps quiet, realizing the weight of this \n situation." ], [ "Joey turns back to Patrick and Kat.\n \n JOEY \n (continuing)", "He pulls out his wallet and hands Patrick a wad of money\n \n JOEY \n (continuing)\n Take it", "this whole thing up so Cameron can get \n the girl.\n \n Patrick smiles. He likes the idea of Joey being a pawn in", "Joey enters, grabbing Patrick by the shoulder, distracting \n him from his task.\n \n JOEY\n My man", "JOEY\n You better hope you're as smooth as you \n think you are, Verona.\n \n Patrick takes the money with a smile.", "PATRICK\n Yeah\n \n JOEY \n What do you think?", "PATRICK\n Sure, Sparky. I'll get right on it.\n \n JOEY \n You just said", "Patrick looks at her, surprised\n \n PATRICK \n (yelling) \n hey. Great show, huh?", "has decided that he doesn't need to wear pants.\n \n Patrick pulls out his wallet, takes the wad of money Joey \n gave him and hands it to the homeless guy.", "EXT. PARKING LOT - DAY \n \n Joey leans against Patrick's Jeep. Patrick is inside.", "Michael and Cameron approach Joey as he continues to taunt \n Patrick who keeps quiet, realizing the weight of this \n situation.", "Patrick is showing a scar to an inebriated, enraptured \n cheerleader. He looks up at Kat and smiles meets his eyes \n then looks away.", "Patrick pulls up in Kat's driveway. Their paint wardrobe \n has dried by now and they look like refugees from some \n strange, yet colorful, war.", "Patrick smiles at her as he finishes the verse with a big \n finale.\n \n PATRICK \n (continuing)", "She picks it up slowly, inspecting every detail, then spins \n around.\n \n Patrick stands there, smiling.", "PATRICK \n I just upped my price\n \n JOEY \n (turning)", "Patrick sits on the bleachers nearby, watching. A cigarette \n dangles from his mouth. His pal, SCURVY is next to him.", "JOEY \n Maybe we should ask Verona\n \n Patrick enters, late, and slinks to his desk. Kat looks up,", "PATRICK \n (continuing)\n Shit!\n \n He drags her to her feet and starts singing loudly.", "band. She scowls. The bottled water arrives and she \n marches off, forgetting to pay.\n \n She walks up to Patrick." ] ]

[ "Why does Kat become upset with Bianca?", "Which event does Kat not want to go to?", "What are Walter's rule on when Bianca can date?", "Why does Joey reveal his arrangement with Patrick?", "What does Walter allow Kat to do?", "When does Kat reveal she still loves Patrick?", "What was Joey planning on doing with Bianca on prom night?", "What does Patrick suprise Kat with?", "Who does Bianca go to the prom with?", "What is the main reason that Kat and Bianca's father, Walter, does not allow them to date?", "Which one of Walter's two daughters is older?", "Who writes the poem, \"10 Things I Hate About You\"?", "What is Walter's new rule in regards to Bianca being allowed to date while still in high school?", "Who does Bianca beat up towards the end of the story?", "Who does Bianca decide to go to Prom with?", "What kind of doctor is Walter?", "Why does Patrick initially agree to go to the Prom with Kat?", "What does Patrick buy with the money Joey pays him?", "Who throws the first punch in the incident that brings Bianca and Cameron together?", "What year of highschool is Kat?", "Why did Kat leave the party that she went to with Patrick?", "What experience in Kat's freshmen year caused her to be anti-social in highschool?", "Who is Walter in relationship to Bianca?", "What is the initial restriction Walter gives to his daughters about dating?", "Who does Bianca go to prom with?", "Why does Patrick initially start asking out Kat?", "What does Joey plan to do with Bianca on prom night?", "Who does Joey punch on prom night?", "What did Patrick purchase as a surprise with the money that he got from Joey?" ]

[ [ "She sees Bianca with Joey.", "Because Bianka pays attention to Joey." ], [ "Senior prom.", "the prom" ], [ "Bianca can date when Kat does, too.", "Initally the rule is she can date when she graducates, then changes to when Kat starts dating" ], [ "He's angry Bianca is into Cameron.", "Because Bianca didn't go to prom with him." ], [ "Go to Sarah Lawrence College.", "go away to attend Sarah Lawrence College" ], [ "When she reads aloud her own version of Shakespeare's Sonnet 141.", "When she reads her poem \"10 Things I Hate About You\" out loud in class." ], [ "Have sex with her.", "Have sex with her." ], [ "A guitar.", "A guitar." ], [ "Cameron.", "Cameron" ], [ "He is worried that they might get pregnant.", "teenage pregnacy" ], [ "Kat", "Kat" ], [ "Kat", "Kat." ], [ "Bianca can date when Kat does.", "Only if Kat also dates." ], [ "Joey", "Joey." ], [ "Cameron", "Patrick" ], [ "An obstetrician", "an obstetrician" ], [ "Because Joey offers to pay him money.", "Money" ], [ "a guitar", "a guitar" ], [ "Joey", "Joey" ], [ "Senior", "a senior" ], [ "Patrick refused to kiss her.", "Patrick pulls away when she tries to kiss him." ], [ "She had sex with Joey.", "When Joey dumped her after the two had sex." ], [ "Her father.", "Her father." ], [ "They are not to date until they graduate.", "They can't date until they graducate" ], [ "Cameron.", "Joey." ], [ "Because Joey pays him.", "Because he is being paid by Joey" ], [ "Have sex.", "have sex" ], [ "Cameron.", "Cameron" ], [ "A guitar.", "a guitar" ] ]

[ [ "\"Ellinor!\" said the judge, after a moment's pause, \"we are friends, I\nhope?\"\n\n\"Yes; friends,\" said she, quietly and sadly.", "Ellinor hung her head.\n\n\"You know that I was once engaged before?\"", "Mr. Corbet's attachment to Ellinor had been formally disclosed to her\njust before this time. He had left college, entered at the Middle", "which Ellinor had replied:", "themselves; but before the summer was over they were desperately in love\nwith each other, or perhaps I should rather say, Ellinor was desperately", "Ellinor. He would watch at the windows of his great vaulted library till\nhe saw her emerge from the garden into the Close, and then open the", "\"Ellinor! Miss Wilkins! is it you?\" And he went forwards, holding out\nhis hand with cordial greeting, under which the embarrassment, if he felt", "And, knowing that he left Ellinor in good hands, and with plenty of\nassistance about her, he returned to his friends.\n\nEllinor came to herself before long.", "\"Ellinor, dearest, will you--can you marry me?\" and her reply was--given\nwith a deep blush I must record, and in a soft murmuring tone--", "order that she might be of all the comfort she could to Ellinor. She did\nnot at first let out that he had accompanied her to Hellingford; she was", "\"My God, Ellinor! what has brought you here?\" he said, almost fiercely.\n\nBut she answered as one stupefied, \"I don't know. Is he dead?\"", "\"No indeed I won't!\" said Ellinor, gratefully, and putting out her hand\nas a token. He took it, and held it; she went on, a little more hastily", "Ellinor sickened at the words. She had been all her life a truthful\nplain-spoken girl. She held herself high above deceit. Yet, here came", "\"I want to speak to you about Ellinor. She says she thinks you must be\naware of our mutual attachment.\"", "Ellinor tried to keep down her sobs while the man went up to him, and\nlaying his hand on his shoulder, and lightly shaking him, he said:", "Lady Corbet! Of course Ellinor knew that he was married. Had she not\nbeen present at the wedding in East Chester Cathedral? But, somehow,", "Ellinor shook her head.\n\n\"How soon can I get to England?\" asked she. \"I must start at once.\"", "Ellinor; and only condescend to her father because old Wilkins was nobody-\nknows-who's son. So much the worse for them, but so much the better for", "as strangers to each other. As to Ellinor\"--his tones softened a little,\nand he sighed in spite of himself--\"I do not think we should have been", "He was Ellinor's great confidant about many of her little plans and\nprojects; things that she dared not speak of to Mr. Corbet, who, after" ], [ "\"Drinking, papa!\" said Ellinor, raising her head, and looking at him with\nsorrowful surprise.\n\n\"Yes. I drink now to try and forget,\" said he, blushing and confused.", "that both these phases were owing to his increasing habit of drinking\nmore than he ought to have done. She set them down as the direct effects\nof a sorely burdened conscience; and strove more and more to plan for his", "\"Remember, child, how very miserable I am, and have forgiveness for me.\nHe had none, and yet he must have seen I had been drinking.\"", "her father, who apparently cared little enough for all her attentions.\nThen there was a complaining of the food, which did not suit the sickly\npalate of a man who had drunk hard the night before; and possibly these", "father had taken more wine than was good for him. Indeed, this had\nrather become a habit with him of late; but as he always tried to go", "They dug the hole deep and well; working with fierce energy to quench\nthought and remorse. Once or twice her father asked for brandy, which", "rather sought a stimulus to his spirits and circulation in wine. But of\nthis Ellinor was innocently unaware. He seemed dull and weary, and sat", "afterwards, with shuddering avoidance of the haunting memory that would\ncome and overshadow her during many, many years of her life, she grew to\nbelieve that the powerful smell of the spilt brandy absolutely", "\"Six glasses of sherry before dessert,\" thought Mr. Corbet to himself.\n\"Bad habit--no wonder Ellinor looks grave.\" And when the gentlemen were", "Then her father's temper had become very uncertain. He avoided being\nalone with her whenever he possibly could; and the consciousness of this,\nand of the terrible mutual secret which was the cause of this", "For Ellinor had fainted, falling forwards on the arm she had held. When\nshe came round she was lying half undressed on her bed; they were giving\nher tea in spoonfuls.", "Yes, she had suffered; and he who spoke had been one of the instruments\nof her suffering, although he seemed forgetful of it. She shook her head", "delinquency, they thought it no wonder that he drank long and deep in the\nsolitary evenings which he passed at home. It was not that he was", "If it had not been for him she would have just died of her grief. As it\nwas, she overcame it--but slowly, wearily--hardly letting herself love", "him. The presence of each was a burden to the other. Oh, sad and woeful\nnight of May--overshadowing the coming summer months with gloom and\nbitter remorse!", "connected with the affair. His money matters had been for some time in\nan involved state; he had been living beyond his income, even reckoning\nthat, as he always did, at the highest point which it ever touched. He", "And the poor man brushed some tears from his eyes with the back of his\nwithered, furrowed hand. Ellinor caught the infection, and cried", "quite gone off. Only Mr. Dunster came creeping about the house, on\npretence of business, seeking out her father, and disturbing all his", "fellow!\" He sat down, laughing a foolish tipsy laugh of triumph. In\nanother minute his arm was held firmly but gently by Ralph.", "the firm, before his only child fell ill. And, to tell the truth, he\nhimself looked burnt and scared with affliction. He had a startled look," ], [ "returning to her native place, and obtaining what daily teaching she\ncould there meet with, and the friends to whom she was now writing had\npromised her their aid. She thought that as Ellinor had to leave Ford", "Late one October evening, Ellinor had her first sight of East Chester\nClose, where she was to pass the remainder of her life. Miss Monro had", "distant labourers to cease their work for a time. Such was the old\ncustom of the place. Ellinor rose up, and made her way back to Mr.", "which Ellinor had replied:", "And, knowing that he left Ellinor in good hands, and with plenty of\nassistance about her, he returned to his friends.\n\nEllinor came to herself before long.", "Ellinor shrank from this journey, which her love and duty towards her\ndead friend rendered necessary. She had scarcely left East Chester since", "that Ellinor would sleep. Her eyes were, indeed, shut; but try as much\nas she would to be quiet, she was up in less than five minutes after Miss", "Ellinor were the most intimate of all the families in East Chester. Mrs.\nForbes was a widow lady of good means, with a large family of pretty,", "told that he must leave, and seeing Ellinor's extreme grief at the idea\nof their separation, he set himself to comfort her by every means in his", "Meanwhile, the entire change of scene brought on the exquisite\nrefreshment of entire change of thought. Ellinor had not been able so", "Ellinor shook her head.\n\n\"How soon can I get to England?\" asked she. \"I must start at once.\"", "Ellinor. He would watch at the windows of his great vaulted library till\nhe saw her emerge from the garden into the Close, and then open the", "themselves; but before the summer was over they were desperately in love\nwith each other, or perhaps I should rather say, Ellinor was desperately", "been backwards and forwards between Hamley and East Chester more than\nonce, while Ellinor remained at the parsonage; so she had not only the", "Then, when he went away in the morning, after he had kissed her, Ellinor\nwould run to a certain window from which she could watch him up the lane,", "separation from one who was almost like a child to her. Ellinor was, as\nit were, lifted off her feet and borne away by the unanimous opinion of", "going to the prison in the county town, to see the old man herself, but\nEllinor could perceive that all these endeavours and purposes of Miss", "\"Ellinor will have the rent of this house, which is hers by right of her\nmother's settlement, to live on.\"\n\n\"How much will that be?\"\n\n\"One hundred and twenty pounds.\"", "Mr. Corbet's attachment to Ellinor had been formally disclosed to her\njust before this time. He had left college, entered at the Middle", "to speed her departure. Ellinor broke on her meditations:" ], [ "themselves; but before the summer was over they were desperately in love\nwith each other, or perhaps I should rather say, Ellinor was desperately", "\"Ellinor, dearest, will you--can you marry me?\" and her reply was--given\nwith a deep blush I must record, and in a soft murmuring tone--", "\"Ellinor!\" said the judge, after a moment's pause, \"we are friends, I\nhope?\"\n\n\"Yes; friends,\" said she, quietly and sadly.", "Lady Corbet! Of course Ellinor knew that he was married. Had she not\nbeen present at the wedding in East Chester Cathedral? But, somehow,", "And, knowing that he left Ellinor in good hands, and with plenty of\nassistance about her, he returned to his friends.\n\nEllinor came to herself before long.", "Corbet's marriage, something happened which much affected her. Mr. Ness\ndied suddenly at his parsonage, and Ellinor learnt it first from Mr.", "Ellinor. He would watch at the windows of his great vaulted library till\nhe saw her emerge from the garden into the Close, and then open the", "which Ellinor had replied:", "that Ellinor would sleep. Her eyes were, indeed, shut; but try as much\nas she would to be quiet, she was up in less than five minutes after Miss", "\"No indeed I won't!\" said Ellinor, gratefully, and putting out her hand\nas a token. He took it, and held it; she went on, a little more hastily", "order that she might be of all the comfort she could to Ellinor. She did\nnot at first let out that he had accompanied her to Hellingford; she was", "Ellinor were the most intimate of all the families in East Chester. Mrs.\nForbes was a widow lady of good means, with a large family of pretty,", "please, choose some one who will not marry me, and who will let Ellinor\ngo on making my tea, and doing pretty much what she likes, for she is so", "Ellinor grasped eagerly at the only pleasure which her money enabled her\nto give to the old man: and promised him that she would take care and buy", "Mr. Corbet's attachment to Ellinor had been formally disclosed to her\njust before this time. He had left college, entered at the Middle", "Ellinor tried to keep down her sobs while the man went up to him, and\nlaying his hand on his shoulder, and lightly shaking him, he said:", "Ellinor sat down, helpless.\n\n\"Leave me,\" she said, at length. \"You are very kind, but you don't know\nall. I cannot stand any more talking now,\" she added, faintly.", "as strangers to each other. As to Ellinor\"--his tones softened a little,\nand he sighed in spite of himself--\"I do not think we should have been", "\"Ellinor! Miss Wilkins! is it you?\" And he went forwards, holding out\nhis hand with cordial greeting, under which the embarrassment, if he felt", "\"My God, Ellinor! what has brought you here?\" he said, almost fiercely.\n\nBut she answered as one stupefied, \"I don't know. Is he dead?\"" ], [ "spoke of the shock of the discovery of Mr. Dunster's body, found in the\ncutting of the new line of railroad from Hamley to the nearest railway", "They dug the hole deep and well; working with fierce energy to quench\nthought and remorse. Once or twice her father asked for brandy, which", "He spoke with a tone of personal offence natural to a man who had passed\nall his life among horses, and considered railway-engines as their\ndespicable rivals, conquering only by stratagem.", "station; the body so hastily buried long ago, in its clothes, by which it\nwas now recognised--a recognition confirmed by one or two more personal", "\"Them's the people for the new railway,\" said he. \"Nought would satisfy\nthe Hamley folk but to have a railway all to themselves--coaches isn't\ngood enough now-a-days.\"", "to him, and suspected that he liked to hear. She was almost annoyed this\ntime by the comfort he would keep giving her; there was no greater danger\nin travelling by railroad than by coach, a little care about certain", "dwelling of the one old man, was now to be filled with noise and\nmerriment. Iron railings were being placed before three windows,", "days, before the railway was made between Lyons and Marseilles, put a\nstop to many a traveller's plans, and had rendered the transmission of\nthe mail extremely uncertain; so, much of that intelligence which Miss", "which was to take place the next day. All morning long, hampers of fruit\nand flowers, boxes from the railway--for by this time East Chester had", "On her urging him a little more, it came out that he had a strong feeling\nthat if he did not watch the spot where the dead man lay buried, the", "he wished to be buried. Trampling over the long, rank grass, but\navoiding passing directly over any of the thickly-strewn graves, he made", "set about digging a place for him to lie in, poor fellow, the better\nit'll be for us all in the end. I can pare a piece of turf up where", "\"It is now a reward for our obedience to your wishes, Miss Wilkins, for\nif the projected railway passes through the ash-field yonder we should", "The man stepped forwards, respectfully pushing his master on one side as\nhe did so. He bent down over the corpse, and looked, and listened and", "yet at times I dream, or it comes into my head as I lie awake with the\nrheumatics, that some one is there, digging; or that I hear 'em cutting", "of the railway between Ashcombe and Hamley had altered their line; she\nwould have entreated, implored, compelled her trustees not to have sold", "A coach met the train at a station about ten miles from Hamley, and Dixon\nwas at the inn where the coach stopped, ready to receive them.", "The consent given, the two walked away, as by previous appointment, to\nHamley churchyard, where he was to point out to her the exact spot where", "\"I put this stone up over her with my first savings,\" said he, looking at\nit; and then, pulling out his knife, he began to clean out the letters.", "When he was once gone she breathed more freely. Now, no one but the\nthree cognisant of the terrible reason of the disturbance of the turf" ], [ "and to regard Mr. Dunster's death as only the consequence of an\nunfortunate accident. But she tried to put the miserable remembrance", "\"Yes. If you call it murder. It was done by a blow, in the heat of\npassion. No one can ever tell how Dunster always irritated papa,\" said", "\"And Dixon knew of this. I believe I must put the fact plainly--to\nyou--your father was the guilty person? he murdered Dunster?\"", "\"It was all the rascal Dunster's doing, I've no doubt,\" said he, trying\nto account for the entire loss of Mr. Wilkins's fortune.", "struck the blow that killed Mr. Dunster--Dixon and I knew of it, just\nafter the blow was struck--we helped to hide it--we kept the secret--my", "it was that lay there, so still and motionless as never to stir at her\nsudden coming. It was Mr. Dunster; his head propped on chair-cushions,", "To his surprise she lifted up her white stony face, and said slowly and\nfaintly, but with almost solemn calmness:\n\n\"Mr. Ness, you must never allow Mr. Dunster to be blamed for this!\"", "can tell you just as well as anybody, that Mr. Dunster is not in this\nhouse, wherever he may be.' Yet nothing would satisfy her but that some", "replied, partly with a view of saying something pleasant to the man whom\nhe disliked and feared. Mr. Dunster always replied, in a meek matter-of-", "quite gone off. Only Mr. Dunster came creeping about the house, on\npretence of business, seeking out her father, and disturbing all his", "has brought upon him, than be revenged upon Mr. Dunster.\"", "gentleman, are scared away. We shall need all our wits. Now, sir,\nplease answer my question. Did anyone see Measter Dunster come here?\"", "\"I hate Mr. Dunster!\" said Ellinor, vehemently. \"I won't speak a word to\nhim the next time he comes to dine with papa.\"", "Mr. Dunster always suspected that the final push was given by some\ncircumstance from without; some reprimand for neglect--some threat of", "reached London, that Mr. Dunster had made away with, or carried off,\ntrust property to a considerable extent, for all which Mr. Wilkins would\nof course be liable.", "made a partner where he now was only a servant. Mr. Wilkins took a\nmalicious pleasure in tantalizing Mr. Dunster by such speeches as the one", "The end of his reflections was, that the next day, Monday, he went into\nthe town, and artfully learnt all he could hear about Mr Dunster's", "\"I came into papa's room just after he had struck Mr. Dunster the blow.\nHe was lying insensible, as we thought--dead, as he really was.\"", "\"Mrs. Jackson has been here\" (it was at Mrs. Jackson's house that Mr.\nDunster lodged), \"wanting to know if we could tell her where Mr. Dunster", "that should betray her full knowledge. \"I mean this,\" she went on; \"Mr.\nDunster was a very disagreeable man personally--and papa--we none of us" ], [ "it was that lay there, so still and motionless as never to stir at her\nsudden coming. It was Mr. Dunster; his head propped on chair-cushions,", "and to regard Mr. Dunster's death as only the consequence of an\nunfortunate accident. But she tried to put the miserable remembrance", "quite gone off. Only Mr. Dunster came creeping about the house, on\npretence of business, seeking out her father, and disturbing all his", "along the shrubbery-path. She thought, of course, that it was Mr.\nDunster leaving the house; and went back for Mr. Livingstone's letter.", "spoke of the shock of the discovery of Mr. Dunster's body, found in the\ncutting of the new line of railroad from Hamley to the nearest railway", "The consent given, the two walked away, as by previous appointment, to\nHamley churchyard, where he was to point out to her the exact spot where", "replied, partly with a view of saying something pleasant to the man whom\nhe disliked and feared. Mr. Dunster always replied, in a meek matter-of-", "can tell you just as well as anybody, that Mr. Dunster is not in this\nhouse, wherever he may be.' Yet nothing would satisfy her but that some", "\"Mrs. Jackson has been here\" (it was at Mrs. Jackson's house that Mr.\nDunster lodged), \"wanting to know if we could tell her where Mr. Dunster", "subjects. But once touch on the name of Dunster and Mr. Wilkins sank\ninto a kind of suspicious depression of spirits; talking little, and with", "reached London, that Mr. Dunster had made away with, or carried off,\ntrust property to a considerable extent, for all which Mr. Wilkins would\nof course be liable.", "It seemed to her growing very late; the moonlight was coming fuller and\nfuller into the garden and the blackness of the shadow was more\nconcentrated and stronger. Surely Mr. Dunster could not have gone away", "scullery-maid, was his daily delight. Pretty Molly lay buried in Hamley\nchurchyard, and few living, except Dixon, could have gone straight to her\ngrave.", "To his surprise she lifted up her white stony face, and said slowly and\nfaintly, but with almost solemn calmness:\n\n\"Mr. Ness, you must never allow Mr. Dunster to be blamed for this!\"", "On her urging him a little more, it came out that he had a strong feeling\nthat if he did not watch the spot where the dead man lay buried, the", "The end of his reflections was, that the next day, Monday, he went into\nthe town, and artfully learnt all he could hear about Mr Dunster's", "\"Oh! he had walked part of the way with Mr. Dunster, and then cut across\nby the short path through the fields, as far as I could understand him", "\"Yes. If you call it murder. It was done by a blow, in the heat of\npassion. No one can ever tell how Dunster always irritated papa,\" said", "\"It was all the rascal Dunster's doing, I've no doubt,\" said he, trying\nto account for the entire loss of Mr. Wilkins's fortune.", "When all was ready for the reception of the body in its unblessed grave,\nMr. Wilkins bade Ellinor go up to her own room--she had done all she" ], [ "\"And Dixon knew of this. I believe I must put the fact plainly--to\nyou--your father was the guilty person? he murdered Dunster?\"", "\"Yes. If you call it murder. It was done by a blow, in the heat of\npassion. No one can ever tell how Dunster always irritated papa,\" said", "and to regard Mr. Dunster's death as only the consequence of an\nunfortunate accident. But she tried to put the miserable remembrance", "\"It was all the rascal Dunster's doing, I've no doubt,\" said he, trying\nto account for the entire loss of Mr. Wilkins's fortune.", "reached London, that Mr. Dunster had made away with, or carried off,\ntrust property to a considerable extent, for all which Mr. Wilkins would\nof course be liable.", "To his surprise she lifted up her white stony face, and said slowly and\nfaintly, but with almost solemn calmness:\n\n\"Mr. Ness, you must never allow Mr. Dunster to be blamed for this!\"", "quite gone off. Only Mr. Dunster came creeping about the house, on\npretence of business, seeking out her father, and disturbing all his", "can tell you just as well as anybody, that Mr. Dunster is not in this\nhouse, wherever he may be.' Yet nothing would satisfy her but that some", "The end of his reflections was, that the next day, Monday, he went into\nthe town, and artfully learnt all he could hear about Mr Dunster's", "replied, partly with a view of saying something pleasant to the man whom\nhe disliked and feared. Mr. Dunster always replied, in a meek matter-of-", "has brought upon him, than be revenged upon Mr. Dunster.\"", "it was that lay there, so still and motionless as never to stir at her\nsudden coming. It was Mr. Dunster; his head propped on chair-cushions,", "Wilkins had gone into Hamley market-place, and proclaimed himself guilty\nof the manslaughter of Mr. Dunster--nay, if he had detailed all the", "struck the blow that killed Mr. Dunster--Dixon and I knew of it, just\nafter the blow was struck--we helped to hide it--we kept the secret--my", "made a partner where he now was only a servant. Mr. Wilkins took a\nmalicious pleasure in tantalizing Mr. Dunster by such speeches as the one", "Next to her anxiety about Ellinor, Miss Monro liked to dilate on the\nmystery connected with Mr. Dunster's flight; for that was the word she", "\"Mrs. Jackson has been here\" (it was at Mrs. Jackson's house that Mr.\nDunster lodged), \"wanting to know if we could tell her where Mr. Dunster", "gentleman, are scared away. We shall need all our wits. Now, sir,\nplease answer my question. Did anyone see Measter Dunster come here?\"", "\"I hate Mr. Dunster!\" said Ellinor, vehemently. \"I won't speak a word to\nhim the next time he comes to dine with papa.\"", "\"Before Dunster's disappearance, in fact,\" said Mr. Corbet, fixing his\nsteady, penetrating eyes on Mr. Wilkins's countenance." ], [ "\"My poor, poor Dixon!\" said Ellinor, laying down the paper for an\ninstant, and she was near crying, only she had resolved to shed no tears", "Ness's--this was Dixon. Ellinor had convinced him that he could give her\nno greater pleasure at any time than by allowing her to frank him to and", "\"Come along, sir,\" said Dixon; \"there's no time to lose.\" And they went\nout in search of tools; Ellinor following them, shivering all over, but", "Dixon looked up at Ellinor, but then let his eyes fall on the ground\nagain; the increasing trembling of his shrunken frame was the only sign\nhe gave that he had recognised her.", "not do for that servant. All this was what passed through Ellinor's\nmind: it is still a question whether Dixon would have felt his love of", "\"But, Dixon,\" said Ellinor, \"you know who did this--this--\"", "\"That was not manners,\" said Dixon, decisively.\n\n\"But it was my fault,\" replied Ellinor, pleading against the\ncondemnation.", "Ellinor sat silently gazing out upon the meadows, but seeing nothing.\nThen she put her hand into his. \"I quite trust you, Ralph. I was wrong\nto doubt. I am afraid I have grown fanciful and silly.\"", "Ellinor, having read the report of Dixon's examination in the newspaper,\nbathed her eyes and forehead in cold water, and tried to still her poor\nheart's beating, that she might be clear and collected enough to weigh\nthe evidence.", "\"If my father could have known of my living to this! Why, they will try\nme as a criminal; and you, Ellinor? Dixon, you are right. We must", "Every line of it was condemnatory. One or two witnesses spoke of Dixon's\nunconcealed dislike of Dunster, a dislike which Ellinor knew had been", "\"Trouble--papa, trouble! Oh, Dixon! what do you mean?\" exclaimed\nEllinor, her face taking all a woman's intensity of expression in a\nminute.", "\"To him!\" lying dead where he had been laid; killed by the man who now\nasked for his presence. Ellinor shut her eyes, and lay back in despair.\nShe wished she might die, and be out of this horrible tangle of events.", "He added this unwillingly; for he saw that Ellinor was jealous of the\nsecresy she had hitherto maintained as to her reasons for believing Dixon", "There was a strong bond between Ellinor and Dixon, although they scarcely\never exchanged a word save on the most common-place subjects; but their", "\"Here's a friend come to see you, Dixon.\" Then, turning to Ellinor, he\nadded, \"There's some as takes it in this kind o' stunned way, while", "\"I came to tell you, what I suppose may be told to any judge, in\nconfidence and full reliance on his secrecy, that Abraham Dixon was not\nthe murderer.\" She stopped short, and choked a little.", "\"And Dixon knew of this. I believe I must put the fact plainly--to\nyou--your father was the guilty person? he murdered Dunster?\"", "\"My head aches!\" said Ellinor, wearily. \"But I must go to the castle,\nand tell my poor Dixon that he is reprieved--I am so tired! Will you ask", "Dixon,\" he continued, \"on the watch for the Miss Ellinor we so often hear\nof! This old man,\" he continued to Ellinor, \"is never satisfied with the" ], [ "would be to himself to take Dunster into partnership, and thus throw all\nthe responsibility of the real work and drudgery upon his clerk's\nshoulders. Importunate clients, who would make appointments at", "making him into a barrister. This determination on the more prudent side\nof the argument took place while Edward was at Eton. The lad had,", "made a partner where he now was only a servant. Mr. Wilkins took a\nmalicious pleasure in tantalizing Mr. Dunster by such speeches as the one", "which, Ellinor could not help thinking, was a very impertinent line of\nconduct from a junior partner, so lately only a paid clerk, to his", "his hearer's presumption in joining the hunt, in aping the mode of life\nand amusements of the landed gentry, Edward fired up. He knew how much", "Lettice could have lived to herself and her husband and children. Edward\ndaily required more and more the stimulus of society. His wife wondered", "returned from the Continent. Edward was a beautiful dancer, and waltzed\nto admiration. For his next partner he had one of the Lady ---s; for the", "so much temperate and well-timed wisdom and good feeling, that he more\nthan once gained his point. He had one son, Edward. This boy was the", "fuss about his partner's non-attendance, and altogether taking a good\ndeal upon himself in a very offensive way, so that he thought it better\nto go pretty regularly to the office, in order to show him who was", "convinced of the desirability of the step, as well as his weak will give\nway. The squire listened, looked wise, sighed; spoke of Edward's", "attorney ought to have something considerable; and an allowance so as to\nenable the young couple to start housekeeping in a moderately good part\nof town, would be an advantage to him in his profession. So he replied", "At last he came home--came back to settle as his father's partner at\nHamley. He was a son to be proud of, and right down proud was old Mr.", "that Edward should be presented at the Hamley assembly-rooms. But many a\nsquire glowered and looked black at the introduction of Wilkins the", "had no power to appreciate the taste, the talents, the impulsive artistic\nnature which she held so dear. She forgot that by accepting such\ninvitations Edward was occasionally brought into contact with people not", "glancing at all the advertisements in _The Times_. He hated going to the\noffice more and more since Dunster had become a partner; that fellow gave\nhimself such airs of investigation and reprehension.", "up for his absences from Hamley. But journeys cost money; and he was\noften away from his office when important business required attending to.\nThere was some talk of a new attorney setting up in Hamley, to be", "the sound of his own voice. Then, as to matrimony--for the idea of his\nmarriage was hardly more present in Edward's mind than in that of his", "as had passed between the mother and child often and often when no\nwitnesses were by; and altogether seemed so nearly beside herself in an\nagony of love and terror, that Edward arose, and softly taking her in his", "It was not a satisfactory situation. Mr. Wilkins had given his son an\neducation and tastes beyond his position. He could not associate with", "Wilkins was the principal lawyer in Hamley, I say very little, unless I\nadd that he transacted all the legal business of the gentry for twenty\nmiles round. His grandfather had established the connection; his father" ], [ "Mr. Corbet's attachment to Ellinor had been formally disclosed to her\njust before this time. He had left college, entered at the Middle", "\"Ellinor, dearest, will you--can you marry me?\" and her reply was--given\nwith a deep blush I must record, and in a soft murmuring tone--", "themselves; but before the summer was over they were desperately in love\nwith each other, or perhaps I should rather say, Ellinor was desperately", "At length the weary time was over; and again they sailed past Elba, and\narrived at Marseilles. Now Ellinor began to feel how much assistance it", "But no. Ellinor scarcely replied to his half-inquiry as to her reasons\nfor hastening to England. She yielded to all his directions, agreed to", "\"What I wanted to say was, that I am anxious to have all things arranged\nfor my marriage in August. Ellinor is so much better now; in fact, so", "\"And I hope, sir, as you have been aware of it, and have never manifested\nany disapprobation of it, that you will not refuse your consent--a\nconsent I now ask you for--to our marriage.\"", "Lady Corbet! Of course Ellinor knew that he was married. Had she not\nbeen present at the wedding in East Chester Cathedral? But, somehow,", "Corbet and she had determined to break off their engagement; and that Mr.\nCorbet had accordingly betaken himself to the Parsonage; and that she did", "to give his consent to an engagement; and sometimes even he was glad to\nthink that Ellinor's future was assured, and that she would have a", "Ellinor hung her head.\n\n\"You know that I was once engaged before?\"", "All this time, Mr. Ralph Corbet maintained a very quietly decided\nattitude towards his own family. He was engaged to Miss Wilkins; and all", "Ellinor sat silently gazing out upon the meadows, but seeing nothing.\nThen she put her hand into his. \"I quite trust you, Ralph. I was wrong\nto doubt. I am afraid I have grown fanciful and silly.\"", "it returned and returned, and gradually obtained the mastery over him.\nWhat was to be gained by keeping to his engagement with Ellinor? He\nshould have a delicate wife to look after, and even more than the common", "been strongly attracted by Ellinor, but it was long before she could\nconquer the timid reserve by which Miss Wilkins was hedged round. It was", "\"Yes--oh, yes--I never thought of anything else.\"\n\n\"Then I may speak to your father, may not I, darling?\"", "\"Ellinor!\" said the judge, after a moment's pause, \"we are friends, I\nhope?\"\n\n\"Yes; friends,\" said she, quietly and sadly.", "Corbet's marriage, something happened which much affected her. Mr. Ness\ndied suddenly at his parsonage, and Ellinor learnt it first from Mr.", "By-and-by he formed a marriage, which went as near as marriages ever do\ntowards pleasing everybody. He was desperately in love with Miss", "you, and you only, ever since we met, eighteen years ago. Miss\nWilkins--Ellinor--put me out of suspense.\"" ], [ "proposed to give Ellinor. \"Unwisely,\" because he might have read Ralph's\ncharacter better than to suppose he would easily consent to any\ndiminution without good and sufficient reason being given; or without", "James the First's creation; that of course Ralph must do what he liked,\nbut that if he married this girl he must never expect to have her", "Ralph half turned to take him at his word, and go at once; but then he\n\"gave Ellinor another chance,\" as he worded it in his thoughts; but it\nwas in no spirit of conciliation that he said:", "\"I am sorry for it,\" said Ralph, \"for I wanted particularly to speak to\nyou about business--about my marriage, in fact.\"", "Mr. Wilkins, too, had begun to feel the restraint of Ralph's grave\nwatchful presence. Ellinor was not strong enough to be married; nor was", "lover regarding the approval of the family of the latter to the young\nman's engagement, and he accordingly wrote a very gentlemanly letter,\nsaying that of course he trusted that Ralph had informed his father of", "attained her end, but who had gone far towards betraying something of her\nown individual interest in the question she had asked. Ralph had been\nmore struck even by her manner than her words. He was sure that", "Ellinor sat silently gazing out upon the meadows, but seeing nothing.\nThen she put her hand into his. \"I quite trust you, Ralph. I was wrong\nto doubt. I am afraid I have grown fanciful and silly.\"", "All this time, Mr. Ralph Corbet maintained a very quietly decided\nattitude towards his own family. He was engaged to Miss Wilkins; and all", "\"Suppose, Ralph, that a girl was engaged to be married--\"\n\n\"I can very easily suppose that, with you by me,\" said he, filling up her\npause.", "easy extravagance of living by remembering the fact that Ellinor was\nengaged to the son of a man of large property: and that though Ralph was", "that, as Ralph was of age, of course he had a right to please himself,\ntherefore all his father could say was, that the engagement was not at", "Corbet was hardly to be called ambitious, or, if he were, his ambition\nwas limited to views for the eldest son. But Ralph intended to be a", "pass, Ralph's love would still be hers; nor was he unwarned of what might\ncome to pass in some dread future day. So she shut her eyes to what", "engagement to Miss Wilkins, Ralph coolly asked him if he was aware that,\nin that case, he should lose all title to being a man of honour, and", "By-and-by he formed a marriage, which went as near as marriages ever do\ntowards pleasing everybody. He was desperately in love with Miss", "it would be prudent for him to marry her. He thought that the knowledge\nof this, the only imprudently hasty step he ever meant to take in his", "Ralph Corbet found it a very difficult thing to keep down his curiosity\nduring the next few days. It was a miserable thing to have Ellinor's", "\"And I hope, sir, as you have been aware of it, and have never manifested\nany disapprobation of it, that you will not refuse your consent--a\nconsent I now ask you for--to our marriage.\"", "He could not understand how his own life would go on without her: or\nindeed why she and Ralph Corbet could not continue just as they were at\npresent. He came down to breakfast with the letter in his hand. By" ], [ "and to regard Mr. Dunster's death as only the consequence of an\nunfortunate accident. But she tried to put the miserable remembrance", "quite gone off. Only Mr. Dunster came creeping about the house, on\npretence of business, seeking out her father, and disturbing all his", "replied, partly with a view of saying something pleasant to the man whom\nhe disliked and feared. Mr. Dunster always replied, in a meek matter-of-", "has brought upon him, than be revenged upon Mr. Dunster.\"", "\"It was all the rascal Dunster's doing, I've no doubt,\" said he, trying\nto account for the entire loss of Mr. Wilkins's fortune.", "can tell you just as well as anybody, that Mr. Dunster is not in this\nhouse, wherever he may be.' Yet nothing would satisfy her but that some", "made a partner where he now was only a servant. Mr. Wilkins took a\nmalicious pleasure in tantalizing Mr. Dunster by such speeches as the one", "reached London, that Mr. Dunster had made away with, or carried off,\ntrust property to a considerable extent, for all which Mr. Wilkins would\nof course be liable.", "To his surprise she lifted up her white stony face, and said slowly and\nfaintly, but with almost solemn calmness:\n\n\"Mr. Ness, you must never allow Mr. Dunster to be blamed for this!\"", "The end of his reflections was, that the next day, Monday, he went into\nthe town, and artfully learnt all he could hear about Mr Dunster's", "subjects. But once touch on the name of Dunster and Mr. Wilkins sank\ninto a kind of suspicious depression of spirits; talking little, and with", "\"I hate Mr. Dunster!\" said Ellinor, vehemently. \"I won't speak a word to\nhim the next time he comes to dine with papa.\"", "it was that lay there, so still and motionless as never to stir at her\nsudden coming. It was Mr. Dunster; his head propped on chair-cushions,", "Mr. Dunster always suspected that the final push was given by some\ncircumstance from without; some reprimand for neglect--some threat of", "gentleman, are scared away. We shall need all our wits. Now, sir,\nplease answer my question. Did anyone see Measter Dunster come here?\"", "\"Mrs. Jackson has been here\" (it was at Mrs. Jackson's house that Mr.\nDunster lodged), \"wanting to know if we could tell her where Mr. Dunster", "\"No, none. Mr. Wilkins has written everywhere, right and left, I\nbelieve. I know he had a letter from Mr. Dunster's nearest relation--a", "People said how hard it was upon Mr. Wilkins, that scarcely had that\nwretch Dunster gone off, with no one knows how much out of the trusts of", "Dunster, who had seemed all along to be a thorn in her father's side, and\nhad latterly gained some power and authority over him, the exercise of", "with his master as Mr. Dunster was discordant; accordingly he was a great\nfavourite, and could say many a thing which might have been taken as\nimpertinent from another servant." ], [ "it'll never be missed, and if master'll take one spade, and I another,\nwhy we'll lay him softly down, and cover him up, and no one'll be the\nwiser.\"", "went out of it altogether and for evermore. She had been well in the\nmorning when Edward went down to his office in Hamley. At noon he was", "On her urging him a little more, it came out that he had a strong feeling\nthat if he did not watch the spot where the dead man lay buried, the", "The consent given, the two walked away, as by previous appointment, to\nHamley churchyard, where he was to point out to her the exact spot where", "\"To him!\" lying dead where he had been laid; killed by the man who now\nasked for his presence. Ellinor shut her eyes, and lay back in despair.\nShe wished she might die, and be out of this horrible tangle of events.", "as had passed between the mother and child often and often when no\nwitnesses were by; and altogether seemed so nearly beside herself in an\nagony of love and terror, that Edward arose, and softly taking her in his", "way. She would have kissed her father, as he sat wearily at the head of\nthe grave--Dixon had gone in to make some arrangement for carrying the\ncorpse--but he pushed her away quietly, but resolutely--", "set about digging a place for him to lie in, poor fellow, the better\nit'll be for us all in the end. I can pare a piece of turf up where", "The man stepped forwards, respectfully pushing his master on one side as\nhe did so. He bent down over the corpse, and looked, and listened and", "They dug the hole deep and well; working with fierce energy to quench\nthought and remorse. Once or twice her father asked for brandy, which", "When all was ready for the reception of the body in its unblessed grave,\nMr. Wilkins bade Ellinor go up to her own room--she had done all she", "he wished to be buried. Trampling over the long, rank grass, but\navoiding passing directly over any of the thickly-strewn graves, he made", "somewhere? There's better nor four hours of dark. I wish we could put\nhim i' the churchyard, but that can't be; but, to my mind, the sooner we", "Mr. Corbet returned to Ellinor. Mr. Wilkins sat down and buried his head\nin his hands, then went to his stable, and had Wildfire saddled for a", "station; the body so hastily buried long ago, in its clothes, by which it\nwas now recognised--a recognition confirmed by one or two more personal", "All in vain. The head was placed again on the cushions, the servant rose\nand stood by his master, looked sadly on the dead man, whom, living, none", "\"I said then as I would lie by her. And it'll be a comfort to think\nyou'll see me laid here. I trust no one'll be so crabbed as to take a", "followed the cut of the fleam. They laid him back on his strange sad\ndeath-couch. Dixon spoke next.", "making him into a barrister. This determination on the more prudent side\nof the argument took place while Edward was at Eton. The lad had,", "scullery-maid, was his daily delight. Pretty Molly lay buried in Hamley\nchurchyard, and few living, except Dixon, could have gone straight to her\ngrave." ], [ "proposed to give Ellinor. \"Unwisely,\" because he might have read Ralph's\ncharacter better than to suppose he would easily consent to any\ndiminution without good and sufficient reason being given; or without", "Corbet and she had determined to break off their engagement; and that Mr.\nCorbet had accordingly betaken himself to the Parsonage; and that she did", "Mr. Wilkins, too, had begun to feel the restraint of Ralph's grave\nwatchful presence. Ellinor was not strong enough to be married; nor was", "violently against this foolish entanglement of Ralph's; they would not\ncall it an engagement. They argued, and they urged, and they pleaded,", "Ralph half turned to take him at his word, and go at once; but then he\n\"gave Ellinor another chance,\" as he worded it in his thoughts; but it\nwas in no spirit of conciliation that he said:", "\"I do not know. After breaking off his engagement he wrote me a long\nletter, explanatory, as he called it; exculpatory, as I termed it. I", "heart's truth of him. Then she said, as quietly as she had ever spoken\nin her life,--\"You wish to break off our engagement?\"", "He could not understand how his own life would go on without her: or\nindeed why she and Ralph Corbet could not continue just as they were at\npresent. He came down to breakfast with the letter in his hand. By", "engagement to Miss Wilkins, Ralph coolly asked him if he was aware that,\nin that case, he should lose all title to being a man of honour, and", "Ralph Corbet found it a very difficult thing to keep down his curiosity\nduring the next few days. It was a miserable thing to have Ellinor's", "that, as Ralph was of age, of course he had a right to please himself,\ntherefore all his father could say was, that the engagement was not at", "\"I am sorry for it,\" said Ralph, \"for I wanted particularly to speak to\nyou about business--about my marriage, in fact.\"", "All this time, Mr. Ralph Corbet maintained a very quietly decided\nattitude towards his own family. He was engaged to Miss Wilkins; and all", "Mr. Corbet's attachment to Ellinor had been formally disclosed to her\njust before this time. He had left college, entered at the Middle", "\"Suppose, Ralph, that a girl was engaged to be married--\"\n\n\"I can very easily suppose that, with you by me,\" said he, filling up her\npause.", "Ellinor sat silently gazing out upon the meadows, but seeing nothing.\nThen she put her hand into his. \"I quite trust you, Ralph. I was wrong\nto doubt. I am afraid I have grown fanciful and silly.\"", "attained her end, but who had gone far towards betraying something of her\nown individual interest in the question she had asked. Ralph had been\nmore struck even by her manner than her words. He was sure that", "\"And your father knows this, of course?\"\n\n\"Yes!\" again, in the same tone; and then silence.\n\n\"I think it is doing him harm,\" at length Ralph went on, decidedly.", "James the First's creation; that of course Ralph must do what he liked,\nbut that if he married this girl he must never expect to have her", "of his to bring his conversation with her back to the subject which more\nand more engrossed Ralph Corbet's mind. She had done her duty, as she" ], [ "went out of it altogether and for evermore. She had been well in the\nmorning when Edward went down to his office in Hamley. At noon he was", "Lettice could have lived to herself and her husband and children. Edward\ndaily required more and more the stimulus of society. His wife wondered", "as had passed between the mother and child often and often when no\nwitnesses were by; and altogether seemed so nearly beside herself in an\nagony of love and terror, that Edward arose, and softly taking her in his", "so much temperate and well-timed wisdom and good feeling, that he more\nthan once gained his point. He had one son, Edward. This boy was the", "returned from the Continent. Edward was a beautiful dancer, and waltzed\nto admiration. For his next partner he had one of the Lady ---s; for the", "making him into a barrister. This determination on the more prudent side\nof the argument took place while Edward was at Eton. The lad had,", "At length the turnkey said that the time allowed for the interview was\nended. Ellinor spoke no word; but rose, and bent down and kissed the old\nman's forehead, saying--", "Edward was annoyed at all this; Lettice resented it. She loved her\nhusband dearly, and was proud of him, for she had discernment enough to", "had no power to appreciate the taste, the talents, the impulsive artistic\nnature which she held so dear. She forgot that by accepting such\ninvitations Edward was occasionally brought into contact with people not", "\"I suppose he knows best,\" said Ellinor, sighing, as she read the last\nword. \"But it seems wicked in me to be going to bed--and he so near, in\nprison.\"", "convinced of the desirability of the step, as well as his weak will give\nway. The squire listened, looked wise, sighed; spoke of Edward's", "\"To him!\" lying dead where he had been laid; killed by the man who now\nasked for his presence. Ellinor shut her eyes, and lay back in despair.\nShe wished she might die, and be out of this horrible tangle of events.", "the sound of his own voice. Then, as to matrimony--for the idea of his\nmarriage was hardly more present in Edward's mind than in that of his", "Wilkins of his handsome, accomplished, gentlemanly lad. For Edward was\nnot one to be spoilt by the course of indulgence he had passed through;", "If it had not been for him she would have just died of her grief. As it\nwas, she overcame it--but slowly, wearily--hardly letting herself love", "All in vain. The head was placed again on the cushions, the servant rose\nand stood by his master, looked sadly on the dead man, whom, living, none", "that Edward should be presented at the Hamley assembly-rooms. But many a\nsquire glowered and looked black at the introduction of Wilkins the", "And the poor man brushed some tears from his eyes with the back of his\nwithered, furrowed hand. Ellinor caught the infection, and cried", "\"My poor, poor father did it. I am going up to London this afternoon; I\nam going to see the judge, and tell him all.\"", "in that county at that time meant conviviality. Edward did not care for\nwine, and yet he was obliged to drink--and by-and-by he grew to pique" ], [ "Late one October evening, Ellinor had her first sight of East Chester\nClose, where she was to pass the remainder of her life. Miss Monro had", "returning to her native place, and obtaining what daily teaching she\ncould there meet with, and the friends to whom she was now writing had\npromised her their aid. She thought that as Ellinor had to leave Ford", "\"Ellinor will have the rent of this house, which is hers by right of her\nmother's settlement, to live on.\"\n\n\"How much will that be?\"\n\n\"One hundred and twenty pounds.\"", "At length the weary time was over; and again they sailed past Elba, and\narrived at Marseilles. Now Ellinor began to feel how much assistance it", "Mr. Corbet's attachment to Ellinor had been formally disclosed to her\njust before this time. He had left college, entered at the Middle", "Meanwhile, the entire change of scene brought on the exquisite\nrefreshment of entire change of thought. Ellinor had not been able so", "As soon as Mr. Ness had left, Miss Monro went to her desk and wrote a\nlong letter to some friends she had at the cathedral town of East", "some days Ellinor employed herself in business in the house, never going\nout except to church. Miss Monro, on the contrary, strolled about\neverywhere, noticing all the alterations in place and people, which were", "But no. Ellinor scarcely replied to his half-inquiry as to her reasons\nfor hastening to England. She yielded to all his directions, agreed to", "window, and did not speak, but sighed heavily from time to time. Miss\nMonro took up a book, in order to leave the young people to themselves;\nand after a little low murmured conversation, Ellinor went upstairs to", "distant labourers to cease their work for a time. Such was the old\ncustom of the place. Ellinor rose up, and made her way back to Mr.", "themselves; but before the summer was over they were desperately in love\nwith each other, or perhaps I should rather say, Ellinor was desperately", "And, knowing that he left Ellinor in good hands, and with plenty of\nassistance about her, he returned to his friends.\n\nEllinor came to herself before long.", "going to the prison in the county town, to see the old man herself, but\nEllinor could perceive that all these endeavours and purposes of Miss", "town that any doctor even fancied might be of service, he came down as\nsoon as there was the slightest hint of permission that Ellinor might see", "Ellinor were the most intimate of all the families in East Chester. Mrs.\nForbes was a widow lady of good means, with a large family of pretty,", "They rode pretty hard till they reached Monk's Heath, six or seven miles\naway from Hamley. Ellinor had previously determined that here she would", "Ellinor shrank from this journey, which her love and duty towards her\ndead friend rendered necessary. She had scarcely left East Chester since", "Ellinor shook her head.\n\n\"How soon can I get to England?\" asked she. \"I must start at once.\"", "been backwards and forwards between Hamley and East Chester more than\nonce, while Ellinor remained at the parsonage; so she had not only the" ], [ "it was that lay there, so still and motionless as never to stir at her\nsudden coming. It was Mr. Dunster; his head propped on chair-cushions,", "and to regard Mr. Dunster's death as only the consequence of an\nunfortunate accident. But she tried to put the miserable remembrance", "quite gone off. Only Mr. Dunster came creeping about the house, on\npretence of business, seeking out her father, and disturbing all his", "The end of his reflections was, that the next day, Monday, he went into\nthe town, and artfully learnt all he could hear about Mr Dunster's", "spoke of the shock of the discovery of Mr. Dunster's body, found in the\ncutting of the new line of railroad from Hamley to the nearest railway", "can tell you just as well as anybody, that Mr. Dunster is not in this\nhouse, wherever he may be.' Yet nothing would satisfy her but that some", "To his surprise she lifted up her white stony face, and said slowly and\nfaintly, but with almost solemn calmness:\n\n\"Mr. Ness, you must never allow Mr. Dunster to be blamed for this!\"", "\"Mrs. Jackson has been here\" (it was at Mrs. Jackson's house that Mr.\nDunster lodged), \"wanting to know if we could tell her where Mr. Dunster", "subjects. But once touch on the name of Dunster and Mr. Wilkins sank\ninto a kind of suspicious depression of spirits; talking little, and with", "replied, partly with a view of saying something pleasant to the man whom\nhe disliked and feared. Mr. Dunster always replied, in a meek matter-of-", "\"Yes. If you call it murder. It was done by a blow, in the heat of\npassion. No one can ever tell how Dunster always irritated papa,\" said", "along the shrubbery-path. She thought, of course, that it was Mr.\nDunster leaving the house; and went back for Mr. Livingstone's letter.", "struck the blow that killed Mr. Dunster--Dixon and I knew of it, just\nafter the blow was struck--we helped to hide it--we kept the secret--my", "\"It was all the rascal Dunster's doing, I've no doubt,\" said he, trying\nto account for the entire loss of Mr. Wilkins's fortune.", "reached London, that Mr. Dunster had made away with, or carried off,\ntrust property to a considerable extent, for all which Mr. Wilkins would\nof course be liable.", "When all was ready for the reception of the body in its unblessed grave,\nMr. Wilkins bade Ellinor go up to her own room--she had done all she", "station; the body so hastily buried long ago, in its clothes, by which it\nwas now recognised--a recognition confirmed by one or two more personal", "It seemed to her growing very late; the moonlight was coming fuller and\nfuller into the garden and the blackness of the shadow was more\nconcentrated and stronger. Surely Mr. Dunster could not have gone away", "\"Before Dunster's disappearance, in fact,\" said Mr. Corbet, fixing his\nsteady, penetrating eyes on Mr. Wilkins's countenance.", "And yet daily Mr. Wilkins was sinking from the intellectually to the\nsensually self-indulgent man. He lay late in bed, and hated Mr. Dunster" ], [ "will answer any question to make it appear that Dixon is innocent.\"", "anything more.' Accordingly, Dixon now stands committed for trial for\nmurder at the next Hellingford Assizes, which commence on March the", "as Dixon being guilty of so heinous a crime, and was willing enough to\ntestify to the excellent character which he had borne during all the many", "\"I came to tell you, what I suppose may be told to any judge, in\nconfidence and full reliance on his secrecy, that Abraham Dixon was not\nthe murderer.\" She stopped short, and choked a little.", "\"And Dixon knew of this. I believe I must put the fact plainly--to\nyou--your father was the guilty person? he murdered Dunster?\"", "held--the prison in which Dixon lay condemned to die. She almost knew\nshe could not see him; yet it seemed like some amends to her conscience\nfor having slept through so many hours of the night if she made the", "\"Thank you. I could not help it, now it has come to this.\"\n\n\"There are not many men like Dixon,\" said the judge, almost to himself,\nas he sealed the paper in an envelope.", "doubt on the fact of Dixon's having killed Mr. Dunster, only hoping there\nmight prove to be some extenuating circumstances, which Ellinor had", "hear him condemning the prisoner to death. Dixon was undoubtedly guilty,\nand he was as stubborn as could be--a sullen old fellow who would let no", "\"Dixon!\" said she at length, \"you must not mind it. You must try not to\nmind it. I see he does not like to be reminded of that, even by seeing", "is a sad secret. God help me! I am as guilty as poor Dixon, if, indeed,\nhe is guilty--but he is innocent--indeed he is!\"", "me. He tries never to be alone with me. My poor old Dixon, it has\nspoilt my life for me; for I don't think he loves me any more.\"", "\"Thank you. I am going straight back to Hellingford; at least, as soon\nas you can get me the pardon for Dixon.\"\n\nHe half smiled at her ignorance.", "\"It is you, Miss Wilkins! I am very glad--\"\n\n\"Dixon!\" said she. It was all she could utter.\n\nMr. Johnson shook his head.", "Abraham Dixon. The sheriff's order for her admission to see the old man\nlay awaiting her wish to use it; but she knew nothing of all this.", "the building Dixon was confined. Then she went into the adjoining\nchurchyard, and sitting down upon a tombstone, she gazed idly at the view", "Ness's--this was Dixon. Ellinor had convinced him that he could give her\nno greater pleasure at any time than by allowing her to frank him to and", "distress by accelerating the conviction of Dixon's guilt, which he\nbelieved she must arrive at sooner or later.", "order to show him that, although she would not give up her dear old\nfriend Dixon, at his or anyone's bidding, she would strive to profit by", "\"My poor, poor Dixon!\" said Ellinor, laying down the paper for an\ninstant, and she was near crying, only she had resolved to shed no tears" ], [ "\"Ellinor!\" said the judge, after a moment's pause, \"we are friends, I\nhope?\"\n\n\"Yes; friends,\" said she, quietly and sadly.", "Ellinor. He would watch at the windows of his great vaulted library till\nhe saw her emerge from the garden into the Close, and then open the", "which Ellinor had replied:", "\"I want to speak to you about Ellinor. She says she thinks you must be\naware of our mutual attachment.\"", "\"Ellinor! Miss Wilkins! is it you?\" And he went forwards, holding out\nhis hand with cordial greeting, under which the embarrassment, if he felt", "as strangers to each other. As to Ellinor\"--his tones softened a little,\nand he sighed in spite of himself--\"I do not think we should have been", "Ellinor; and only condescend to her father because old Wilkins was nobody-\nknows-who's son. So much the worse for them, but so much the better for", "Ellinor were the most intimate of all the families in East Chester. Mrs.\nForbes was a widow lady of good means, with a large family of pretty,", "\"My God, Ellinor! what has brought you here?\" he said, almost fiercely.\n\nBut she answered as one stupefied, \"I don't know. Is he dead?\"", "themselves; but before the summer was over they were desperately in love\nwith each other, or perhaps I should rather say, Ellinor was desperately", "order that she might be of all the comfort she could to Ellinor. She did\nnot at first let out that he had accompanied her to Hellingford; she was", "He was Ellinor's great confidant about many of her little plans and\nprojects; things that she dared not speak of to Mr. Corbet, who, after", "Ellinor sickened at the words. She had been all her life a truthful\nplain-spoken girl. She held herself high above deceit. Yet, here came", "Ellinor sat down, helpless.\n\n\"Leave me,\" she said, at length. \"You are very kind, but you don't know\nall. I cannot stand any more talking now,\" she added, faintly.", "Mr. Corbet's attachment to Ellinor had been formally disclosed to her\njust before this time. He had left college, entered at the Middle", "And, knowing that he left Ellinor in good hands, and with plenty of\nassistance about her, he returned to his friends.\n\nEllinor came to herself before long.", "that Ellinor would sleep. Her eyes were, indeed, shut; but try as much\nas she would to be quiet, she was up in less than five minutes after Miss", "There was a strong bond between Ellinor and Dixon, although they scarcely\never exchanged a word save on the most common-place subjects; but their", "for it so often. Poor Lettice, how glad I am that you are dead!\" Here\nhe began to cry like a child. Ellinor comforted him with kisses rather", "\"Ellinor, dearest, will you--can you marry me?\" and her reply was--given\nwith a deep blush I must record, and in a soft murmuring tone--" ], [ "that Edward should be presented at the Hamley assembly-rooms. But many a\nsquire glowered and looked black at the introduction of Wilkins the", "Wilkins of his handsome, accomplished, gentlemanly lad. For Edward was\nnot one to be spoilt by the course of indulgence he had passed through;", "It was not a satisfactory situation. Mr. Wilkins had given his son an\neducation and tastes beyond his position. He could not associate with", "Court and Ford Bank, as Mr. Edward Wilkins had christened his father's\nhouse on his first return from the Continent.", "Mr. Wilkins sat still, first fiercely angry, then astonished, and lastly\ndismayed into sobriety. \"Corbet, Corbet! Ralph!\" he called in vain;", "Wilkins was the principal lawyer in Hamley, I say very little, unless I\nadd that he transacted all the legal business of the gentry for twenty\nmiles round. His grandfather had established the connection; his father", "occupied. Mr. Wilkins's study, on the other side of the house, was also\nan afterthought, built only a few years ago, and projecting from the", "All this time I have spoken only of Mr. Wilkins's life as he stood in\nrelation to his daughter. But there is far more to be said about it.", "Mr. Wilkins. Although Mr. Ralph Corbet was capable of suspecting him of\nthis mean crime (so far removed from the impulsive commission of the past", "Mr. Wilkins did not seem to hear; in fact, he did not hear anything but\nthe unspoken echo of his own last words, that went booming through his", "\"Well,\" said Mr. Wilkins--he had resumed his cigar, partly to conceal his\nagitation at what he knew was coming--\"I believe I have had my", "others from entering upon such courses. But I have little doubt Mr.\nWilkins has taken the right steps; he is not the man to sit down quietly\nunder such a loss.\"", "\"It is you, Miss Wilkins! I am very glad--\"\n\n\"Dixon!\" said she. It was all she could utter.\n\nMr. Johnson shook his head.", "Mr. Wilkins's own servants liked him. The workings of his temptations\nwere such as they could understand. If he had been hot-tempered he had", "how he could care to accept dinner invitations from people who treated\nhim as \"Wilkins the attorney, a very good sort of fellow,\" as they\nintroduced him to strangers who might be staying in the country, but who", "Wilkins!\" (he had got up, and was standing by the mantelpiece, apparently\nexamining the ornaments upon it)--\"Miss Wilkins! is there any chance of", "Monro were sitting. Mr. Wilkins accompanied him, laughing and talking\nsomewhat loudly. Was Ellinor aware of her father's state? Of that Mr.", "to fetch Mr. Wilkins from his office; and once or twice it was pretty\nevident how he had been employing his hours. One day in particular his", "In the county town of a certain shire there lived (about forty years ago)\none Mr. Wilkins, a conveyancing attorney of considerable standing.", "\"Ellinor! Miss Wilkins! is it you?\" And he went forwards, holding out\nhis hand with cordial greeting, under which the embarrassment, if he felt" ], [ "can tell you just as well as anybody, that Mr. Dunster is not in this\nhouse, wherever he may be.' Yet nothing would satisfy her but that some", "replied, partly with a view of saying something pleasant to the man whom\nhe disliked and feared. Mr. Dunster always replied, in a meek matter-of-", "\"Mrs. Jackson has been here\" (it was at Mrs. Jackson's house that Mr.\nDunster lodged), \"wanting to know if we could tell her where Mr. Dunster", "has brought upon him, than be revenged upon Mr. Dunster.\"", "quite gone off. Only Mr. Dunster came creeping about the house, on\npretence of business, seeking out her father, and disturbing all his", "Mr. Dunster, the new clerk, was a quiet, respectable-looking man; you\ncould not call him a gentleman in manner, and yet no one could say he was", "with his master as Mr. Dunster was discordant; accordingly he was a great\nfavourite, and could say many a thing which might have been taken as\nimpertinent from another servant.", "and to regard Mr. Dunster's death as only the consequence of an\nunfortunate accident. But she tried to put the miserable remembrance", "made a partner where he now was only a servant. Mr. Wilkins took a\nmalicious pleasure in tantalizing Mr. Dunster by such speeches as the one", "subjects. But once touch on the name of Dunster and Mr. Wilkins sank\ninto a kind of suspicious depression of spirits; talking little, and with", "The clients re-echoed Mr. Wilkins's words, and spoke of Mr. Dunster as\ninvaluable to his master; a thorough treasure, the very saving of the", "it was that lay there, so still and motionless as never to stir at her\nsudden coming. It was Mr. Dunster; his head propped on chair-cushions,", "\"I hate Mr. Dunster!\" said Ellinor, vehemently. \"I won't speak a word to\nhim the next time he comes to dine with papa.\"", "\"And Mr. Dunster, Mr. Wilkins, has he come home yet?\"\n\nA moment's pause, in which Mr. Wilkins pumped the words out of his husky\nthroat:", "\"It was all the rascal Dunster's doing, I've no doubt,\" said he, trying\nto account for the entire loss of Mr. Wilkins's fortune.", "To his surprise she lifted up her white stony face, and said slowly and\nfaintly, but with almost solemn calmness:\n\n\"Mr. Ness, you must never allow Mr. Dunster to be blamed for this!\"", "gentleman, are scared away. We shall need all our wits. Now, sir,\nplease answer my question. Did anyone see Measter Dunster come here?\"", "\"No, none. Mr. Wilkins has written everywhere, right and left, I\nbelieve. I know he had a letter from Mr. Dunster's nearest relation--a", "reached London, that Mr. Dunster had made away with, or carried off,\ntrust property to a considerable extent, for all which Mr. Wilkins would\nof course be liable.", "one must go and waken up your papa, and ask if he could tell where Mr.\nDunster was.\"" ], [ "\"Yes. If you call it murder. It was done by a blow, in the heat of\npassion. No one can ever tell how Dunster always irritated papa,\" said", "and to regard Mr. Dunster's death as only the consequence of an\nunfortunate accident. But she tried to put the miserable remembrance", "it was that lay there, so still and motionless as never to stir at her\nsudden coming. It was Mr. Dunster; his head propped on chair-cushions,", "quite gone off. Only Mr. Dunster came creeping about the house, on\npretence of business, seeking out her father, and disturbing all his", "\"And Dixon knew of this. I believe I must put the fact plainly--to\nyou--your father was the guilty person? he murdered Dunster?\"", "replied, partly with a view of saying something pleasant to the man whom\nhe disliked and feared. Mr. Dunster always replied, in a meek matter-of-", "has brought upon him, than be revenged upon Mr. Dunster.\"", "To his surprise she lifted up her white stony face, and said slowly and\nfaintly, but with almost solemn calmness:\n\n\"Mr. Ness, you must never allow Mr. Dunster to be blamed for this!\"", "\"I came into papa's room just after he had struck Mr. Dunster the blow.\nHe was lying insensible, as we thought--dead, as he really was.\"", "made a partner where he now was only a servant. Mr. Wilkins took a\nmalicious pleasure in tantalizing Mr. Dunster by such speeches as the one", "gentleman, are scared away. We shall need all our wits. Now, sir,\nplease answer my question. Did anyone see Measter Dunster come here?\"", "can tell you just as well as anybody, that Mr. Dunster is not in this\nhouse, wherever he may be.' Yet nothing would satisfy her but that some", "struck the blow that killed Mr. Dunster--Dixon and I knew of it, just\nafter the blow was struck--we helped to hide it--we kept the secret--my", "\"I hate Mr. Dunster!\" said Ellinor, vehemently. \"I won't speak a word to\nhim the next time he comes to dine with papa.\"", "The end of his reflections was, that the next day, Monday, he went into\nthe town, and artfully learnt all he could hear about Mr Dunster's", "\"It was all the rascal Dunster's doing, I've no doubt,\" said he, trying\nto account for the entire loss of Mr. Wilkins's fortune.", "And yet daily Mr. Wilkins was sinking from the intellectually to the\nsensually self-indulgent man. He lay late in bed, and hated Mr. Dunster", "Mr. Dunster always suspected that the final push was given by some\ncircumstance from without; some reprimand for neglect--some threat of", "that should betray her full knowledge. \"I mean this,\" she went on; \"Mr.\nDunster was a very disagreeable man personally--and papa--we none of us", "along the shrubbery-path. She thought, of course, that it was Mr.\nDunster leaving the house; and went back for Mr. Livingstone's letter." ], [ "quite gone off. Only Mr. Dunster came creeping about the house, on\npretence of business, seeking out her father, and disturbing all his", "it was that lay there, so still and motionless as never to stir at her\nsudden coming. It was Mr. Dunster; his head propped on chair-cushions,", "and to regard Mr. Dunster's death as only the consequence of an\nunfortunate accident. But she tried to put the miserable remembrance", "can tell you just as well as anybody, that Mr. Dunster is not in this\nhouse, wherever he may be.' Yet nothing would satisfy her but that some", "along the shrubbery-path. She thought, of course, that it was Mr.\nDunster leaving the house; and went back for Mr. Livingstone's letter.", "gentleman, are scared away. We shall need all our wits. Now, sir,\nplease answer my question. Did anyone see Measter Dunster come here?\"", "\"I came into papa's room just after he had struck Mr. Dunster the blow.\nHe was lying insensible, as we thought--dead, as he really was.\"", "\"Mrs. Jackson has been here\" (it was at Mrs. Jackson's house that Mr.\nDunster lodged), \"wanting to know if we could tell her where Mr. Dunster", "made a partner where he now was only a servant. Mr. Wilkins took a\nmalicious pleasure in tantalizing Mr. Dunster by such speeches as the one", "The end of his reflections was, that the next day, Monday, he went into\nthe town, and artfully learnt all he could hear about Mr Dunster's", "spoke of the shock of the discovery of Mr. Dunster's body, found in the\ncutting of the new line of railroad from Hamley to the nearest railway", "\"Yes. If you call it murder. It was done by a blow, in the heat of\npassion. No one can ever tell how Dunster always irritated papa,\" said", "struck the blow that killed Mr. Dunster--Dixon and I knew of it, just\nafter the blow was struck--we helped to hide it--we kept the secret--my", "replied, partly with a view of saying something pleasant to the man whom\nhe disliked and feared. Mr. Dunster always replied, in a meek matter-of-", "To his surprise she lifted up her white stony face, and said slowly and\nfaintly, but with almost solemn calmness:\n\n\"Mr. Ness, you must never allow Mr. Dunster to be blamed for this!\"", "\"And Dixon knew of this. I believe I must put the fact plainly--to\nyou--your father was the guilty person? he murdered Dunster?\"", "subjects. But once touch on the name of Dunster and Mr. Wilkins sank\ninto a kind of suspicious depression of spirits; talking little, and with", "reached London, that Mr. Dunster had made away with, or carried off,\ntrust property to a considerable extent, for all which Mr. Wilkins would\nof course be liable.", "has brought upon him, than be revenged upon Mr. Dunster.\"", "\"No, none. Mr. Wilkins has written everywhere, right and left, I\nbelieve. I know he had a letter from Mr. Dunster's nearest relation--a" ], [ "and to regard Mr. Dunster's death as only the consequence of an\nunfortunate accident. But she tried to put the miserable remembrance", "struck the blow that killed Mr. Dunster--Dixon and I knew of it, just\nafter the blow was struck--we helped to hide it--we kept the secret--my", "it was that lay there, so still and motionless as never to stir at her\nsudden coming. It was Mr. Dunster; his head propped on chair-cushions,", "quite gone off. Only Mr. Dunster came creeping about the house, on\npretence of business, seeking out her father, and disturbing all his", "it'll never be missed, and if master'll take one spade, and I another,\nwhy we'll lay him softly down, and cover him up, and no one'll be the\nwiser.\"", "replied, partly with a view of saying something pleasant to the man whom\nhe disliked and feared. Mr. Dunster always replied, in a meek matter-of-", "To his surprise she lifted up her white stony face, and said slowly and\nfaintly, but with almost solemn calmness:\n\n\"Mr. Ness, you must never allow Mr. Dunster to be blamed for this!\"", "The end of his reflections was, that the next day, Monday, he went into\nthe town, and artfully learnt all he could hear about Mr Dunster's", "\"It was all the rascal Dunster's doing, I've no doubt,\" said he, trying\nto account for the entire loss of Mr. Wilkins's fortune.", "\"And Dixon knew of this. I believe I must put the fact plainly--to\nyou--your father was the guilty person? he murdered Dunster?\"", "gentleman, are scared away. We shall need all our wits. Now, sir,\nplease answer my question. Did anyone see Measter Dunster come here?\"", "employed without hesitation, as she gave him the account of the event\nuniversally received and believed in by the people of Hamley. How Mr.\nDunster had never been liked by any one; how everybody remembered that he", "\"Yes. If you call it murder. It was done by a blow, in the heat of\npassion. No one can ever tell how Dunster always irritated papa,\" said", "When all was ready for the reception of the body in its unblessed grave,\nMr. Wilkins bade Ellinor go up to her own room--she had done all she", "subjects. But once touch on the name of Dunster and Mr. Wilkins sank\ninto a kind of suspicious depression of spirits; talking little, and with", "along the shrubbery-path. She thought, of course, that it was Mr.\nDunster leaving the house; and went back for Mr. Livingstone's letter.", "The clients re-echoed Mr. Wilkins's words, and spoke of Mr. Dunster as\ninvaluable to his master; a thorough treasure, the very saving of the", "The man stepped forwards, respectfully pushing his master on one side as\nhe did so. He bent down over the corpse, and looked, and listened and", "Mr. Dunster always suspected that the final push was given by some\ncircumstance from without; some reprimand for neglect--some threat of", "something lurked behind, and had an idea of his own that it was connected\nwith Dunster's disappearance. But he was glad that Mr. Ness's joining\nthem gave him leisure to consider a little." ], [ "and to regard Mr. Dunster's death as only the consequence of an\nunfortunate accident. But she tried to put the miserable remembrance", "it was that lay there, so still and motionless as never to stir at her\nsudden coming. It was Mr. Dunster; his head propped on chair-cushions,", "can tell you just as well as anybody, that Mr. Dunster is not in this\nhouse, wherever he may be.' Yet nothing would satisfy her but that some", "quite gone off. Only Mr. Dunster came creeping about the house, on\npretence of business, seeking out her father, and disturbing all his", "replied, partly with a view of saying something pleasant to the man whom\nhe disliked and feared. Mr. Dunster always replied, in a meek matter-of-", "subjects. But once touch on the name of Dunster and Mr. Wilkins sank\ninto a kind of suspicious depression of spirits; talking little, and with", "\"Mrs. Jackson has been here\" (it was at Mrs. Jackson's house that Mr.\nDunster lodged), \"wanting to know if we could tell her where Mr. Dunster", "has brought upon him, than be revenged upon Mr. Dunster.\"", "To his surprise she lifted up her white stony face, and said slowly and\nfaintly, but with almost solemn calmness:\n\n\"Mr. Ness, you must never allow Mr. Dunster to be blamed for this!\"", "\"No, none. Mr. Wilkins has written everywhere, right and left, I\nbelieve. I know he had a letter from Mr. Dunster's nearest relation--a", "\"It was all the rascal Dunster's doing, I've no doubt,\" said he, trying\nto account for the entire loss of Mr. Wilkins's fortune.", "spoke of the shock of the discovery of Mr. Dunster's body, found in the\ncutting of the new line of railroad from Hamley to the nearest railway", "The end of his reflections was, that the next day, Monday, he went into\nthe town, and artfully learnt all he could hear about Mr Dunster's", "reached London, that Mr. Dunster had made away with, or carried off,\ntrust property to a considerable extent, for all which Mr. Wilkins would\nof course be liable.", "Mr. Dunster always suspected that the final push was given by some\ncircumstance from without; some reprimand for neglect--some threat of", "When all was ready for the reception of the body in its unblessed grave,\nMr. Wilkins bade Ellinor go up to her own room--she had done all she", "along the shrubbery-path. She thought, of course, that it was Mr.\nDunster leaving the house; and went back for Mr. Livingstone's letter.", "\"Yes. If you call it murder. It was done by a blow, in the heat of\npassion. No one can ever tell how Dunster always irritated papa,\" said", "one must go and waken up your papa, and ask if he could tell where Mr.\nDunster was.\"", "\"And Dixon knew of this. I believe I must put the fact plainly--to\nyou--your father was the guilty person? he murdered Dunster?\"" ], [ "Ralph half turned to take him at his word, and go at once; but then he\n\"gave Ellinor another chance,\" as he worded it in his thoughts; but it\nwas in no spirit of conciliation that he said:", "By-and-by they sauntered homewards. When they reached the house, Ellinor\nleft him, and flew up to see how her father was. When Ralph went into", "\"Thank you, papa,\" said Ellinor, squeezing his hand, which she held. She\nthought he alluded to the absent Ralph as the person who would have", "Ellinor sat silently gazing out upon the meadows, but seeing nothing.\nThen she put her hand into his. \"I quite trust you, Ralph. I was wrong\nto doubt. I am afraid I have grown fanciful and silly.\"", "themselves; but before the summer was over they were desperately in love\nwith each other, or perhaps I should rather say, Ellinor was desperately", "proposed to give Ellinor. \"Unwisely,\" because he might have read Ralph's\ncharacter better than to suppose he would easily consent to any\ndiminution without good and sufficient reason being given; or without", "than words. He pushed her away, after a while, and said, sharply: \"How\nmuch does he know? I must make sure of that. How much did you tell him,\nEllinor?\"", "that Ellinor would sleep. Her eyes were, indeed, shut; but try as much\nas she would to be quiet, she was up in less than five minutes after Miss", "escape from this wonder, Ellinor went early to bed. Mr. Wilkins was\ngone, no one knew where, and Ralph and Miss Monro were left to a half-", "Ralph Corbet found it a very difficult thing to keep down his curiosity\nduring the next few days. It was a miserable thing to have Ellinor's", "order that she might be of all the comfort she could to Ellinor. She did\nnot at first let out that he had accompanied her to Hellingford; she was", "Mason went away. Ellinor sprang up; rapidly undressed herself, and got\ninto bed again, so that when her maid returned with her breakfast, there\nwas no appearance of the night having been passed in any unusual manner.", "Ellinor tried to keep down her sobs while the man went up to him, and\nlaying his hand on his shoulder, and lightly shaking him, he said:", "window, and did not speak, but sighed heavily from time to time. Miss\nMonro took up a book, in order to leave the young people to themselves;\nand after a little low murmured conversation, Ellinor went upstairs to", "Ellinor sat down, helpless.\n\n\"Leave me,\" she said, at length. \"You are very kind, but you don't know\nall. I cannot stand any more talking now,\" she added, faintly.", "\"No indeed I won't!\" said Ellinor, gratefully, and putting out her hand\nas a token. He took it, and held it; she went on, a little more hastily", "told that he must leave, and seeing Ellinor's extreme grief at the idea\nof their separation, he set himself to comfort her by every means in his", "\"Ellinor!\" said the judge, after a moment's pause, \"we are friends, I\nhope?\"\n\n\"Yes; friends,\" said she, quietly and sadly.", "that Ellinor took no great interest. When the gentleman came in from the\ndining-room, it struck Ellinor, for the first time in her life, that her", "Ellinor shivered a little. He saw it, and restrained himself in the\nrelief he was receiving from imparting his superstitious fancies." ], [ "it was that lay there, so still and motionless as never to stir at her\nsudden coming. It was Mr. Dunster; his head propped on chair-cushions,", "and to regard Mr. Dunster's death as only the consequence of an\nunfortunate accident. But she tried to put the miserable remembrance", "quite gone off. Only Mr. Dunster came creeping about the house, on\npretence of business, seeking out her father, and disturbing all his", "replied, partly with a view of saying something pleasant to the man whom\nhe disliked and feared. Mr. Dunster always replied, in a meek matter-of-", "can tell you just as well as anybody, that Mr. Dunster is not in this\nhouse, wherever he may be.' Yet nothing would satisfy her but that some", "To his surprise she lifted up her white stony face, and said slowly and\nfaintly, but with almost solemn calmness:\n\n\"Mr. Ness, you must never allow Mr. Dunster to be blamed for this!\"", "The end of his reflections was, that the next day, Monday, he went into\nthe town, and artfully learnt all he could hear about Mr Dunster's", "subjects. But once touch on the name of Dunster and Mr. Wilkins sank\ninto a kind of suspicious depression of spirits; talking little, and with", "spoke of the shock of the discovery of Mr. Dunster's body, found in the\ncutting of the new line of railroad from Hamley to the nearest railway", "\"Mrs. Jackson has been here\" (it was at Mrs. Jackson's house that Mr.\nDunster lodged), \"wanting to know if we could tell her where Mr. Dunster", "It seemed to her growing very late; the moonlight was coming fuller and\nfuller into the garden and the blackness of the shadow was more\nconcentrated and stronger. Surely Mr. Dunster could not have gone away", "struck the blow that killed Mr. Dunster--Dixon and I knew of it, just\nafter the blow was struck--we helped to hide it--we kept the secret--my", "it'll never be missed, and if master'll take one spade, and I another,\nwhy we'll lay him softly down, and cover him up, and no one'll be the\nwiser.\"", "along the shrubbery-path. She thought, of course, that it was Mr.\nDunster leaving the house; and went back for Mr. Livingstone's letter.", "has brought upon him, than be revenged upon Mr. Dunster.\"", "And yet daily Mr. Wilkins was sinking from the intellectually to the\nsensually self-indulgent man. He lay late in bed, and hated Mr. Dunster", "\"Yes. If you call it murder. It was done by a blow, in the heat of\npassion. No one can ever tell how Dunster always irritated papa,\" said", "When all was ready for the reception of the body in its unblessed grave,\nMr. Wilkins bade Ellinor go up to her own room--she had done all she", "reached London, that Mr. Dunster had made away with, or carried off,\ntrust property to a considerable extent, for all which Mr. Wilkins would\nof course be liable.", "gentleman, are scared away. We shall need all our wits. Now, sir,\nplease answer my question. Did anyone see Measter Dunster come here?\"" ], [ "\"Guilty o' murder,\" said he. \"That's what they called it. Murder! And\nthat it never were, choose who did it.\"", "\"Ay, I'm afraid there's no doubt of his guilt. At any rate, the jury\nfound him guilty, and--\"", "\"Yes. If you call it murder. It was done by a blow, in the heat of\npassion. No one can ever tell how Dunster always irritated papa,\" said", "\"And Dixon knew of this. I believe I must put the fact plainly--to\nyou--your father was the guilty person? he murdered Dunster?\"", "\"My poor, poor father did it. I am going up to London this afternoon; I\nam going to see the judge, and tell him all.\"", "\"And!\" she repeated, quickly, sitting down, the better to hear the words\nthat she knew were coming--\n\n\"He is condemned to death.\"\n\n\"When?\"", "anything more.' Accordingly, Dixon now stands committed for trial for\nmurder at the next Hellingford Assizes, which commence on March the", "\"You do not believe him guilty!\" said Canon Livingstone, in some\nsurprise. \"I am afraid, from all I heard and read, there is but little", "'Not Guilty.' I think it was only with a desire to justify himself in\nthe eyes of some old Hamley acquaintances. Good God, Miss Wilkins!", "\"I came to tell you, what I suppose may be told to any judge, in\nconfidence and full reliance on his secrecy, that Abraham Dixon was not\nthe murderer.\" She stopped short, and choked a little.", "\"No, Nelly, you must never kiss me again; I am a murderer.\"", "\"Well!\" she said, seeing his hesitation, and leaning forwards and griping\nat his arm.\n\n\"Is taken up on a charge of manslaughter or murder. Oh! Mrs. Forbes,\ncome here!\"", "Judge.' But its five years since he died, and now there's never more\nthan one in at a time; though once it was a woman for poisoning her\nhusband. Mary Jones was her name.\"", "\"To him!\" lying dead where he had been laid; killed by the man who now\nasked for his presence. Ellinor shut her eyes, and lay back in despair.\nShe wished she might die, and be out of this horrible tangle of events.", "Mr. Wilkins. Although Mr. Ralph Corbet was capable of suspecting him of\nthis mean crime (so far removed from the impulsive commission of the past", "distress by accelerating the conviction of Dixon's guilt, which he\nbelieved she must arrive at sooner or later.", "Wilkins had gone into Hamley market-place, and proclaimed himself guilty\nof the manslaughter of Mr. Dunster--nay, if he had detailed all the", "poor father died of sorrow and remorse--you now know all--can you still\nlove me? It seems to me as if I had been an accomplice in such a\nterrible thing!\"", "hear him condemning the prisoner to death. Dixon was undoubtedly guilty,\nand he was as stubborn as could be--a sullen old fellow who would let no", "\"Ten years is a long time beforehand,\" said Mr. Corbet, half smiling;\n\"shows malice prepense with a vengeance.\" But then, turning grave, he\nsaid: \"Did he leave Hamley in debt?\"" ], [ "His father tried to compensate him for the disappointment by every\nindulgence which money could purchase. Edward's horses were even finer", "connected with the affair. His money matters had been for some time in\nan involved state; he had been living beyond his income, even reckoning\nthat, as he always did, at the highest point which it ever touched. He", "Lettice could have lived to herself and her husband and children. Edward\ndaily required more and more the stimulus of society. His wife wondered", "his hearer's presumption in joining the hunt, in aping the mode of life\nand amusements of the landed gentry, Edward fired up. He knew how much", "making him into a barrister. This determination on the more prudent side\nof the argument took place while Edward was at Eton. The lad had,", "money gave him. He would buy an expensive horse after five minutes'\nconversation as to the price, about which a needy heir of one of the", "provisions were cheap, his expenditure for his small family--only one\nchild--could never amount to anything like his incomings from the above-\nmentioned sources. But servants and horses, and choice wines and rare", "had no power to appreciate the taste, the talents, the impulsive artistic\nnature which she held so dear. She forgot that by accepting such\ninvitations Edward was occasionally brought into contact with people not", "It was not a satisfactory situation. Mr. Wilkins had given his son an\neducation and tastes beyond his position. He could not associate with", "the sound of his own voice. Then, as to matrimony--for the idea of his\nmarriage was hardly more present in Edward's mind than in that of his", "went out of it altogether and for evermore. She had been well in the\nmorning when Edward went down to his office in Hamley. At noon he was", "noticed, in fact, than Wilkins's expensive habits, the money he paid for\nhis wine and horses, and the nonsense of claiming kin with the Welsh", "also been generous, or I should rather say careless and lavish with his\nmoney. And now that he was cheated and impoverished by his partner's", "additional expenses of married life. He should have a father-in-law\nwhose character at best had had only a local and provincial\nrespectability, which it was now daily losing by habits which were both", "returned from the Continent. Edward was a beautiful dancer, and waltzed\nto admiration. For his next partner he had one of the Lady ---s; for the", "Edward was annoyed at all this; Lettice resented it. She loved her\nhusband dearly, and was proud of him, for she had discernment enough to", "in that county at that time meant conviviality. Edward did not care for\nwine, and yet he was obliged to drink--and by-and-by he grew to pique", "so much temperate and well-timed wisdom and good feeling, that he more\nthan once gained his point. He had one son, Edward. This boy was the", "Ellinor grasped eagerly at the only pleasure which her money enabled her\nto give to the old man: and promised him that she would take care and buy", "that Edward should be presented at the Hamley assembly-rooms. But many a\nsquire glowered and looked black at the introduction of Wilkins the" ], [ "went out of it altogether and for evermore. She had been well in the\nmorning when Edward went down to his office in Hamley. At noon he was", "Lettice could have lived to herself and her husband and children. Edward\ndaily required more and more the stimulus of society. His wife wondered", "His father tried to compensate him for the disappointment by every\nindulgence which money could purchase. Edward's horses were even finer", "connected with the affair. His money matters had been for some time in\nan involved state; he had been living beyond his income, even reckoning\nthat, as he always did, at the highest point which it ever touched. He", "making him into a barrister. This determination on the more prudent side\nof the argument took place while Edward was at Eton. The lad had,", "\"My man of business! Something has gone wrong, Mr. Livingstone. Tell\nme--I want to know. I have been expecting it--only tell me.\" She sat\ndown suddenly, as white as ashes.", "his hearer's presumption in joining the hunt, in aping the mode of life\nand amusements of the landed gentry, Edward fired up. He knew how much", "had no power to appreciate the taste, the talents, the impulsive artistic\nnature which she held so dear. She forgot that by accepting such\ninvitations Edward was occasionally brought into contact with people not", "so much temperate and well-timed wisdom and good feeling, that he more\nthan once gained his point. He had one son, Edward. This boy was the", "returned from the Continent. Edward was a beautiful dancer, and waltzed\nto admiration. For his next partner he had one of the Lady ---s; for the", "returned to his business. He used the study for a smoking and lounging\nroom principally, although he always spoke of it as a convenient place\nfor holding confidential communications with such of his clients as did", "as had passed between the mother and child often and often when no\nwitnesses were by; and altogether seemed so nearly beside herself in an\nagony of love and terror, that Edward arose, and softly taking her in his", "It was not a satisfactory situation. Mr. Wilkins had given his son an\neducation and tastes beyond his position. He could not associate with", "that Edward should be presented at the Hamley assembly-rooms. But many a\nsquire glowered and looked black at the introduction of Wilkins the", "quite gone off. Only Mr. Dunster came creeping about the house, on\npretence of business, seeking out her father, and disturbing all his", "business. They had not been better attended to, not even in old Mr.\nWilkins's days; such a clear head, such a knowledge of law, such a", "After his wife's death, he withdrew himself from society for a year or\ntwo in a more positive and decided manner than is common with widowers.\nIt was during this retirement of his that he riveted his little", "\"My poor, poor father did it. I am going up to London this afternoon; I\nam going to see the judge, and tell him all.\"", "in that county at that time meant conviviality. Edward did not care for\nwine, and yet he was obliged to drink--and by-and-by he grew to pique", "convinced of the desirability of the step, as well as his weak will give\nway. The squire listened, looked wise, sighed; spoke of Edward's" ], [ "proposed to give Ellinor. \"Unwisely,\" because he might have read Ralph's\ncharacter better than to suppose he would easily consent to any\ndiminution without good and sufficient reason being given; or without", "Ralph half turned to take him at his word, and go at once; but then he\n\"gave Ellinor another chance,\" as he worded it in his thoughts; but it\nwas in no spirit of conciliation that he said:", "Mr. Wilkins, too, had begun to feel the restraint of Ralph's grave\nwatchful presence. Ellinor was not strong enough to be married; nor was", "Ellinor sat silently gazing out upon the meadows, but seeing nothing.\nThen she put her hand into his. \"I quite trust you, Ralph. I was wrong\nto doubt. I am afraid I have grown fanciful and silly.\"", "\"Thank you, papa,\" said Ellinor, squeezing his hand, which she held. She\nthought he alluded to the absent Ralph as the person who would have", "Ralph Corbet found it a very difficult thing to keep down his curiosity\nduring the next few days. It was a miserable thing to have Ellinor's", "themselves; but before the summer was over they were desperately in love\nwith each other, or perhaps I should rather say, Ellinor was desperately", "told that he must leave, and seeing Ellinor's extreme grief at the idea\nof their separation, he set himself to comfort her by every means in his", "\"Ellinor, dearest, will you--can you marry me?\" and her reply was--given\nwith a deep blush I must record, and in a soft murmuring tone--", "Mr. Corbet's attachment to Ellinor had been formally disclosed to her\njust before this time. He had left college, entered at the Middle", "\"A friend! Yes, I am a friend; and I will not urge any other claim just\nnow. Perhaps--\"\n\nEllinor could not affect to misunderstand him. His manner implied even\nmore than his words.", "shrewdly observed to herself, he did not go away at last because he\nwished to do so, but because he ought. Sometimes Ellinor was present,", "easy extravagance of living by remembering the fact that Ellinor was\nengaged to the son of a man of large property: and that though Ralph was", "order that she might be of all the comfort she could to Ellinor. She did\nnot at first let out that he had accompanied her to Hellingford; she was", "\"Ellinor! Miss Wilkins! is it you?\" And he went forwards, holding out\nhis hand with cordial greeting, under which the embarrassment, if he felt", "\"Ellinor!\" said the judge, after a moment's pause, \"we are friends, I\nhope?\"\n\n\"Yes; friends,\" said she, quietly and sadly.", "for it so often. Poor Lettice, how glad I am that you are dead!\" Here\nhe began to cry like a child. Ellinor comforted him with kisses rather", "Christmas was, of course, to be devoted to his own family; it was an\nunavoidable necessity, as he told Ellinor, while, in reality, he was", "\"My God, Ellinor! what has brought you here?\" he said, almost fiercely.\n\nBut she answered as one stupefied, \"I don't know. Is he dead?\"", "Ellinor grasped eagerly at the only pleasure which her money enabled her\nto give to the old man: and promised him that she would take care and buy" ], [ "\"Yes. If you call it murder. It was done by a blow, in the heat of\npassion. No one can ever tell how Dunster always irritated papa,\" said", "and to regard Mr. Dunster's death as only the consequence of an\nunfortunate accident. But she tried to put the miserable remembrance", "\"And Dixon knew of this. I believe I must put the fact plainly--to\nyou--your father was the guilty person? he murdered Dunster?\"", "\"It was all the rascal Dunster's doing, I've no doubt,\" said he, trying\nto account for the entire loss of Mr. Wilkins's fortune.", "has brought upon him, than be revenged upon Mr. Dunster.\"", "replied, partly with a view of saying something pleasant to the man whom\nhe disliked and feared. Mr. Dunster always replied, in a meek matter-of-", "Mr. Dunster always suspected that the final push was given by some\ncircumstance from without; some reprimand for neglect--some threat of", "quite gone off. Only Mr. Dunster came creeping about the house, on\npretence of business, seeking out her father, and disturbing all his", "\"I hate Mr. Dunster!\" said Ellinor, vehemently. \"I won't speak a word to\nhim the next time he comes to dine with papa.\"", "struck the blow that killed Mr. Dunster--Dixon and I knew of it, just\nafter the blow was struck--we helped to hide it--we kept the secret--my", "that should betray her full knowledge. \"I mean this,\" she went on; \"Mr.\nDunster was a very disagreeable man personally--and papa--we none of us", "made a partner where he now was only a servant. Mr. Wilkins took a\nmalicious pleasure in tantalizing Mr. Dunster by such speeches as the one", "it was that lay there, so still and motionless as never to stir at her\nsudden coming. It was Mr. Dunster; his head propped on chair-cushions,", "To his surprise she lifted up her white stony face, and said slowly and\nfaintly, but with almost solemn calmness:\n\n\"Mr. Ness, you must never allow Mr. Dunster to be blamed for this!\"", "can tell you just as well as anybody, that Mr. Dunster is not in this\nhouse, wherever he may be.' Yet nothing would satisfy her but that some", "Every line of it was condemnatory. One or two witnesses spoke of Dixon's\nunconcealed dislike of Dunster, a dislike which Ellinor knew had been", "The end of his reflections was, that the next day, Monday, he went into\nthe town, and artfully learnt all he could hear about Mr Dunster's", "all Mr. Dunster's actions and words were carefully and thoughtfully pre-\narranged to further the great unspoken desire of his life--that of being", "And yet daily Mr. Wilkins was sinking from the intellectually to the\nsensually self-indulgent man. He lay late in bed, and hated Mr. Dunster", "\"I came into papa's room just after he had struck Mr. Dunster the blow.\nHe was lying insensible, as we thought--dead, as he really was.\"" ], [ "and to regard Mr. Dunster's death as only the consequence of an\nunfortunate accident. But she tried to put the miserable remembrance", "struck the blow that killed Mr. Dunster--Dixon and I knew of it, just\nafter the blow was struck--we helped to hide it--we kept the secret--my", "it was that lay there, so still and motionless as never to stir at her\nsudden coming. It was Mr. Dunster; his head propped on chair-cushions,", "quite gone off. Only Mr. Dunster came creeping about the house, on\npretence of business, seeking out her father, and disturbing all his", "it'll never be missed, and if master'll take one spade, and I another,\nwhy we'll lay him softly down, and cover him up, and no one'll be the\nwiser.\"", "replied, partly with a view of saying something pleasant to the man whom\nhe disliked and feared. Mr. Dunster always replied, in a meek matter-of-", "To his surprise she lifted up her white stony face, and said slowly and\nfaintly, but with almost solemn calmness:\n\n\"Mr. Ness, you must never allow Mr. Dunster to be blamed for this!\"", "The end of his reflections was, that the next day, Monday, he went into\nthe town, and artfully learnt all he could hear about Mr Dunster's", "\"It was all the rascal Dunster's doing, I've no doubt,\" said he, trying\nto account for the entire loss of Mr. Wilkins's fortune.", "\"And Dixon knew of this. I believe I must put the fact plainly--to\nyou--your father was the guilty person? he murdered Dunster?\"", "gentleman, are scared away. We shall need all our wits. Now, sir,\nplease answer my question. Did anyone see Measter Dunster come here?\"", "employed without hesitation, as she gave him the account of the event\nuniversally received and believed in by the people of Hamley. How Mr.\nDunster had never been liked by any one; how everybody remembered that he", "\"Yes. If you call it murder. It was done by a blow, in the heat of\npassion. No one can ever tell how Dunster always irritated papa,\" said", "When all was ready for the reception of the body in its unblessed grave,\nMr. Wilkins bade Ellinor go up to her own room--she had done all she", "subjects. But once touch on the name of Dunster and Mr. Wilkins sank\ninto a kind of suspicious depression of spirits; talking little, and with", "along the shrubbery-path. She thought, of course, that it was Mr.\nDunster leaving the house; and went back for Mr. Livingstone's letter.", "The clients re-echoed Mr. Wilkins's words, and spoke of Mr. Dunster as\ninvaluable to his master; a thorough treasure, the very saving of the", "The man stepped forwards, respectfully pushing his master on one side as\nhe did so. He bent down over the corpse, and looked, and listened and", "Mr. Dunster always suspected that the final push was given by some\ncircumstance from without; some reprimand for neglect--some threat of", "something lurked behind, and had an idea of his own that it was connected\nwith Dunster's disappearance. But he was glad that Mr. Ness's joining\nthem gave him leisure to consider a little." ], [ "and to regard Mr. Dunster's death as only the consequence of an\nunfortunate accident. But she tried to put the miserable remembrance", "it was that lay there, so still and motionless as never to stir at her\nsudden coming. It was Mr. Dunster; his head propped on chair-cushions,", "quite gone off. Only Mr. Dunster came creeping about the house, on\npretence of business, seeking out her father, and disturbing all his", "replied, partly with a view of saying something pleasant to the man whom\nhe disliked and feared. Mr. Dunster always replied, in a meek matter-of-", "can tell you just as well as anybody, that Mr. Dunster is not in this\nhouse, wherever he may be.' Yet nothing would satisfy her but that some", "it'll never be missed, and if master'll take one spade, and I another,\nwhy we'll lay him softly down, and cover him up, and no one'll be the\nwiser.\"", "\"And Dixon knew of this. I believe I must put the fact plainly--to\nyou--your father was the guilty person? he murdered Dunster?\"", "along the shrubbery-path. She thought, of course, that it was Mr.\nDunster leaving the house; and went back for Mr. Livingstone's letter.", "subjects. But once touch on the name of Dunster and Mr. Wilkins sank\ninto a kind of suspicious depression of spirits; talking little, and with", "\"Yes. If you call it murder. It was done by a blow, in the heat of\npassion. No one can ever tell how Dunster always irritated papa,\" said", "To his surprise she lifted up her white stony face, and said slowly and\nfaintly, but with almost solemn calmness:\n\n\"Mr. Ness, you must never allow Mr. Dunster to be blamed for this!\"", "The end of his reflections was, that the next day, Monday, he went into\nthe town, and artfully learnt all he could hear about Mr Dunster's", "When all was ready for the reception of the body in its unblessed grave,\nMr. Wilkins bade Ellinor go up to her own room--she had done all she", "struck the blow that killed Mr. Dunster--Dixon and I knew of it, just\nafter the blow was struck--we helped to hide it--we kept the secret--my", "reached London, that Mr. Dunster had made away with, or carried off,\ntrust property to a considerable extent, for all which Mr. Wilkins would\nof course be liable.", "\"It was all the rascal Dunster's doing, I've no doubt,\" said he, trying\nto account for the entire loss of Mr. Wilkins's fortune.", "The consent given, the two walked away, as by previous appointment, to\nHamley churchyard, where he was to point out to her the exact spot where", "spoke of the shock of the discovery of Mr. Dunster's body, found in the\ncutting of the new line of railroad from Hamley to the nearest railway", "made a partner where he now was only a servant. Mr. Wilkins took a\nmalicious pleasure in tantalizing Mr. Dunster by such speeches as the one", "\"No, none. Mr. Wilkins has written everywhere, right and left, I\nbelieve. I know he had a letter from Mr. Dunster's nearest relation--a" ], [ "went out of it altogether and for evermore. She had been well in the\nmorning when Edward went down to his office in Hamley. At noon he was", "as had passed between the mother and child often and often when no\nwitnesses were by; and altogether seemed so nearly beside herself in an\nagony of love and terror, that Edward arose, and softly taking her in his", "Lettice could have lived to herself and her husband and children. Edward\ndaily required more and more the stimulus of society. His wife wondered", "so much temperate and well-timed wisdom and good feeling, that he more\nthan once gained his point. He had one son, Edward. This boy was the", "Edward was annoyed at all this; Lettice resented it. She loved her\nhusband dearly, and was proud of him, for she had discernment enough to", "returned from the Continent. Edward was a beautiful dancer, and waltzed\nto admiration. For his next partner he had one of the Lady ---s; for the", "\"To him!\" lying dead where he had been laid; killed by the man who now\nasked for his presence. Ellinor shut her eyes, and lay back in despair.\nShe wished she might die, and be out of this horrible tangle of events.", "All in vain. The head was placed again on the cushions, the servant rose\nand stood by his master, looked sadly on the dead man, whom, living, none", "making him into a barrister. This determination on the more prudent side\nof the argument took place while Edward was at Eton. The lad had,", "Corbet's marriage, something happened which much affected her. Mr. Ness\ndied suddenly at his parsonage, and Ellinor learnt it first from Mr.", "more than could she. He knelt down by her. She was dying; she was dead;\nand he knelt on immovable. They brought him his eldest child, Ellinor,", "had no power to appreciate the taste, the talents, the impulsive artistic\nnature which she held so dear. She forgot that by accepting such\ninvitations Edward was occasionally brought into contact with people not", "his hearer's presumption in joining the hunt, in aping the mode of life\nand amusements of the landed gentry, Edward fired up. He knew how much", "Ellinor let go his knees, and covered her face. Every one stabbed at\nthat poor heart. In a minute or so her father spoke again.", "in that county at that time meant conviviality. Edward did not care for\nwine, and yet he was obliged to drink--and by-and-by he grew to pique", "followed the cut of the fleam. They laid him back on his strange sad\ndeath-couch. Dixon spoke next.", "that Edward should be presented at the Hamley assembly-rooms. But many a\nsquire glowered and looked black at the introduction of Wilkins the", "He would fain have had her ignorant of all, but so questioned by her\nlips, so adjured by her eyes in the very presence of death, he could not", "and to regard Mr. Dunster's death as only the consequence of an\nunfortunate accident. But she tried to put the miserable remembrance", "nigh about to be quenched in death. Yet he could not take his sorrow and\ncare in the natural manner. He was obliged to think how every word and" ], [ "occupied. Mr. Wilkins's study, on the other side of the house, was also\nan afterthought, built only a few years ago, and projecting from the", "It was not a satisfactory situation. Mr. Wilkins had given his son an\neducation and tastes beyond his position. He could not associate with", "unnecessary trouble; in fact, she hints that his disappearance at the\ntime was supposed to be the cause of a considerable loss of property to\nMr. Wilkins.\"", "Wilkins; that Ellinor, as his only child, would naturally inherit all his\nproperty, but that in the meantime, of course, some settlement upon her", "Wilkins and Lettice would have quietly induced him to spend in the\noffice, superintending his business. His indulgence in hunting, and all\nfield sports, had hitherto been only occasional; they now became", "said were being accumulated in Mr. Wilkins's house. But they did covet\nthe horses and hounds he possessed, and the young man knew that they\ncoveted, and rejoiced in it.", "Wilkins was the principal lawyer in Hamley, I say very little, unless I\nadd that he transacted all the legal business of the gentry for twenty\nmiles round. His grandfather had established the connection; his father", "All this time, Mr. Ralph Corbet maintained a very quietly decided\nattitude towards his own family. He was engaged to Miss Wilkins; and all", "superior. There was a sense of something wrong in the Ford Bank\nhousehold for many weeks about this time. Mr. Wilkins was not like", "When all was ready for the reception of the body in its unblessed grave,\nMr. Wilkins bade Ellinor go up to her own room--she had done all she", "The conversation had two consequences besides the immediate one of the\nquarrel. Mr. Wilkins advertised for a responsible and confidential clerk", "been staying when he was taken ill. Since his last attack, Mr. Wilkins's\nmind had been much affected; he often talked strangely and wildly; but he", "secured to her legally as Mr. Wilkins thought best--that being a matter\nfor after discussion--but that at present his father was anxious, as\nmight be seen from the extract to ascertain whether Mr. Wilkins could", "Court and Ford Bank, as Mr. Edward Wilkins had christened his father's\nhouse on his first return from the Continent.", "though there be but one child. A year or two ago, Mr. Wilkins had been\nstartled into a system of exaggerated retrenchment--retrenchment which", "been sitting by her chaperone, Mr. Wilkins had made the tour of the room,\ndropping out the little fact of his daughter's being present wherever he", "Mr. Wilkins did not seem to hear; in fact, he did not hear anything but\nthe unspoken echo of his own last words, that went booming through his", "Mr. Wilkins sat still, first fiercely angry, then astonished, and lastly\ndismayed into sobriety. \"Corbet, Corbet! Ralph!\" he called in vain;", "\"Ellinor will have the rent of this house, which is hers by right of her\nmother's settlement, to live on.\"\n\n\"How much will that be?\"\n\n\"One hundred and twenty pounds.\"", "they were not rending their garments and crying aloud. Mr. Wilkins\nseemed to have lost the power of careless action and speech, it is true." ], [ "it was that lay there, so still and motionless as never to stir at her\nsudden coming. It was Mr. Dunster; his head propped on chair-cushions,", "and to regard Mr. Dunster's death as only the consequence of an\nunfortunate accident. But she tried to put the miserable remembrance", "spoke of the shock of the discovery of Mr. Dunster's body, found in the\ncutting of the new line of railroad from Hamley to the nearest railway", "quite gone off. Only Mr. Dunster came creeping about the house, on\npretence of business, seeking out her father, and disturbing all his", "The end of his reflections was, that the next day, Monday, he went into\nthe town, and artfully learnt all he could hear about Mr Dunster's", "\"And Dixon knew of this. I believe I must put the fact plainly--to\nyou--your father was the guilty person? he murdered Dunster?\"", "\"It was all the rascal Dunster's doing, I've no doubt,\" said he, trying\nto account for the entire loss of Mr. Wilkins's fortune.", "replied, partly with a view of saying something pleasant to the man whom\nhe disliked and feared. Mr. Dunster always replied, in a meek matter-of-", "can tell you just as well as anybody, that Mr. Dunster is not in this\nhouse, wherever he may be.' Yet nothing would satisfy her but that some", "\"Yes. If you call it murder. It was done by a blow, in the heat of\npassion. No one can ever tell how Dunster always irritated papa,\" said", "Mr. Dunster always suspected that the final push was given by some\ncircumstance from without; some reprimand for neglect--some threat of", "\"I came into papa's room just after he had struck Mr. Dunster the blow.\nHe was lying insensible, as we thought--dead, as he really was.\"", "struck the blow that killed Mr. Dunster--Dixon and I knew of it, just\nafter the blow was struck--we helped to hide it--we kept the secret--my", "And yet daily Mr. Wilkins was sinking from the intellectually to the\nsensually self-indulgent man. He lay late in bed, and hated Mr. Dunster", "To his surprise she lifted up her white stony face, and said slowly and\nfaintly, but with almost solemn calmness:\n\n\"Mr. Ness, you must never allow Mr. Dunster to be blamed for this!\"", "employed without hesitation, as she gave him the account of the event\nuniversally received and believed in by the people of Hamley. How Mr.\nDunster had never been liked by any one; how everybody remembered that he", "reached London, that Mr. Dunster had made away with, or carried off,\ntrust property to a considerable extent, for all which Mr. Wilkins would\nof course be liable.", "subjects. But once touch on the name of Dunster and Mr. Wilkins sank\ninto a kind of suspicious depression of spirits; talking little, and with", "something lurked behind, and had an idea of his own that it was connected\nwith Dunster's disappearance. But he was glad that Mr. Ness's joining\nthem gave him leisure to consider a little.", "with his master as Mr. Dunster was discordant; accordingly he was a great\nfavourite, and could say many a thing which might have been taken as\nimpertinent from another servant." ], [ "as Dixon being guilty of so heinous a crime, and was willing enough to\ntestify to the excellent character which he had borne during all the many", "\"Thank you. I am going straight back to Hellingford; at least, as soon\nas you can get me the pardon for Dixon.\"\n\nHe half smiled at her ignorance.", "\"Thank you. I could not help it, now it has come to this.\"\n\n\"There are not many men like Dixon,\" said the judge, almost to himself,\nas he sealed the paper in an envelope.", "will answer any question to make it appear that Dixon is innocent.\"", "\"And Dixon knew of this. I believe I must put the fact plainly--to\nyou--your father was the guilty person? he murdered Dunster?\"", "\"Dixon!\" said she at length, \"you must not mind it. You must try not to\nmind it. I see he does not like to be reminded of that, even by seeing", "\"I came to tell you, what I suppose may be told to any judge, in\nconfidence and full reliance on his secrecy, that Abraham Dixon was not\nthe murderer.\" She stopped short, and choked a little.", "\"Missy will do what papa likes best,\" said Dixon, admonishingly; and with\nthis the pair of \"friends\" parted,\n\n\n\n\nCHAPTER IV.", "held--the prison in which Dixon lay condemned to die. She almost knew\nshe could not see him; yet it seemed like some amends to her conscience\nfor having slept through so many hours of the night if she made the", "\"Forgive me all the shame and misery, Dixon. Say you forgive me; and\ngive me your blessing. And then let never a word of the terrible past be\nspoken between us.\"", "\"The pardon must be sent to the sheriff, who holds the warrant for his\nexecution. But, of course, you may have every assurance that it shall be", "hear him condemning the prisoner to death. Dixon was undoubtedly guilty,\nand he was as stubborn as could be--a sullen old fellow who would let no", "Dixon's doing and rushed off in search of him to thank him.", "doubt on the fact of Dixon's having killed Mr. Dunster, only hoping there\nmight prove to be some extenuating circumstances, which Ellinor had", "\"It is you, Miss Wilkins! I am very glad--\"\n\n\"Dixon!\" said she. It was all she could utter.\n\nMr. Johnson shook his head.", "Every evening, when Dixon had done his work at Mr. Osbaldistone's, he\ncame up to the Parsonage, ostensibly to help her in moving or packing", "her father and Dixon, was her next best friend. This intimacy with Dixon\ndispleased Mr. Corbet. He once or twice insinuated that he did not think", "The journey to England, the misery, the surprises, had been too much for\nher. The morrow morning came, bringing the formal free pardon for", "not do for that servant. All this was what passed through Ellinor's\nmind: it is still a question whether Dixon would have felt his love of", "the right to that particular piece of ground. This was evidently a\ngratification Dixon had frequently yearned after; he kept saying, \"I'm" ] ]

[ "Who was Ellinor engaged to?", "Who developed a drinking problem?", "What distint town did Ellinor move to?", "Who did Ellinor end up marrying?", "What was dug up during the construction of a railroad?", "Who killed Mr. Dunster?", "What area of the property was Mr. Dunster's body buried?", "Who was arrested for Mr. Dunster's murder?", "What was the final outcome for Dixon after Ellinor tells Ralph the truth about the murder?", "Why does Edward take on a junior partner?", "Who does Elinor become engaged to?", "Other than his love for Elinor why does Ralph want to marry her?", "What happens to Mr. Dunster?", "Where does Edward bury the body?", "Why does Ralph break off his engagement with Elinor?", "What ends up happening to Edward?", "What town does Elinor move to?", "How long after Mr. Dunster's body is buried is it found? ", "How does Dixon get out of jail for murder?", "Who is Ellinor to Edward?", "What is Edward Wilkens profession?", "Who is Mr. Dunster?", "How does Edward kill Mr. Dunster?", "Where where Edward and Mr. Dunster when he is killed?", "Who helped Edward bury Mr. Dunster's body?", "Where is Mr. Dunster's body buried?", "What happens between Ellinor and Ralph after the party?", "How long does Mr. Dunster's body remain buried?", "Who is convicted for the murder?", "Why was Edward spending more money than he can afford?", "What did Edward do as a result of his failing business?", "Why did Ralph propose to Ellinor?", "Why did Edward kill Mr. Dunster?", "Who helped Edward bury Mr. Dunster's body?", "Where did Edward bury Mr. Dunster's body?", "How did Edward die?", "Why was the Wilkens' home rented out?", "How was Mr Dunster's body discovered?", "Why was Dixon pardoned? " ]

[ [ "Ralph Corbet", "Ralph." ], [ "Edward Wilkins", "Edward" ], [ "East Chester", "west chester" ], [ "Canon Livingstone", "Canon Livingstone" ], [ "A body", "a dead body" ], [ "Edward Wilkins", "Edward Wilkins." ], [ "Flower garden", "Flower garden" ], [ "Dixon", "Dixon is arrested for the murder." ], [ "He was pardoned", "Dixon is pardoned for the murder of Mr. Dunster after Elinor tells the truth." ], [ "Because his business is failing", "he had problems with his business" ], [ "Ralph Corbet", "Ralph Corbet" ], [ "Because Edward promised him some money", "Promise of wealth from her father." ], [ "Edward kills him", "He is murdered. " ], [ "In his flower garden", "Flower garden." ], [ "Because Edward insults him while being drunk", "Because of the possible disgrace " ], [ "He drinks himself to death", "He drinks himself to death" ], [ "East Chester", "East Chester" ], [ "15 years", "Around 15 years." ], [ "Elinor tells Ralph the truth about what happened to Mr. Dunster", "He gets pardoned by Ralph." ], [ "Ellinor is his daughter.", "Daughter" ], [ "Edward Wilkens is a lawyer.", "Lawyer." ], [ "Mr. Dunster is the junior partner in Edward Wilkens law firm.", "Edward's junior partner" ], [ "He strikes him.", "He strikes him" ], [ "They are at an engagement party. ", "At Ralph and Elinor's engagement party " ], [ "Ellinor and a family servant, Dixon.", "Elinor and Doug help bury Mr. Dunster's body in the flower garden." ], [ "In the flower garden.", "Flower garden" ], [ "He calls off the engagement.", "They break up." ], [ "15 years. ", "15 years" ], [ "The family servant, Dixon. ", "Dixon" ], [ "To impress his clients.", "It was an attempt to become an equal to his clients" ], [ "Took on Mr. Dunster as a junior partner.", "hired junior partner Mr. Dunster" ], [ "Because he loved her and Edward promised him money.", "Love and promise of wealth." ], [ "Over an argument about Edward's drinking and overspending.", "drunken rampage " ], [ "Ellinor and Dixon.", "Ellinor and Dixon" ], [ "In the flower garden", "flower garden" ], [ "He drunk himself to death.", "Drinking" ], [ "To provide Ellinor with a decent living.", "To provide Ellinor with a living" ], [ "It was dug up during the construction of a railroad.", "Discovered during railroad construction." ], [ "Ellinor told the truth.", "Because Ellinor reveals that he isn't the murderer." ] ]

[ [ "on his mind called \"Rosebud.\" \n What does that mean?", "(A PAUSE)\n You know, I was thinking - that \n Rosebud you're trying to find out \n about -\n\n THOMPSON\n Yes -", "got everything he wanted, and then \n lost it. Maybe Rosebud was \n something he couldn't get or lost.", "THIRD NEWSPAPERMAN\n Okay, okay.\n\n GIRL\n What about Rosebud? Don't you \n think that explains anything?", "BERNSTEIN\n That Rosebud? Maybe some girl? \n There were a lot of them back in \n the early days, and -", "of years, anyway - but I knew how \n to handle him.\n (rises)\n That \"Rosebud\" - that don't mean", "anything. I heard him say it.\n He just said \"Rosebud\" and then he \n dropped that glass ball and it", "word \"ROSEBUD\" across it. The laborer drops his shovel, takes \n the sled in his hand and throws it into the furnace. The flames", "THE CAPTAIN\n Thank you, sir. As a matter of \n fact, yesterday afternoon, when it \n was in all the papers - I asked \n her. She never heard of Rosebud.", "guess Rosebud is just a piece in a \n jigsaw puzzle - a missing piece.", "able to help me. When she used to \n talk about Kane - did she ever \n happen to say anything - about \n Rosebud?", "THOMPSON\n No. Tell me something, Miss \n Anderson. You're not Rosebud, are \n you?\n\n MISS ANDERSON\n What?", "this \"Rosebud,\" Mr. Thompson.", "KANE'S OLD OLD VOICE\n Rosebud...", "RAWLSTON\n That's right.\n\n A VOICE\n Tough guy, huh?\n (derisively)\n Dies calling for Rosebud!", "Another flash bulb goes off. The Photographer turns to Thompson \n with a grin.\n\n PHOTOGRAPHER\n Or Rosebud? How about it, Jerry?", "RAWLSTON\n (with disgust)\n Rosebud!\n\n A little ripple of laughter at this, which is promptly silenced \n by Rawlston.", "He picks up his overcoat - it has been resting on a little \n sled - the little sled young Charles Foster Kane hit Thatcher", "THE CAPTAIN\n Rosebud?\n\n Thompson has just handed him a bill. The Captain pockets it.", "fortune, which she had recently \n acquired. It was her wish that I \n should take charge of this boy, \n Charles Foster Kane." ], [ "KANE\n Who am I? Well, let's see. Charles \n Foster Kane was born in New Salem,", "KANE\n Mom! Mom!\n\n DISSOLVE OUT:\n\n The white page of the Thatcher manuscript. We pick up the \n words:", "KANE\n Where is he?\n\n ANOTHER HIRELING\n Right in there, Mr. Kane.", "Kane Jr., seen from Kane Sr.'s position at the window. He is \n advancing on the snowman, snowballs in his hands, dropping to \n one knee the better to confound his adversary.", "Kane, unwanted, ignored, looks on. Tightening his lips, he \n walks out.\n\n DISSOLVE OUT:\n\n DISSOLVE IN:", "Kane.", "KANE\n Thanks.\n\n Susan starts, with Kane following her.\n\n DISSOLVE:", "KANE\n In case you don't know, Emily,\n this - this gentleman -\n (he puts a world of \n scorn into the \n word)\n is -", "KANE\n I'm going to live right here.\n (reflectively)\n As long as I have to.", "Kane some four or five years later with her little boy, Charles \n Foster Kane.", "Kane has looked up sharply. Reilly, sensing his look, stops \n reading and meets his eye. Slowly, Kane reaches out his hand.", "KANE\n You always said you wanted to live \n in a palace.\n\n SUSAN\n Can't we go back, Charlie?", "The scenes indicate the growth of the \"Enquirer\" under the \n impulse of Kane's personal drive. Kane is shown, thus, at \n various activities:", "Kane's office is gas-lit, of course, as is the rest of the \n Enquirer building.", "KANE\n Susan, don't go! Susan, please!\n\n He has lost all pride. Susan stops. She is affected by this.", "Mr. Kane said so.", "KANE\n Raymond -\n (he is almost in a \n trance)\n\n RAYMOND\n Yes, sir -", "Kane acquired and changed its face - it is now pleasantly \n uneven, with its fair share of rolling hills and one very good-", "KANE\n No.\n\n She looks at him. He starts to work himself into a rage.", "fortune, which she had recently \n acquired. It was her wish that I \n should take charge of this boy, \n Charles Foster Kane." ], [ "KANE\n Thanks.\n\n Susan starts, with Kane following her.\n\n DISSOLVE:", "KANE\n Susan!\n\n She looks at him, with no lessening of her passion.", "SUSAN\n There is no story. It's all lies.\n Mr. Kane is just -", "SUSAN\n I mean it.\n (she catches a slight \n flicker on Kane's", "KANE\n Susan, don't go! Susan, please!\n\n He has lost all pride. Susan stops. She is affected by this.", "KANE\n Thais.\n\n Bernstein looks at Kane for a moment, then looks back, tortured.", "MRS. KANE\n It is. Go on, Mr. Thatcher -", "THATCHER\n I did.\n\n INVESTIGATOR\n In connection with the Kane affairs?", "He throws himself on her, his arms around her. Slowly Mrs. \n Kane puts her arms around him.\n\n KANE\n (frightened)\n Mom! Mom!", "But Charles, deliriously happy in the snow, is oblivious to \n this and is running away. Mrs. Kane turns into camera and we \n see her face - a strong face, worn and kind.", "Kane is a the window looking out. He turns as he hears Raymond \n enter.\n\n RAYMOND\n Mrs. Kane would like to see you, \n Mr. Kane.", "gave up a few years after her \n marriage, at Mr. Kane's request. \n Signed, Charles Foster Kane.", "Kane and Emily. He looks at her, in search of some kind of \n enlightenment. Her face is set and impassive.\n\n DISSOLVE:", "ROGERS\n The story about him and Miss \n Alexander, Mrs. Kane.\n\n Emily looks at Kane.", "MRS. KANE\n That's what you think, is it, Jim?\n\n KANE SR.\n Yes.", "RAYMOND\n Yes, Mr. Kane.\n\n KANE\n Not my wife - not either of them.", "He rushes out. Susan is breathing, but heavily. Kane loosens \n the lace collar at her throat.\n\n DISSOLVE:", "KANE\n You're talking an incredible amount \n of nonsense, Susan.\n (quietly)\n Whatever I do - I do - because I \n love you.", "He stops as he realizes that Mrs. Kane has paid no attention \n to him and, having opened the door, is already well into the", "Kane continues to look at her.\n\n SUSAN\n You'll never have another chance \n to hit me again.\n (pauses)\n Never knew till this minute -" ], [ "She walks on, the pain only a bit better. Four or five houses \n farther along, she comes to what is clearly her own doorway -", "How, to boarding housekeeper Mary \n Kane, by a defaulting boarder, in \n 1868 was left the supposedly", "He looks at the grave next to his son's - the grave marked \n \"MARY KANE.\"\n\n RAYMOND\n (catching on)\n Oh, yes, sir.", "Some weeks later. Susan, in a negligee, is at the window. \n There are the remains of her breakfast tray on a little table.", "frame building, with a wooden outhouse. Kane looks up as he \n sees the single file procession, Mrs. Kane at its head, coming \n toward him.", "of Mary Kane, Little Salem, \n Colorado. Value $6.00.", "Emily nods several times. There is an uncomforable silence. \n Suddenly there is a cry from the crib. Emily leaps from the \n bed and rushes to him. She bends over the crib.", "At the sound of his voice, she straightens up. She is very \n close to death from excitement.", "The housekeeper, Mrs. Tinsdall, and a couple of maids are near \n the door but are too afraid to be in front of it. From inside", "and other junk, among which is also an old sled, the self-same \n story. Somewhere in the back, one of the vast Gothic windows", "He stands for a minute breathing heavily, and his eye lights \n on a hanging what-not in a corner which had escaped his notice.", "She walks a few steps towards the middle of the block, and can \n stand it no longer. She stops, opens a bottle of Oil of Cloves", "ASSISTANT\n (reading a label)\n Iron stove. Estate of Mary Kane.\n Value $2.00.", "The door crashes open, light floods in the room, revealing \n Susan, fully dressed, stretched out on the bed, one arm dangling \n over the side. Kane rushes to her.", "fortune, which she had recently \n acquired. It was her wish that I \n should take charge of this boy, \n Charles Foster Kane.", "Just before we fade out, there comes again into the picture \n the pattern of barbed wire and cyclone fencing. On the fence \n is a sign which reads:", "Kane comes out of the door. Mrs. Tinsdall has been joined now \n by a fairly sizable turnout of servants. They move back away", "She sits up and looks at the crib. She almost continues to \n look at the crib, with almost unseeing eyes.", "Miss Townsend can't stick to her plan. She starts to rise, \n but her legs are none too good under her. She knocks over a \n tray of copy paper as she rises, and bends to pick it up.", "KANE\n You see, my mother died, too - a \n long time ago. Her things were" ], [ "Susan is singing. Matisti, her voice teacher, is playing the \n piano. Kane is seated nearby. Matisti stops.\n\n MATISTI\n Impossible! Impossible!", "Susan, finishing her bow, goes out through the curtains. The \n light on the curtain goes out and the houselights go on.\n\n Closeup of Kane - still applauding very, very hard.", "Closeup of Susan's face - singing.\n\n Closeup of Kane's face - listening.", "KANE\n Susan, don't go! Susan, please!\n\n He has lost all pride. Susan stops. She is affected by this.", "SUSAN\n You can't stop me.\n\n Kane keeps looking at her. Susan reaches out her hand.\n\n SUSAN\n Goodbye, Charlie.", "SUSAN\n As a matter of fact, I do sing a \n little.\n\n KANE\n (points to the piano)\n Would you sing for me?", "KANE\n (he has risen)\n Susan, I want you to stop this.\n And right now!", "Closeup of Kane - still applauding very, very hard, his eyes \n on Susan.\n\n The stage again.", "professor does so. The singing continues. Kane rises and \n crosses to Leland.", "Kane continues to look at her.\n\n SUSAN\n You'll never have another chance \n to hit me again.\n (pauses)\n Never knew till this minute -", "KANE\n Don't go, Susan! You mustn't go!\n (almost blubbering)\n You - you can't do this to me,\n Susan -", "KANE\n Thanks.\n\n Susan starts, with Kane following her.\n\n DISSOLVE:", "KANE\n My reasons satisfy me, Susan. You \n seem unable to understand them. I", "SUSAN\n (rushes to him)\n Charlie, please don't -\n\n KANE\n What are you waiting here for?\n Why don't you go?", "Susan, utterly spent, is lying flat on her back in her bed. \n Kane is in the chair beside her. The nurse is out of the room.", "Kane impetuously walks past him out of the room.\n\n INT. SUSAN'S ROOM - XANADU - DAY -", "She leaves. Kane closes the door behind her.\n\n KANE\n Have you gone completely crazy?\n\n Susan looks at him.", "Kane rises and walks toward her. There is cold menace in his \n walk. Susan shrinks a little as he draws closer to her.", "He rushes out. Susan is breathing, but heavily. Kane loosens \n the lace collar at her throat.\n\n DISSOLVE:", "KANE\n As far as you're concerned, Susan, \n I've never wanted anything - I \n don't want anything now - except \n what you want." ], [ "KANE\n Susan, don't go! Susan, please!\n\n He has lost all pride. Susan stops. She is affected by this.", "KANE\n Thanks.\n\n Susan starts, with Kane following her.\n\n DISSOLVE:", "Closeup of Kane - still applauding very, very hard, his eyes \n on Susan.\n\n The stage again.", "Kane rises and walks toward her. There is cold menace in his \n walk. Susan shrinks a little as he draws closer to her.", "SUSAN\n I mean it.\n (she catches a slight \n flicker on Kane's", "He rushes out. Susan is breathing, but heavily. Kane loosens \n the lace collar at her throat.\n\n DISSOLVE:", "KANE\n Susan!\n\n She looks at him, with no lessening of her passion.", "SUSAN\n There is no story. It's all lies.\n Mr. Kane is just -", "Kane impetuously walks past him out of the room.\n\n INT. SUSAN'S ROOM - XANADU - DAY -", "Kane looks at her smilingly and turns back to his work.\n\n SUSAN\n Charlie -\n\n There is no answer.", "KANE\n (he has risen)\n Susan, I want you to stop this.\n And right now!", "SUSAN\n I work at Seligman's.\n\n KANE\n Is that what you want to do?", "KANE\n You're talking an incredible amount \n of nonsense, Susan.\n (quietly)\n Whatever I do - I do - because I \n love you.", "KANE\n Yes, I would. That's why I asked.\n\n SUSAN\n Well, I -", "SUSAN\n You can't stop me.\n\n Kane keeps looking at her. Susan reaches out her hand.\n\n SUSAN\n Goodbye, Charlie.", "Susan, finishing her bow, goes out through the curtains. The \n light on the curtain goes out and the houselights go on.\n\n Closeup of Kane - still applauding very, very hard.", "He bites his lip and rubs his knee again. Susan tries to \n control her laughter, but not very successfully. Kane glares \n at her.", "KANE\n Don't go, Susan! You mustn't go!\n (almost blubbering)\n You - you can't do this to me,\n Susan -", "KANE\n Hmm!\n\n He has been rubbing his clothes with his handkerchief.\n\n SUSAN\n You've got some on your face.", "KANE\n As far as you're concerned, Susan, \n I've never wanted anything - I \n don't want anything now - except \n what you want." ], [ "A glamorous shot of the almost-finished Xanadu, a magnificent \n fairy-tale estate built on a mountain. (1920)\n\n Then shots of its preparation. (1917)", "Series of shots showing various aspects of Xanadu, all as they \n might be photographed by an ordinary newsreel cameraman - nicely", "A reconstructed still of Xanadu - the main terrace. A group \n of persons in clothes of the period of 1917. In their midst, \n clearly recognizable, are Kane and Susan.", "INT. KANE'S CHAPEL - XANADU - LATE AFTERNOON -", "FROM XANADU, FOR THE PAST TWENTY-FIVE YEARS, ALL KANE", "NARRATOR\n (dropping the quotes)\n Here, for Xanadu's landlord, will", "EXT. XANADU - NIGHT -\n\n No lights are to be seen. Smoke is coming from a chimney.", "that place? You know... All right. \n Xanadu. I knew what it was all \n the time. You caught on, didn't", "Kane has left Xanadu, his Florida \n home, under the terms of a peaceful \n and friendly agreement with the \n intention of filing suit for divorce", "INT. SUSAN'S BEDROOM - XANADU -", "EXT. ESTABLISHING SHOT OF XANADU - HALF BUILT\n\n INT. THE GRAND HALL IN XANADU -", "him, the still unfinished Xanadu. \n Cost: no man can say.", "SUSAN\n (harshly)\n Don't you think I do?\n (pause)\n You say you're going down to Xanadu?", "mountaintop of Xanadu, the great castle a sillhouette as its \n summit, the little window a distant accent in the darkness.", "NEWS DIGEST NARRATOR\n Legendary was the Xanadu where \n Kubla Kahn decreed his stately", "EXT. XANADU - FAINT DAWN - 1940 (MINIATURE)\n\n Window, very small in the distance, illuminated.", "Arabian, Chinese, etc.) but all consigned to Charles Foster \n Kane, Xanadu, Florida.", "INT. GREAT HALL - XANADU - NIGHT -\n\n Thompson and Raymond. Raymond has finished his beer.", "In the shadows, literally the shadows, of the castle. As we \n move by, we see that their doors and windows are boarded up \n and locked, with heavy bars as further protection and sealing.", "DISSOLVE:\n\n INT. CELLAR - XANADU - NIGHT -" ], [ "other political observers that one \n man's press has power enough for \n himself. But Kane papers were \n once strong indeed, and once the", "KANE\n (sharply)\n I don't have to. I run a newspaper", "CARTER\n (stiffly)\n Because we're running a newspaper, \n Mr. Kane, not a scandal sheet.", "The scenes indicate the growth of the \"Enquirer\" under the \n impulse of Kane's personal drive. Kane is shown, thus, at \n various activities:", "KANE\n (sharply)\n It isn't finished?\n\n CITY EDITOR\n No, Mr. Kane.", "I sympathize with you. Charles \n Foster Kane is a dangerous \n scoundrel, his paper should be run", "KANE\n (very, very casually)\n And the notice?\n\n CITY EDITOR\n Yes - Mr. Kane.", "KANE\n However, I think you'll agree we've \n heard enough about newspapers and \n the newspaper business for one \n night. There are other subjects \n in the world.", "KANE\n I don't know how to run a newspaper, \n Mr. Thatcher. I just try everything \n I can think of.", "Loudly, so that the neighbors can hear.\n\n CARTER\n Really, Mr. Kane, I can't see the\n function of a respectable newspaper -", "CARTER\n But a morning newspaper, Mr. Kane.\n After all, we're practically closed \n twelve hours a day - except for \n the business offices -", "KANE\n (quietly)\n Is it good?\n\n CITY EDITOR\n Yes, Mr. kane.", "SUSAN\n There is no story. It's all lies.\n Mr. Kane is just -", "KANE\n (shakes his head)\n What makes those fellows think \n that a newspaper is something rigid, \n something inflexible, that people\n are supposed to pay two cents for -", "to do with it? Mr. Kane, he'll \n have them changed to his kind of \n newspapermen in a week.", "Kane snatches the paper from the roller and reads it for \n himself. Slowly, a queer look comes over his face. Then he \n speaks, very quietly.", "gave up a few years after her \n marriage, at Mr. Kane's request. \n Signed, Charles Foster Kane.", "BERNSTEIN\n (moving to his side)\n Mr. Kane is finishing your piece \n the way you started it.\n\n Leland turns incredulously to Bernstein.", "was terrible. But nobody had the \n nerve to say so - not even the \n critics. Mr. Kane was a big man", "BERNSTEIN\n Maybe that was something he lost. \n Mr. Kane was a man that lost -" ], [ "Kane, until his twenty-fifth \n birthday, at which time he is to \n come into complete possession.", "Kane's twenty-fifth birthday... \n You know, when Mr. Kane got control \n of his own", "THATCHER\n Yes. My firm had been appointed \n trustees by Mrs. Kane for the", "fortune, which she had recently \n acquired. It was her wish that I \n should take charge of this boy, \n Charles Foster Kane.", "KANE\n Who am I? Well, let's see. Charles \n Foster Kane was born in New Salem,", "KANE\n Where is he?\n\n ANOTHER HIRELING\n Right in there, Mr. Kane.", "He throws himself on her, his arms around her. Slowly Mrs. \n Kane puts her arms around him.\n\n KANE\n (frightened)\n Mom! Mom!", "SUSAN\n Oh, me -\n\n KANE\n How old did you say you were?", "KANE\n As Charles Foster Kane, who has \n eighty-two thousand, six hundred", "Kane snatches the paper from the roller and reads it for \n himself. Slowly, a queer look comes over his face. Then he \n speaks, very quietly.", "KANE\n It is accepted, Mr. Carter, with \n assurances of my deepest regard.\n\n CARTER\n But Mr. Kane, I meant -", "He stops as he realizes that Mrs. Kane has paid no attention \n to him and, having opened the door, is already well into the", "Kane Jr., seen from Kane Sr.'s position at the window. He is \n advancing on the snowman, snowballs in his hands, dropping to \n one knee the better to confound his adversary.", "planned and staged later. Its essence is that Kane is just a \n healthy and happy young man having a wonderful time.", "KANE\n Are you finished?\n\n LELAND\n Yes.\n (looking down)\n Now, will you let me go to Chicago?", "did figure him out. He was hard \n to figure sometimes, even for me. \n Mr. Kane was a genius like he said.", "KANE\n Oh, yes, the bonus.\n\n REILLY\n It was for twenty-five thousand \n dollars.", "Kane some four or five years later with her little boy, Charles \n Foster Kane.", "MRS. KANE\n That's what you think, is it, Jim?\n\n KANE SR.\n Yes.", "KANE\n I didn't think you did. If you \n had, I wouldn't have asked you \n again, because I'd have remembered.\n How old?" ], [ "In the shadows, literally the shadows, of the castle. As we \n move by, we see that their doors and windows are boarded up \n and locked, with heavy bars as further protection and sealing.", "The housekeeper, Mrs. Tinsdall, and a couple of maids are near \n the door but are too afraid to be in front of it. From inside", "There is first a tiny reception room, through which an open \n door shows the living room. Kane and Emily enter from the", "KANE\n Where is he?\n\n ANOTHER HIRELING\n Right in there, Mr. Kane.", "long time, but this particular garden has been kept up in \n perfect shape. As the camera makes its way through it, towards \n the lighted window of the castle, there are revealed rare and", "a shabby, old four-story apartment house. She turns toward \n the doorway, which is up a tiny stoop, about three steps.", "Camera pulls back, the frame of the window appearing, and we \n are inside the parlor of the boardinghouse. Mrs. Kane, aged", "The pattern of telegraph wires, dripping with rain, through \n which we see the same old building but now rendered fairly \n remarkable by tremendous outline sign in gold which reads \"THE", "The ground floor witht he windows on the street - of the \n \"Enquirer.\" It is almost midnight by an old-fashioned clock", "Thompson and Leland on the roof, which is now deserted. It is \n getting late. The sun has just about gone down.", "Without watching whether he is following her or not, she rises \n and starts towards a distant and imposingly framed door. \n Thompson, with a bit of a sigh, follows.", "NARRATOR\n Then four long years more - alone \n in his never-finished, already", "One of the younger servants giggles and is hushed up. Kane \n shakes the ball again. Another flurry of snow. He watches", "frame building, with a wooden outhouse. Kane looks up as he \n sees the single file procession, Mrs. Kane at its head, coming \n toward him.", "Chuckling and beaming, he makes his way to his place at the \n head of the table. The others have already sat down. Kane \n gets his guests' attention by rapping on the table with a knife.", "A glamorous shot of the almost-finished Xanadu, a magnificent \n fairy-tale estate built on a mountain. (1920)\n\n Then shots of its preparation. (1917)", "The Beaux Art Ball. A number of elderly swells are jammed \n into a hallway. Servants suddenly divest them of their furs,", "She leaves. Thompson starts to light a cigarette. The guard \n shakes his head. With a sigh, Thompson bends over to read the \n manuscript. Camera moves down over his shoulder onto page of \n manuscript.", "A very long shot of Kane's enormous bed, silhouetted against \n the enormous window.\n\n DISSOLVE:", "Over a wide moat, now stagnant and choked with weeds. We move \n across it and through a huge solid gateway into a formal garden," ], [ "At the sound of his voice, she straightens up. She is very \n close to death from excitement.", "He slowly walks off down the corridor, the servants giving way \n to let him pass, and watching him as he goes. He is an old, \n old man!\n\n DISSOLVE:", "NARRATOR\n Last week, death came to sit upon \n the throne of America's Kubla Khan -", "broke on the floor. He didn't say \n anything about that, so I knew he \n was dead - He said all kind of", "alongside a berth, looking at Kane. Kane, his face in the \n pillow, is crying with heartbreaking sobs.", "Susan, utterly spent, is lying flat on her back in her bed. \n Kane is in the chair beside her. The nurse is out of the room.", "And Death came to sit upon my \n throne. O sons of men You see a \n stranger upon the road, You call", "last week, as it must to all men, \n death came to Charles Foster Kane.", "There is a terrific crash at the doorway. They all turn to \n see Bernstein sprawled at the entrance. A roll of bedding, a \n suitcase, and two framed pictures were too much for him.", "Kane, in his shirt sleeves, stands at the open window looking \n out. The bed is already made up. On it is seated Bernstein, \n smoking the end of a cigar. Leland is in a chair.", "BERNSTEIN\n Just old age.\n (smiles sadly)\n It's the only disease, Mr. Thompson,", "Kane looks at Leland, but Leland can't be stopped now. He \n speaks very quietly - no poison in his voice - no personal \n indignation - as though he were explaining the nature of a \n disease.", "He stands for a minute breathing heavily, and his eye lights \n on a hanging what-not in a corner which had escaped his notice.", "Susan appears for her bow. She can hardly walk. There is a \n little polite crescendo of applause, but it is sickly.", "things? What was he after?\n (then, appreciating \n his point)\n Maybe he told us on his death bed.", "Kane stands nearby with Raymond, looking on. The men strain \n and grunt as the coffin bangs on the stone floor. The men now", "conviction about death. But we do \n know what we're leaving ... we \n believe in something.\n (looks sharply at", "hated and talked about as much as \n any man in our time - but when he \n comes to die, he's got something", "a nurse, as she pulls the sheet up over his head. The camera \n follows this action up the length of the bed and arrives at \n the face after the sheet has covered it.", "As Kane and Leland enter the room, an elderly, stout gent on \n the raised platform, strikes a bell and the other eight" ], [ "Mrs. Kane has met his eye. Her triumph over him finds \n expression in his failure to finish his sentence.", "KANE\n It is accepted, Mr. Carter, with \n assurances of my deepest regard.\n\n CARTER\n But Mr. Kane, I meant -", "KANE\n Goodbye, gents!\n (at the top of the \n gangplank, he turns \n and calls down)\n Hey!", "KANE\n I know exactly what I'm doing.\n (he is screaming)\n Get out!", "KANE\n Where is he?\n\n ANOTHER HIRELING\n Right in there, Mr. Kane.", "RAWLSTON\n What were Kane's last words?\n\n A silence greets this.", "A short pause. His eyes still on the wall, but looking through \n it, Kane quotes the translation.", "He throws himself on her, his arms around her. Slowly Mrs. \n Kane puts her arms around him.\n\n KANE\n (frightened)\n Mom! Mom!", "Susan, finishing her bow, goes out through the curtains. The \n light on the curtain goes out and the houselights go on.\n\n Closeup of Kane - still applauding very, very hard.", "Kane looks at Leland sharply before he speaks.\n\n KANE\n (quietly)\n All right.", "KANE\n (turning on him)\n Get out! I've got nothing to talk", "Kane is a the window looking out. He turns as he hears Raymond \n enter.\n\n RAYMOND\n Mrs. Kane would like to see you, \n Mr. Kane.", "hard at something Kane has said. The girls are hysterical. \n Kane can hardly breathe. As Leland's laughter becomes more", "KANE\n Raymond -\n (he is almost in a \n trance)\n\n RAYMOND\n Yes, sir -", "Kane snatches the paper from the roller and reads it for \n himself. Slowly, a queer look comes over his face. Then he \n speaks, very quietly.", "Emily does not answer. The door is opened by a maid, who \n recognizes Kane.\n\n THE MAID\n Come in, Mr. Kane, come in.", "KANE\n Susan, don't go! Susan, please!\n\n He has lost all pride. Susan stops. She is affected by this.", "KANE\n Thais.\n\n Bernstein looks at Kane for a moment, then looks back, tortured.", "SUSAN\n I mean it.\n (she catches a slight \n flicker on Kane's", "Kane looks at Leland, but Leland can't be stopped now. He \n speaks very quietly - no poison in his voice - no personal \n indignation - as though he were explaining the nature of a \n disease." ], [ "NOTE: Now begins the story proper - the seach by Thompson for \n the facts about Kane - his researches ... his interviews with \n the people who knew Kane.", "THOMPSON\n I'm calling on people who knew Mr. \n Kane. I'm calling on you.", "BERNSTEIN\n (moving to his side)\n Mr. Kane is finishing your piece \n the way you started it.\n\n Leland turns incredulously to Bernstein.", "KANE\n Thais.\n\n Bernstein looks at Kane for a moment, then looks back, tortured.", "SUSAN\n There is no story. It's all lies.\n Mr. Kane is just -", "KANE\n (very, very casually)\n And the notice?\n\n CITY EDITOR\n Yes - Mr. Kane.", "KANE\n Oh, Mr. Bernstein!\n\n Bernstein looks up.", "Kane, smiling, lights a cigarette, at the same time looking \n into the window. Camera moves in to hold on the photograph of \n nine men, still holding the reflection of Kane's smiling face.", "MISS TOWNSEND\n Good afternoon, Mr. Bernstein.\n\n BERNSTEIN\n This is Mr. Kane, Miss Townsend.", "KANE\n (sharply)\n It isn't finished?\n\n CITY EDITOR\n No, Mr. Kane.", "Thompson has turned around. He is facing the camera for the \n first time.\n\n THOMPSON\n Charles Foster Kane.", "THOMPSON\n (still explaining)\n Well, Mr. Bernstein, you were with \n Mr. Kane from the very beginning -", "KANE\n Thanks.\n\n Susan starts, with Kane following her.\n\n DISSOLVE:", "THOMPSON\n I'd rather you just talked. \n Anything that comes into your mind - \n about yourself and Mr. Kane.", "KANE\n Who am I? Well, let's see. Charles \n Foster Kane was born in New Salem,", "As told by Bernstein. Kane is calling down to Leland and \n Bernstein (as before).", "KANE\n Thank you, Mr Carter. This is Mr.\n Leland.\n\n CARTER\n (bowing)\n How do you do, Mr. Leland?", "KANE\n It is accepted, Mr. Carter, with \n assurances of my deepest regard.\n\n CARTER\n But Mr. Kane, I meant -", "KANE\n Where is he?\n\n ANOTHER HIRELING\n Right in there, Mr. Kane.", "KANE\n (quietly)\n Is it good?\n\n CITY EDITOR\n Yes, Mr. kane." ], [ "at Thompson)\n The directors of the Thatcher \n Library have asked me to remind \n you again of the condition under", "THOMPSON\n That's all I'm interested in.\n\n The guard has, by this time, delivered the precious journal. \n Bertha places it reverently on the table before Thompson.", "THOMPSON\n Nobody else, but I've been through \n that stuff of Walter Thatcher's.\n That journal of his -", "She leaves. Thompson starts to light a cigarette. The guard \n shakes his head. With a sigh, Thompson bends over to read the \n manuscript. Camera moves down over his shoulder onto page of \n manuscript.", "Thompson. He really believed that. \n He put all his ambition on that \n girl. After she came along, he \n never really cared for himself", "It is important to remember always that only at the very end \n of the story is Thompson himself a personality. Until then,", "NOTE: Now begins the story proper - the seach by Thompson for \n the facts about Kane - his researches ... his interviews with \n the people who knew Kane.", "Bernstein speaking to Thompson.", "shot, the person of Bertha Anderson, an elderly, manish \n spinnster, seated behind her desk. Thompson, his hat in his", "Thompson had handed Leland a paper.\n\n LELAND\n What's this?\n\n THOMPSON\n It's a letter from her lawyers.", "THOMPSON\n In case you'd like to know, Mr.\n Bernstein, he's at the Huntington \n Memorial Hospital on 180th Street.", "BERNSTEIN\n Oh, yes. He saw to that. I tell \n you, Mr. Thompson, he was a hard", "life that she prefers to forget. With assurances of the highest \n esteem - Leland hands the paper back to Thompson.", "Thompson - at the desk. With a gesture of annoyance, he is \n closing the manuscript.", "Thompson has opened a box and is idly playing with a handful \n of little pieces of cardboard.\n\n THIRD NEWSPAPERMAN\n What's that?", "to travel back, the back of Thompson's head and his shoulders \n come into the picture.", "SECOND NEWSPAPERMAN\n Say, what did you find out about \n him, anyway, Jerry?\n\n THOMPSON\n Not much.", "(turns to Thompson)\n Anything you want to know about \n him - about the paper -", "THOMPSON\n I'm going back there.\n\n BERNSTEIN\n Who else did you see?", "THOMPSON\n No, I don't. Not much anway. \n Charles Foster Kane was a man who" ], [ "KANE\n Who am I? Well, let's see. Charles \n Foster Kane was born in New Salem,", "KANE\n Mom! Mom!\n\n DISSOLVE OUT:\n\n The white page of the Thatcher manuscript. We pick up the \n words:", "fortune, which she had recently \n acquired. It was her wish that I \n should take charge of this boy, \n Charles Foster Kane.", "KANE\n Where is he?\n\n ANOTHER HIRELING\n Right in there, Mr. Kane.", "Kane Jr., seen from Kane Sr.'s position at the window. He is \n advancing on the snowman, snowballs in his hands, dropping to \n one knee the better to confound his adversary.", "Kane some four or five years later with her little boy, Charles \n Foster Kane.", "Kane, unwanted, ignored, looks on. Tightening his lips, he \n walks out.\n\n DISSOLVE OUT:\n\n DISSOLVE IN:", "KANE\n You always said you wanted to live \n in a palace.\n\n SUSAN\n Can't we go back, Charlie?", "KANE\n Thanks.\n\n Susan starts, with Kane following her.\n\n DISSOLVE:", "KANE\n Hello. Hello, Pop.\n\n KANE SR.\n Hello, Charlie!", "Thatcher continues as she opens the window. His voice, as \n before, is heard with overtones of the boy's.\n\n EXT. KANE'S BOARDINGHOUSE - DAY -", "KANE\n I'm going to live right here.\n (reflectively)\n As long as I have to.", "Kane Jr., seen from Mrs. Kane's position at the window. He is \n now within ten feet of the snowman, with one snowball left \n which he is holding back in his right hand.", "Kane is a the window looking out. He turns as he hears Raymond \n enter.\n\n RAYMOND\n Mrs. Kane would like to see you, \n Mr. Kane.", "KANE\n Raymond -\n (he is almost in a \n trance)\n\n RAYMOND\n Yes, sir -", "KANE\n Susan, don't go! Susan, please!\n\n He has lost all pride. Susan stops. She is affected by this.", "KANE\n You see, my mother died, too - a \n long time ago. Her things were", "He throws himself on her, his arms around her. Slowly Mrs. \n Kane puts her arms around him.\n\n KANE\n (frightened)\n Mom! Mom!", "NOTE: Now begins the story proper - the seach by Thompson for \n the facts about Kane - his researches ... his interviews with \n the people who knew Kane.", "KANE\n The drunkeness of youth has passed \n like a fever, And yet I saw many" ], [ "KANE\n Mom! Mom!\n\n DISSOLVE OUT:\n\n The white page of the Thatcher manuscript. We pick up the \n words:", "That was years later, of course - \n 1914 it was. Mrs. Kane took the \n leading part in the opera, and she", "He stops as he realizes that Mrs. Kane has paid no attention \n to him and, having opened the door, is already well into the", "Kane some four or five years later with her little boy, Charles \n Foster Kane.", "Kane snatches the paper from the roller and reads it for \n himself. Slowly, a queer look comes over his face. Then he \n speaks, very quietly.", "Kane Jr., seen from Mrs. Kane's position at the window. He is \n now within ten feet of the snowman, with one snowball left \n which he is holding back in his right hand.", "KANE\n You see, my mother died, too - a \n long time ago. Her things were", "Kane's office is gas-lit, of course, as is the rest of the \n Enquirer building.", "He throws himself on her, his arms around her. Slowly Mrs. \n Kane puts her arms around him.\n\n KANE\n (frightened)\n Mom! Mom!", "KANE\n All right. Let her slide!\n\n He turns away, and we can now read the headline.", "But Charles, deliriously happy in the snow, is oblivious to \n this and is running away. Mrs. Kane turns into camera and we \n see her face - a strong face, worn and kind.", "Kane leaves. Bernstein looks after him, then at the paper. \n Miss Townsend finally manages to open the envelope. A piece \n of flimsy paper, with a few written lines, is her reward.", "Kane comes out of the door. Mrs. Tinsdall has been joined now \n by a fairly sizable turnout of servants. They move back away", "MRS. KANE\n It is. Go on, Mr. Thatcher -", "KANE\n H'ya, Mom.\n\n Mrs. Kane smiles.", "INQUIRE WITHIN\n\n Charles Kane's snowball hits the sign.\n\n INT. PARLOR - MRS. KANE'S BOARDINGHOUSE - DAY -", "Kane doesn't answer. Reilly goes on. He has brought out a \n piece of paper and is reading it.", "Kane and Emily. He looks at her, in search of some kind of \n enlightenment. Her face is set and impassive.\n\n DISSOLVE:", "Mr. Graves left here are made out \n to Mrs. Kane, in her name. Hers \n to do with as she pleases -", "Kane Jr., seen from Kane Sr.'s position at the window. He is \n advancing on the snowman, snowballs in his hands, dropping to \n one knee the better to confound his adversary." ], [ "Kane, unwanted, ignored, looks on. Tightening his lips, he \n walks out.\n\n DISSOLVE OUT:\n\n DISSOLVE IN:", "KANE\n Thanks.\n\n Susan starts, with Kane following her.\n\n DISSOLVE:", "The scenes indicate the growth of the \"Enquirer\" under the \n impulse of Kane's personal drive. Kane is shown, thus, at \n various activities:", "KANE\n Mr. President.\n\n He starts out of the office.\n\n DISSOLVE:", "He stops as he realizes that Mrs. Kane has paid no attention \n to him and, having opened the door, is already well into the", "KANE\n Mom! Mom!\n\n DISSOLVE OUT:\n\n The white page of the Thatcher manuscript. We pick up the \n words:", "KANE\n Where is he?\n\n ANOTHER HIRELING\n Right in there, Mr. Kane.", "KANE\n All right. Let her slide!\n\n He turns away, and we can now read the headline.", "KANE\n Susan, don't go! Susan, please!\n\n He has lost all pride. Susan stops. She is affected by this.", "The men tip their hats and shuffle out of the chapel. Kane \n raises his head, looks at the inscription on the wall. It is", "Shot of Kane, in evening clothes, in obvious position of danger, \n grabbing camera from photographer. Before him rages a terrific \n tenement fire.\n\n DISSOLVE:", "KANE\n In case you don't know, Emily,\n this - this gentleman -\n (he puts a world of \n scorn into the \n word)\n is -", "KANE\n Goodbye, gents!\n (at the top of the \n gangplank, he turns \n and calls down)\n Hey!", "KANE\n (turning on him)\n Get out! I've got nothing to talk", "Kane is just stepping into an elegant barouch, drawn up at the \n curb, in which sits Miss Emily Norton. He kisses her full on", "Kane snatches the paper from the roller and reads it for \n himself. Slowly, a queer look comes over his face. Then he \n speaks, very quietly.", "KANE\n (as car starts to \n drive off)\n What's this all about, Emily? \n I've had a very tiring day and -", "Kane Jr., seen from Kane Sr.'s position at the window. He is \n advancing on the snowman, snowballs in his hands, dropping to \n one knee the better to confound his adversary.", "Kane and Emily. He looks at her, in search of some kind of \n enlightenment. Her face is set and impassive.\n\n DISSOLVE:", "Kane is perplexed and worried, but we can see in a moment his \n mind will be on something else." ], [ "KANE\n Where is he?\n\n ANOTHER HIRELING\n Right in there, Mr. Kane.", "KANE\n Mr. Carter, this is Mr. Bernstein.\n Mr. Bernstein is my general manager.", "Kane isn't listening to him.\n\n KANE\n Oh, Mr. Bernstein!\n\n Bernstein looks up from his figures.", "MISS TOWNSEND\n Good afternoon, Mr. Bernstein.\n\n BERNSTEIN\n This is Mr. Kane, Miss Townsend.", "KANE\n Thank you, Mr Carter. This is Mr.\n Leland.\n\n CARTER\n (bowing)\n How do you do, Mr. Leland?", "Kane is a the window looking out. He turns as he hears Raymond \n enter.\n\n RAYMOND\n Mrs. Kane would like to see you, \n Mr. Kane.", "KANE\n Thanks.\n\n Susan starts, with Kane following her.\n\n DISSOLVE:", "KANE\n Thais.\n\n Bernstein looks at Kane for a moment, then looks back, tortured.", "ROGERS\n Good evening, Mr. Kane.\n (he rises)\n I don't suppose anybody would \n introduce us. Mrs. Kane, I am \n Edward Rogers.", "SUSAN\n There is no story. It's all lies.\n Mr. Kane is just -", "KANE\n It is accepted, Mr. Carter, with \n assurances of my deepest regard.\n\n CARTER\n But Mr. Kane, I meant -", "KANE\n (very, very casually)\n And the notice?\n\n CITY EDITOR\n Yes - Mr. Kane.", "KANE\n Raymond -\n (he is almost in a \n trance)\n\n RAYMOND\n Yes, sir -", "A hand snatches the ticker tape away and as the image of the \n crowd dissolves out, we pull back to show:\n\n INT. OF KANE'S OFFICE - NIGHT -", "after the people that knew Kane \n well. That manager of his - the \n little guy, Bernstein, those two", "BERNSTEIN\n (quietly)\n Mr. Kane is finishing it.", "THATCHER\n Charles, my name is Mr. Thatcher -\n\n MRS. KANE\n This is Mr. Thatcher, Charles.", "BERNSTEIN\n Hello, Mr. Kane.\n\n The Hirelings rush, with Bernstein, to Kane's side. Widespread, \n half-suppressed sensation.", "INT. KANE'S OFFICE - DAY -\n\n Kane holds the door open for Thatcher. They come in together.", "KANE\n (sharply)\n It isn't finished?\n\n CITY EDITOR\n No, Mr. Kane." ], [ "KANE\n Thais.\n\n Bernstein looks at Kane for a moment, then looks back, tortured.", "Kane, unwanted, ignored, looks on. Tightening his lips, he \n walks out.\n\n DISSOLVE OUT:\n\n DISSOLVE IN:", "KANE\n In case you don't know, Emily,\n this - this gentleman -\n (he puts a world of \n scorn into the \n word)\n is -", "Kane has looked up sharply. Reilly, sensing his look, stops \n reading and meets his eye. Slowly, Kane reaches out his hand.", "KANE\n And I know too many people. \n Obviously, we're both lonely.\n (he smiles)", "THATCHER\n We're going to have a lot of good \n times together, Charles... Really \n we are.\n\n Kane stares at him.", "KANE\n Where is he?\n\n ANOTHER HIRELING\n Right in there, Mr. Kane.", "KANE\n Thanks.\n\n Susan starts, with Kane following her.\n\n DISSOLVE:", "KANE\n Susan, don't go! Susan, please!\n\n He has lost all pride. Susan stops. She is affected by this.", "KANE\n Goodbye, gents!\n (at the top of the \n gangplank, he turns \n and calls down)\n Hey!", "Kane still stares at the wall, through it, and way beyond it. \n Raymond looks at him.\n\n DISSOLVE OUT:\n\n DISSOLVE IN:", "ROGERS\n Good evening, Mr. Kane.\n (he rises)\n I don't suppose anybody would \n introduce us. Mrs. Kane, I am \n Edward Rogers.", "Kane is a the window looking out. He turns as he hears Raymond \n enter.\n\n RAYMOND\n Mrs. Kane would like to see you, \n Mr. Kane.", "KANE\n Raymond -\n (he is almost in a \n trance)\n\n RAYMOND\n Yes, sir -", "Kane looks at her smilingly and turns back to his work.\n\n SUSAN\n Charlie -\n\n There is no answer.", "KANE\n Oh, Mr. Bernstein!\n\n Bernstein looks up.", "KANE\n It is accepted, Mr. Carter, with \n assurances of my deepest regard.\n\n CARTER\n But Mr. Kane, I meant -", "Kane isn't listening to him.\n\n KANE\n Oh, Mr. Bernstein!\n\n Bernstein looks up from his figures.", "Kane and Emily. He looks at her, in search of some kind of \n enlightenment. Her face is set and impassive.\n\n DISSOLVE:", "Kane looks right through him. Raymond cuts him short.\n\n RAYMOND\n Okay." ], [ "of what I am about to say, it is \n my considered belief that Mr. \n Charles Foster Kane, in every \n essence of his social beliefs and", "KANE\n Don't you worry about me. I'm \n Charles Foster Kane. I'm no cheap,", "Thompson has turned around. He is facing the camera for the \n first time.\n\n THOMPSON\n Charles Foster Kane.", "anything. I heard him say it.\n He just said \"Rosebud\" and then he \n dropped that glass ball and it", "last week, as it must to all men, \n death came to Charles Foster Kane.", "fortune, which she had recently \n acquired. It was her wish that I \n should take charge of this boy, \n Charles Foster Kane.", "In the same position of the last word in above Insert, appears \n the tiny figure of Charles Foster Kane, aged five (almost like", "U.S.A.\n\n CHARLES FOSTER KANE\n\n Opening shot of great desolate expanse of Florida coastline \n (1940 - DAY)", "RAWLSTON\n That's right.\n\n A VOICE\n Tough guy, huh?\n (derisively)\n Dies calling for Rosebud!", "gave up a few years after her \n marriage, at Mr. Kane's request. \n Signed, Charles Foster Kane.", "KANE\n Who am I? Well, let's see. Charles \n Foster Kane was born in New Salem,", "lost it. You see, he just didn't \n have any to give. He loved Charlie \n Kane, of course, very dearly - and", "loved - that's all you want! I'm \n Charles Foster Kane. Whatever you \n want - just name it and it's yours!", "old man I've become. You want to \n know what I think of Charlie Kane? \n Well - I suppose he has some private", "He throws himself on her, his arms around her. Slowly Mrs. \n Kane puts her arms around him.\n\n KANE\n (frightened)\n Mom! Mom!", "THATCHER\n Charles, my name is Mr. Thatcher -\n\n MRS. KANE\n This is Mr. Thatcher, Charles.", "RAYMOND\n (reading)\n Mr. Charles Foster Kane announced \n today that Mrs. Charles Foster", "decaying, pleasure palace, aloof, \n seldom visited, never photographed, \n Charles Foster Kane continued to", "Charles Foster Kane. Then, in the \n third year of the Great \n Depression... As to all publishers,", "(A PAUSE)\n You know, I was thinking - that \n Rosebud you're trying to find out \n about -\n\n THOMPSON\n Yes -" ], [ "Kane has left Xanadu, his Florida \n home, under the terms of a peaceful \n and friendly agreement with the \n intention of filing suit for divorce", "KANE\n Who am I? Well, let's see. Charles \n Foster Kane was born in New Salem,", "KANE\n Thanks.\n\n Susan starts, with Kane following her.\n\n DISSOLVE:", "KANE\n Where is he?\n\n ANOTHER HIRELING\n Right in there, Mr. Kane.", "U.S.A.\n\n CHARLES FOSTER KANE\n\n Opening shot of great desolate expanse of Florida coastline \n (1940 - DAY)", "KANE\n You always said you wanted to live \n in a palace.\n\n SUSAN\n Can't we go back, Charlie?", "THATCHER\n Charles, my name is Mr. Thatcher -\n\n MRS. KANE\n This is Mr. Thatcher, Charles.", "Kane is a the window looking out. He turns as he hears Raymond \n enter.\n\n RAYMOND\n Mrs. Kane would like to see you, \n Mr. Kane.", "fortune, which she had recently \n acquired. It was her wish that I \n should take charge of this boy, \n Charles Foster Kane.", "He throws himself on her, his arms around her. Slowly Mrs. \n Kane puts her arms around him.\n\n KANE\n (frightened)\n Mom! Mom!", "INT. KANE'S NEW YORK HOME - KANE'S BEDROOM - EARLY MORNING -", "THATCHER\n Yes. My firm had been appointed \n trustees by Mrs. Kane for the", "But Charles, deliriously happy in the snow, is oblivious to \n this and is running away. Mrs. Kane turns into camera and we \n see her face - a strong face, worn and kind.", "One of the younger servants giggles and is hushed up. Kane \n shakes the ball again. Another flurry of snow. He watches", "Kane, unwanted, ignored, looks on. Tightening his lips, he \n walks out.\n\n DISSOLVE OUT:\n\n DISSOLVE IN:", "The men tip their hats and shuffle out of the chapel. Kane \n raises his head, looks at the inscription on the wall. It is", "KANE\n All right. Let her slide!\n\n He turns away, and we can now read the headline.", "Kane Jr., seen from Mrs. Kane's position at the window. He is \n now within ten feet of the snowman, with one snowball left \n which he is holding back in his right hand.", "ROGERS\n Good evening, Mr. Kane.\n (he rises)\n I don't suppose anybody would \n introduce us. Mrs. Kane, I am \n Edward Rogers.", "Kane, smiling, lights a cigarette, at the same time looking \n into the window. Camera moves in to hold on the photograph of \n nine men, still holding the reflection of Kane's smiling face." ], [ "Kane, smiling, lights a cigarette, at the same time looking \n into the window. Camera moves in to hold on the photograph of \n nine men, still holding the reflection of Kane's smiling face.", "Susan, finishing her bow, goes out through the curtains. The \n light on the curtain goes out and the houselights go on.\n\n Closeup of Kane - still applauding very, very hard.", "Raymond locks the door and comes to his side. There is a long \n pause - servants staring in silence. Kane gives the glass \n ball a gentle shake and starts another snowstorm.", "He throws himself on her, his arms around her. Slowly Mrs. \n Kane puts her arms around him.\n\n KANE\n (frightened)\n Mom! Mom!", "KANE\n Where is he?\n\n ANOTHER HIRELING\n Right in there, Mr. Kane.", "A hand snatches the ticker tape away and as the image of the \n crowd dissolves out, we pull back to show:\n\n INT. OF KANE'S OFFICE - NIGHT -", "BERNSTEIN\n (quietly)\n Mr. Kane is finishing it.", "from Kane, staring at him. Raymond is in the doorway behind \n Kane. Kane looks at the glass ball.", "Kane Jr., seen from Mrs. Kane's position at the window. He is \n now within ten feet of the snowman, with one snowball left \n which he is holding back in his right hand.", "SUSAN\n You can't stop me.\n\n Kane keeps looking at her. Susan reaches out her hand.\n\n SUSAN\n Goodbye, Charlie.", "SUSAN\n No. They've passed on.\n\n Again she puts her hand to her jaw.\n\n KANE\n Where's the soap?", "Closeup of a still of Kane, aged about sixty-five. Camera \n pulls back, showing it is a framed photograph on the wall.", "Kane snatches the paper from the roller and reads it for \n himself. Slowly, a queer look comes over his face. Then he \n speaks, very quietly.", "Kane leaves. Bernstein looks after him, then at the paper. \n Miss Townsend finally manages to open the envelope. A piece \n of flimsy paper, with a few written lines, is her reward.", "DISSOLVE:\n\n INT. KANE'S STUDY - XANADU - DAY -", "Shot of Kane, in evening clothes, in obvious position of danger, \n grabbing camera from photographer. Before him rages a terrific \n tenement fire.\n\n DISSOLVE:", "Kane Jr., seen from Kane Sr.'s position at the window. He is \n advancing on the snowman, snowballs in his hands, dropping to \n one knee the better to confound his adversary.", "Thompson has turned around. He is facing the camera for the \n first time.\n\n THOMPSON\n Charles Foster Kane.", "Kane doesn't answer. Reilly goes on. He has brought out a \n piece of paper and is reading it.", "DISSOLVE:\n\n INT. KANE'S BEDROOM - FAINT DAWN -" ], [ "THIRD NEWSPAPERMAN\n Okay, okay.\n\n GIRL\n What about Rosebud? Don't you \n think that explains anything?", "(A PAUSE)\n You know, I was thinking - that \n Rosebud you're trying to find out \n about -\n\n THOMPSON\n Yes -", "THE CAPTAIN\n Thank you, sir. As a matter of \n fact, yesterday afternoon, when it \n was in all the papers - I asked \n her. She never heard of Rosebud.", "on his mind called \"Rosebud.\" \n What does that mean?", "Another flash bulb goes off. The Photographer turns to Thompson \n with a grin.\n\n PHOTOGRAPHER\n Or Rosebud? How about it, Jerry?", "of years, anyway - but I knew how \n to handle him.\n (rises)\n That \"Rosebud\" - that don't mean", "word \"ROSEBUD\" across it. The laborer drops his shovel, takes \n the sled in his hand and throws it into the furnace. The flames", "THIRD NEWSPAPERMAN\n (to the dancers)\n Turn that thing off, will you? \n It's driving me nuts! What's \n Rosebud?", "anything. I heard him say it.\n He just said \"Rosebud\" and then he \n dropped that glass ball and it", "fortune, which she had recently \n acquired. It was her wish that I \n should take charge of this boy, \n Charles Foster Kane.", "personification of the search for the truth about Charles Foster \n Kane. He is the investigator.", "got everything he wanted, and then \n lost it. Maybe Rosebud was \n something he couldn't get or lost.", "able to help me. When she used to \n talk about Kane - did she ever \n happen to say anything - about \n Rosebud?", "BERNSTEIN\n That Rosebud? Maybe some girl? \n There were a lot of them back in \n the early days, and -", "THOMPSON\n No. Tell me something, Miss \n Anderson. You're not Rosebud, are \n you?\n\n MISS ANDERSON\n What?", "this \"Rosebud,\" Mr. Thompson.", "RAWLSTON\n That's right.\n\n A VOICE\n Tough guy, huh?\n (derisively)\n Dies calling for Rosebud!", "KANE\n (very, very casually)\n And the notice?\n\n CITY EDITOR\n Yes - Mr. Kane.", "guess Rosebud is just a piece in a \n jigsaw puzzle - a missing piece.", "Thompson has turned around. He is facing the camera for the \n first time.\n\n THOMPSON\n Charles Foster Kane." ], [ "Kane's twenty-fifth birthday... \n You know, when Mr. Kane got control \n of his own", "Kane, until his twenty-fifth \n birthday, at which time he is to \n come into complete possession.", "fortune, which she had recently \n acquired. It was her wish that I \n should take charge of this boy, \n Charles Foster Kane.", "KANE\n Who am I? Well, let's see. Charles \n Foster Kane was born in New Salem,", "THATCHER\n Yes. My firm had been appointed \n trustees by Mrs. Kane for the", "He throws himself on her, his arms around her. Slowly Mrs. \n Kane puts her arms around him.\n\n KANE\n (frightened)\n Mom! Mom!", "KANE\n Where is he?\n\n ANOTHER HIRELING\n Right in there, Mr. Kane.", "Kane snatches the paper from the roller and reads it for \n himself. Slowly, a queer look comes over his face. Then he \n speaks, very quietly.", "SUSAN\n Oh, me -\n\n KANE\n How old did you say you were?", "KANE\n As Charles Foster Kane, who has \n eighty-two thousand, six hundred", "KANE\n It is accepted, Mr. Carter, with \n assurances of my deepest regard.\n\n CARTER\n But Mr. Kane, I meant -", "Kane is a the window looking out. He turns as he hears Raymond \n enter.\n\n RAYMOND\n Mrs. Kane would like to see you, \n Mr. Kane.", "Kane Jr., seen from Kane Sr.'s position at the window. He is \n advancing on the snowman, snowballs in his hands, dropping to \n one knee the better to confound his adversary.", "THATCHER\n We're going to have a lot of good \n times together, Charles... Really \n we are.\n\n Kane stares at him.", "KANE\n Thais.\n\n Bernstein looks at Kane for a moment, then looks back, tortured.", "KANE\n Raymond -\n (he is almost in a \n trance)\n\n RAYMOND\n Yes, sir -", "He bites his lip and rubs his knee again. Susan tries to \n control her laughter, but not very successfully. Kane glares \n at her.", "MRS. KANE\n That's what you think, is it, Jim?\n\n KANE SR.\n Yes.", "Kane has looked up sharply. Reilly, sensing his look, stops \n reading and meets his eye. Slowly, Kane reaches out his hand.", "Kane looks at Leland sharply before he speaks.\n\n KANE\n (quietly)\n All right." ], [ "The scenes indicate the growth of the \"Enquirer\" under the \n impulse of Kane's personal drive. Kane is shown, thus, at \n various activities:", "KANE\n (sharply)\n I don't have to. I run a newspaper", "other political observers that one \n man's press has power enough for \n himself. But Kane papers were \n once strong indeed, and once the", "KANE\n However, I think you'll agree we've \n heard enough about newspapers and \n the newspaper business for one \n night. There are other subjects \n in the world.", "KANE\n I don't know how to run a newspaper, \n Mr. Thatcher. I just try everything \n I can think of.", "CARTER\n But a morning newspaper, Mr. Kane.\n After all, we're practically closed \n twelve hours a day - except for \n the business offices -", "KANE\n (very, very casually)\n And the notice?\n\n CITY EDITOR\n Yes - Mr. Kane.", "Kane snatches the paper from the roller and reads it for \n himself. Slowly, a queer look comes over his face. Then he \n speaks, very quietly.", "KANE\n (quietly)\n Is it good?\n\n CITY EDITOR\n Yes, Mr. kane.", "KANE\n (sharply)\n It isn't finished?\n\n CITY EDITOR\n No, Mr. Kane.", "KANE\n All right. Let her slide!\n\n He turns away, and we can now read the headline.", "INT. KANE'S OFFICE - VERY EARLY DAWN -\n\n The newsboys are still heard from the street below - fainter \n but very insistent.", "Silent newsreel on a windy platform, flag-draped, in front of \n the magnificent Enquirer building. On platform, in full \n ceremonial dress, is Charles Foster Kane. He orates silently.", "KANE\n It's a news story! Get it on the \n street!\n\n DISSOLVE:", "newpapers, thirteen magazines, a \n radio network. An empire upon an \n empire. The first of grocery \n stores, paper mills, apartment", "KANE\n (shakes his head)\n What makes those fellows think \n that a newspaper is something rigid, \n something inflexible, that people\n are supposed to pay two cents for -", "A great number of headlines, set in different types and \n different styles, obviously from different papers, all \n announcing Kane's death, all appearing over photographs of", "CARTER\n (stiffly)\n Because we're running a newspaper, \n Mr. Kane, not a scandal sheet.", "Loudly, so that the neighbors can hear.\n\n CARTER\n Really, Mr. Kane, I can't see the\n function of a respectable newspaper -", "A hand snatches the ticker tape away and as the image of the \n crowd dissolves out, we pull back to show:\n\n INT. OF KANE'S OFFICE - NIGHT -" ], [ "daughter, Emily Monroe Norton, to \n Mr. Charles Foster Kane.", "Kane is just stepping into an elegant barouch, drawn up at the \n curb, in which sits Miss Emily Norton. He kisses her full on", "Emily is opening the door for Leland.\n\n EMILY\n Hello, Brad -\n\n LELAND\n Emily -", "his mother, I guess he always loved \n her. As for Emily - well, all I \n can tell you is Emily's story as", "Emily nods several times. There is an uncomforable silence. \n Suddenly there is a cry from the crib. Emily leaps from the \n bed and rushes to him. She bends over the crib.", "It isn't that, Emily - It's just -\n the president is your uncle and \n they're saying I killed him.", "Another elderly gent, in white tie but still wearing an \n overcoat, comes into the box and whispers to Emily. He has a", "Just then, Kane appears, with Reilly and several other men. \n Kane rushes toward Emily and Junior, as the men politely greet \n Emily.", "BERNSTEIN\n The way things turned out, I don't \n need to tell you - Miss Emily Norton \n was no rosebud!", "EMILY\n How do you do?\n (pauses)\n I came here - and I made Mr. Kane", "Kane and Emily. He looks at her, in search of some kind of \n enlightenment. Her face is set and impassive.\n\n DISSOLVE:", "KANE\n In case you don't know, Emily,\n this - this gentleman -\n (he puts a world of \n scorn into the \n word)\n is -", "Emily does not answer. The door is opened by a maid, who \n recognizes Kane.\n\n THE MAID\n Come in, Mr. Kane, come in.", "LELAND\n Emily, you're being - a little \n unfair - You know what I think of \n Charles' behavior - about your\n personal lives -", "copy of the \"Enquirer\" in his hand. Emily rises. He shows \n the paper to her.", "NARRATOR\n Twice married, twice divorced - \n first to a president's niece, Emily", "He looks up and notices that the box in which Emily and the \n boy were sitting is now empty. He starts toward the rear of \n the platform, through the press of people, Reilly approaches \n him.", "She smiles at him and we know that there isn't anybody else in \n the world for her to smile at. She's too grateful to talk.\n\n EMILY\n Are all the returns in?", "MISS TOWNSEND\n (reading)\n Mr. and Mrs. Thomas Moore Norton \n announce the engagement of their", "Emily nods to him.\n\n EMILY\n I intend to find out." ], [ "He throws himself on her, his arms around her. Slowly Mrs. \n Kane puts her arms around him.\n\n KANE\n (frightened)\n Mom! Mom!", "KANE\n Thanks.\n\n Susan starts, with Kane following her.\n\n DISSOLVE:", "He stops as he realizes that Mrs. Kane has paid no attention \n to him and, having opened the door, is already well into the", "But Charles, deliriously happy in the snow, is oblivious to \n this and is running away. Mrs. Kane turns into camera and we \n see her face - a strong face, worn and kind.", "Kane is a the window looking out. He turns as he hears Raymond \n enter.\n\n RAYMOND\n Mrs. Kane would like to see you, \n Mr. Kane.", "KANE\n Susan!\n\n She looks at him, with no lessening of her passion.", "Emily does not answer. The door is opened by a maid, who \n recognizes Kane.\n\n THE MAID\n Come in, Mr. Kane, come in.", "MRS. KANE\n It is. Go on, Mr. Thatcher -", "gave up a few years after her \n marriage, at Mr. Kane's request. \n Signed, Charles Foster Kane.", "He rushes out. Susan is breathing, but heavily. Kane loosens \n the lace collar at her throat.\n\n DISSOLVE:", "KANE\n Is Mrs. Kane -\n (he can't finish)\n\n RAYMOND\n Marie has been packing since \n morning, Mr. Kane.", "SUSAN\n I mean it.\n (she catches a slight \n flicker on Kane's", "SUSAN\n There is no story. It's all lies.\n Mr. Kane is just -", "RAYMOND\n Yes, Mr. Kane.\n\n KANE\n Not my wife - not either of them.", "Mrs. Kane rises and goes to the window.\n\n MRS. KANE\n Go on, Mr. Thatcher.", "EMILY\n How do you do?\n (pauses)\n I came here - and I made Mr. Kane", "KANE\n Thais.\n\n Bernstein looks at Kane for a moment, then looks back, tortured.", "Susan, finishing her bow, goes out through the curtains. The \n light on the curtain goes out and the houselights go on.\n\n Closeup of Kane - still applauding very, very hard.", "Kane is just stepping into an elegant barouch, drawn up at the \n curb, in which sits Miss Emily Norton. He kisses her full on", "KANE\n Susan, don't go! Susan, please!\n\n He has lost all pride. Susan stops. She is affected by this." ], [ "Closeup of Susan's face - singing.\n\n Closeup of Kane's face - listening.", "Susan is singing. Matisti, her voice teacher, is playing the \n piano. Kane is seated nearby. Matisti stops.\n\n MATISTI\n Impossible! Impossible!", "Susan, finishing her bow, goes out through the curtains. The \n light on the curtain goes out and the houselights go on.\n\n Closeup of Kane - still applauding very, very hard.", "SUSAN\n You can't stop me.\n\n Kane keeps looking at her. Susan reaches out her hand.\n\n SUSAN\n Goodbye, Charlie.", "SUSAN\n As a matter of fact, I do sing a \n little.\n\n KANE\n (points to the piano)\n Would you sing for me?", "KANE\n Susan, don't go! Susan, please!\n\n He has lost all pride. Susan stops. She is affected by this.", "KANE\n (he has risen)\n Susan, I want you to stop this.\n And right now!", "She leaves. Kane closes the door behind her.\n\n KANE\n Have you gone completely crazy?\n\n Susan looks at him.", "KANE\n Thanks.\n\n Susan starts, with Kane following her.\n\n DISSOLVE:", "Closeup of Kane - still applauding very, very hard, his eyes \n on Susan.\n\n The stage again.", "professor does so. The singing continues. Kane rises and \n crosses to Leland.", "Kane impetuously walks past him out of the room.\n\n INT. SUSAN'S ROOM - XANADU - DAY -", "He rushes out. Susan is breathing, but heavily. Kane loosens \n the lace collar at her throat.\n\n DISSOLVE:", "Kane continues to look at her.\n\n SUSAN\n You'll never have another chance \n to hit me again.\n (pauses)\n Never knew till this minute -", "Susan, utterly spent, is lying flat on her back in her bed. \n Kane is in the chair beside her. The nurse is out of the room.", "Kane rises and walks toward her. There is cold menace in his \n walk. Susan shrinks a little as he draws closer to her.", "KANE\n Don't go, Susan! You mustn't go!\n (almost blubbering)\n You - you can't do this to me,\n Susan -", "Kane is trembling with rage as he shakes his fist at Rogers's \n back. Susan, quieter now, has snuggled into the hollow of his \n shoulder as they stand in the doorway.", "SUSAN\n (rushes to him)\n Charlie, please don't -\n\n KANE\n What are you waiting here for?\n Why don't you go?", "at an early date. Mrs. Kane said \n that she does not intend to return \n to the operatic career which she" ], [ "on his mind called \"Rosebud.\" \n What does that mean?", "(A PAUSE)\n You know, I was thinking - that \n Rosebud you're trying to find out \n about -\n\n THOMPSON\n Yes -", "got everything he wanted, and then \n lost it. Maybe Rosebud was \n something he couldn't get or lost.", "of years, anyway - but I knew how \n to handle him.\n (rises)\n That \"Rosebud\" - that don't mean", "anything. I heard him say it.\n He just said \"Rosebud\" and then he \n dropped that glass ball and it", "THIRD NEWSPAPERMAN\n Okay, okay.\n\n GIRL\n What about Rosebud? Don't you \n think that explains anything?", "word \"ROSEBUD\" across it. The laborer drops his shovel, takes \n the sled in his hand and throws it into the furnace. The flames", "THE CAPTAIN\n Thank you, sir. As a matter of \n fact, yesterday afternoon, when it \n was in all the papers - I asked \n her. She never heard of Rosebud.", "BERNSTEIN\n That Rosebud? Maybe some girl? \n There were a lot of them back in \n the early days, and -", "THOMPSON\n No. Tell me something, Miss \n Anderson. You're not Rosebud, are \n you?\n\n MISS ANDERSON\n What?", "guess Rosebud is just a piece in a \n jigsaw puzzle - a missing piece.", "Another flash bulb goes off. The Photographer turns to Thompson \n with a grin.\n\n PHOTOGRAPHER\n Or Rosebud? How about it, Jerry?", "able to help me. When she used to \n talk about Kane - did she ever \n happen to say anything - about \n Rosebud?", "RAWLSTON\n That's right.\n\n A VOICE\n Tough guy, huh?\n (derisively)\n Dies calling for Rosebud!", "KANE'S OLD OLD VOICE\n Rosebud...", "RAWLSTON\n (with disgust)\n Rosebud!\n\n A little ripple of laughter at this, which is promptly silenced \n by Rawlston.", "He picks up his overcoat - it has been resting on a little \n sled - the little sled young Charles Foster Kane hit Thatcher", "lost it. You see, he just didn't \n have any to give. He loved Charlie \n Kane, of course, very dearly - and", "this \"Rosebud,\" Mr. Thompson.", "fortune, which she had recently \n acquired. It was her wish that I \n should take charge of this boy, \n Charles Foster Kane." ] ]

[ "What was Rosebud?", "Where did Kane grow up?", "Who did Kane have an affair with?", "What did Mary find on her property?", "Why did Kane finally allow Susan to end her singing career?", "What was Kane pursuing professionally when he began his affair with Susan?", "Where was Xanadu located?", "Why did Kane have to sell his control of his newspaper?", "What age was Kane when he gained full access to his trust fund?", "Where is the mansion located?", "Who is on his deathbed?", "What word does Kane utter?", "Who interviews Kane's friends?", "Who'se archive does Thompson go to?", "Where did Kane's Childhood begin?", "What was discovered on Kane's mother's property in 1871?", "What career does Kane embark on?", "Who is Kane's business manager?", "Who is Kane's estranged best friend?", "What word does Charles Foster Kane utter on his deathbed?", "What is the name of Kane's estate in Florida?", "What is Kane holding in his hand on his deathbed?", "Which reporter is tasked with discovering the meaning of the word \"rosebud\"?", "How old is Kane when he gains control of his trust fund?", "Which newspaper does Kane take control of?", "Who is Emily Norton's uncle?", "With whom does Kane begin an extramarital affair?", "After what event does Kane allow Susan to quit her singing career?", "What is the meaning of the word \"rosebud\" revealed to be?" ]

[ [ "Kane's sled.", "the trade name of a sled" ], [ "Colorado.", "Colorodo" ], [ "Susan Alexander.", "A singer named Susan Alexander" ], [ "A gold mine.", "Gold Mine" ], [ "She tried to commit suicide.", "she tried to commit suicide" ], [ "Governor of New York.", "running for Governor of New York" ], [ "In Florida.", "Florida" ], [ "Stock market crashed.", "stock market crash" ], [ "25.", "25" ], [ "Florida", "Xanadu" ], [ "Kane", "Charles Foster Kane" ], [ "Rosebud", "Rosebud" ], [ "Thompson", "Jerry Thompson" ], [ "Walter ", "Walter Parks Thatcher" ], [ "Colorado", "Colorado" ], [ "A gold mine", "A gold mine" ], [ "Journalism", "Yellow journalism" ], [ "Bernstein", "Bernstein" ], [ "Jedediah", "Jedediah LeLand" ], [ "Rosebud.", "Rosebud" ], [ "Xanadu.", "Xanadu" ], [ "A snow globe.", "A snow globe" ], [ "Jerry Thompson.", "Jerry Thompson" ], [ "Twenty five.", "25" ], [ "The New York Inquirer.", "New York Inquirer" ], [ "The President of the United States.", "The President of the United States" ], [ "Susan Alexander.", "Susan Alexander" ], [ "Her attempted suicide.", "She tries to kill herself" ], [ "The trade name of Kane's childhood sled.", "the trade name of a sled" ] ]

[ [ "No other object to inflame his blood,\n But that her Husband was a King, on both\n He did bestow rich presents; shall I then,", "_Achil._ 'Tis confest\n (My good _Achoreus_) that in these Eastern Kingdoms\n Women are not exempted from the Sceptre,", "Is like a King; to be at his, a vassail.\n Now take good counsel, or no more take to ye\n The freedom of a Prince.", "Friend to his Father, and when he was expell'd\n And beaten from this Kingdom by strong hand,\n And had none left him, to restore his honour,", "Since Kingdomes are maintain'd by force and blood.", "Her Soveraign Lord, to end in-gloriously\n A life admir'd by all? The threatned danger\n Must by a way more horrid be avoided,", "The story of a supream Monarchy,\n To which all hearts with mine gladly pay tribute,\n _Photinus's_ Name had long since been as great", "From such as are or'e come. If you are tired\n With being a King, let not a stranger take\n What nearer pledges challenge: resign rather", "_Cæsar_. I wonder at the glory of this Kingdom,\n And the most bounteous preparation,\n Still as I pass, they court me with.", "Look upon _Cæsar_, as he still appear'd\n A Conquerour, and this unfortunate King", "To wear a Kingly wreath, and your grave judgment,\n Given to dispose of monarchies, not to govern\n A childs affairs, the peoples eye's upon you,", "For a poor King is a monster;\n What ear remember ye? 'twill be then a courtesie\n (A noble one) to take your life too from ye:", "(Thy Brother dead) shall willingly decree\n The Crown of _Egypt_ (that was his) to thee. [_Exeunt omnes._", "He was a _Roman_, and the top of Honour;\n And howsoever this might please Great _Cæsar_,\n I told ye that the foulness of his Death,", "And if thou beest a man, for despis'd beauty,\n For honourable conquest, which thou doat'st on,\n Let not those cankers of this flourishing Kingdom,", "Or in a private person, is prefer'd,\n No policy allows of in a King,\n To be or just, or thankfull, makes Kings guilty,", "That three times rode in triumph, and gave laws\n To conquer'd Nations, and made Crowns his gift\n (As this of yours, your noble Father took", "The King without a Partner, in full splendour,\n Thought it convenient the fair _Cleopatra_,\n (An attribute not frequent to the Climate)", "_Sep._ I kill'd him on commandment,\n If Kings commands be fair, when you all fainted,\n When none of you durst look--", "Rude valors, so I let 'em pass; rude honours:\n There is a wench yet, that I know, affects me\n And company for a King: a young plump villain," ], [ "_Sce._ A cunning thief, call him _Septimius_, Souldiers,\n The villain that kill'd _Pompey_.\n\n _All_. How?", "Did he not beat this _Pompey_, and pursu'd him?\n Was not this great man, his great enemy?\n This Godlike vertuous man, as people held him,", "Ye are poor and open: I must tell ye roundly,\n That Man that could not recompence the Benefits,\n The great and bounteous services of _Pompey_,", "_Ach._ No more of him,\n He is not worth our thoughts: a Fugitive\n From _Pompeys_ army: and now in a danger\n When he should use his service.", "We have offended _Cæsar_, in our wishes,\n And no way left us to redeem his favour\n But by the head of _Pompey_.", "_1 Sold._ No doubt\n Some excellent Salve for a sore heart: are you\n _Septimius_, that base knave, that betray'd _Pompey_?", "Offer'd him his protection, but _Pompey_\n Relying on his Benefits, and your Faith,\n Hath chosen _Ægypt_ for his Sanctuary,", "_Ant._ Is't not _Septimius_?\n\n _Sce._ Yes.\n\n _Dol._ He that kill'd _Pompey_?", "_Cæsar._ Oh _Sceva, Sceva_, see that head: see Captains,\n The head of godlike _Pompey_.", "He was a _Roman_, and the top of Honour;\n And howsoever this might please Great _Cæsar_,\n I told ye that the foulness of his Death,", "Employs me as a Property, and grown useless\n Will shake me off again; he told me so\n When I kill'd _Pompey_; nor can I hope better,", "Can you imagine, that _Romes_ glorious Senate\n (To whose charge, by the will of the dead King\n This government was deliver'd) or great _Pompey_,", "They have rich arms, are ten to one in number,\n Which makes them think the day already won;\n And _Pompey_ being master of the Sea,", "But there's a _Rome_, a _Senate_, and a _Cæsar_,\n (Though the great _Pompey_ lean to _Ptolomy_)", "_Ach._ What's your opinion\n Of the success? I have heard, in multitudes\n Of Souldiers, and all glorious pomp of war,\n _Pompey_ is much superiour.", "The Nobles, and the Commons lay together,\n And Pontique, Punique, and _Assyrian_ blood\n Made up one crimson Lake: which _Pompey_ seeing,", "But that this hour to _Pompey_ is his last. [_Exit._", "A good, great man? I have enter'd _Rome_ by force,\n And on her tender Womb (that gave me life)\n Let my insulting Souldiers rudely trample,", "_Ant._ Dar'st thou speak, and remember\n There was a _Pompey_?", "Was fashion'd to be false, wherefore should I\n That kill'd my General, and a _Roman_, one\n To whom I ow'd all nourishments of life," ], [ "He was a _Roman_, and the top of Honour;\n And howsoever this might please Great _Cæsar_,\n I told ye that the foulness of his Death,", "Her Soveraign Lord, to end in-gloriously\n A life admir'd by all? The threatned danger\n Must by a way more horrid be avoided,", "I hear their Trumpets, 'tis too late to stagger,\n Give me the head, and be you confident:\n Hail Conquerour, and head of all the world,\n Now this head's off.", "_Pho._ The King is troubled: be not frighted Sir,\n Be not abus'd with fears; his death was necessary,\n If you consider, Sir, most necessary,", "Our lives and deaths are equall benefits,\n And we make louder prayers to dye nobly,\n Than to live high, and wantonly: whilst you are secure here,", "_1 Sold._ And valiant minds hold poysonous to remember.\n The Hangman will not keep thee company,\n He has an honourable house to thine,", "I was lov'd once for swearing, and for drinking,\n And for other principal Qualities that became me,\n Now a foolish unthankful Murther has undone me,", "_Sep._ I kill'd him on commandment,\n If Kings commands be fair, when you all fainted,\n When none of you durst look--", "We took a noble Course, and hate base Treason,\n Some Souldiers that would merit _Cæsar's_ favour,\n Hang him on yonder Turret, and then follow", "He may recover, thy part not engag'd\n Though one most dear, when all his hopes are dead,\n To drown him, set thy foot upon his head.", "Here they take life: here they inherit honour,\n Grow fixt, and shoot up everlasting triumphs:\n Take it, and look upon thy humble servant,", "_Sce._ Furies plague 'em,\n They had too fair an end to dye like Souldiers,\n _Pompey_ fell by the Sword, the Cross or Halter\n Should have dispatch'd them.", "If not, stay here a Bond-man to thy Slave,\n And dead, be thought unworthy of a Grave. [_Exeunt._", "_2 Sol._ This fellow would make a rare speech at the gallows.\n\n _[3] Sol._ 'Tis very fit he were hang'd to edifie us:", "_Cæs._ All is but death, good _Sceva_,\n Be therefore satisfied: and now my dearest,", "They'll give her that she came for, and dispatch her;\n Be loyal to your self. Thou damned Woman,\n Dost thou come hither with thy flourishes,", "If that adored head be not yet sever'd\n From the most noble Body, weigh the miseries,\n The desolations that this great Eclipse works,", "By a dozen of his friends, though they were touch'd in't:\n For look you, 'tis a kind of merriment,\n When we have laid by foolish modesty", "Fie, how it choaks! too little of your loyaltie,\n Your honesty, your faith, that are pure Ambers;\n I smell the rotten smell of a hired Coward,", "To strike the Stag, who wounded by her arrows,\n Forgot his tears in death, and kneeling thanks her\n To his last gasp, then prouder of his Fate," ], [ "SCENE III.\n\n _Enter_ Septimius.", "_Enter_ Septimius.\n\n _1 Sold._ He spares us that labour,\n For here he comes.", "_Enter_ Septimius.", "_Sept._ Stay, _Cæsar_.\n\n _Cæs._ Who's this? the Dog, _Septimius_?\n\n _Ant._ Cut his throat.", "_Ant._ Is't not _Septimius_?\n\n _Sce._ Yes.\n\n _Dol._ He that kill'd _Pompey_?", "_Sce._ A cunning thief, call him _Septimius_, Souldiers,\n The villain that kill'd _Pompey_.\n\n _All_. How?", "_Sept_. May it please your Lordship?\n\n _Pho._ O _Septimius_!\n\n _Sept._ Your [Lordship] knows my wrongs.", "_Achil._ It is not that: it may be some disgrace\n That he takes heavily; and would be cherish'd,\n _Septimius_ ever scorn'd to shew such weakness.", "_Enter_ Septimius.\n\n _Ant._ What's this fellow?\n\n _Dol._ Why, a brave fellow, if we judge men by their clothes.", "_Ach._ No _Septimius_,\n To be a _Roman_ were an honour to you,\n Did not your manners, and your life take from it,", "_Pho._ When _Pompey_ was thy General, _Septimius_,\n Thou saidst as much to him.", "Arm'd in the red _Pharsalian_ fields, _Septimius_,\n Where killing was in grace, and wounds were glorious,\n Where Kings were fair competitours for honour,", "_Sept._ I am an altered man, altered indeed,\n And will give you cause to say I am a _Roman_.\n\n _Dol._ Rogue, I grant thee.", "_Sept._ Thus, _Cæsar_,\n To me alone, but bound by terrible oaths\n Not to discover it, he hath reveal'd", "_ACTUS SECUNDUS. SCENA PRIMA._\n\n _Enter_ Septimius, _with a head_, Achillas, _Guard._", "_Achil._ Thou shalt have all:\n And do all through thy power, men shall admire thee,\n And the vices of _Septimius_ shall turn vertues.", "(Unless they would be thought Co-partners with you)\n Will leave you to the Law: and then, _Septimius_,\n Remember there are whips.", "_Pho._ Well said _Septimius_,\n Thou now art right again.\n\n _Achil._ But what course take we\n For the Princess _Cleopatra_?", "_3 Sold._ And I too: look'd upon him, and observ'd it,\n He's the strangest _Septimus_ now--", "_1 Sold._ No doubt\n Some excellent Salve for a sore heart: are you\n _Septimius_, that base knave, that betray'd _Pompey_?" ], [ "SCENE III.\n\n _Enter_ Septimius.", "_Enter_ Septimius.\n\n _1 Sold._ He spares us that labour,\n For here he comes.", "_Enter_ Septimius.\n\n _Ant._ What's this fellow?\n\n _Dol._ Why, a brave fellow, if we judge men by their clothes.", "_Achil._ It is not that: it may be some disgrace\n That he takes heavily; and would be cherish'd,\n _Septimius_ ever scorn'd to shew such weakness.", "_Sept_. May it please your Lordship?\n\n _Pho._ O _Septimius_!\n\n _Sept._ Your [Lordship] knows my wrongs.", "_Sept._ Stay, _Cæsar_.\n\n _Cæs._ Who's this? the Dog, _Septimius_?\n\n _Ant._ Cut his throat.", "_Enter_ Septimius.", "_Sce._ A cunning thief, call him _Septimius_, Souldiers,\n The villain that kill'd _Pompey_.\n\n _All_. How?", "_Ant._ Is't not _Septimius_?\n\n _Sce._ Yes.\n\n _Dol._ He that kill'd _Pompey_?", "_Ach._ Peace _Septimius_,\n Thy words sound more ungratefull than thy actions,\n Though sometimes safety seek an instrument", "_Ach._ No _Septimius_,\n To be a _Roman_ were an honour to you,\n Did not your manners, and your life take from it,", "_ACTUS SECUNDUS. SCENA PRIMA._\n\n _Enter_ Septimius, _with a head_, Achillas, _Guard._", "_Sept._ I am an altered man, altered indeed,\n And will give you cause to say I am a _Roman_.\n\n _Dol._ Rogue, I grant thee.", "_Pho._ Good _Achillas_,\n Seek out _Septimius_: do you but sooth him,\n He is already wrought: leave the dispatch", "_3 Sold._ And I too: look'd upon him, and observ'd it,\n He's the strangest _Septimus_ now--", "Call up the thing thou nam'st thy conscience,\n And let it work: then 'twill seem well _Septimius_.", "_Sept._ I shall observe your hour.\n So, this brings something in the mouth, some savour;\n This is the Lord I serve, the Power I worship,", "Arm'd in the red _Pharsalian_ fields, _Septimius_,\n Where killing was in grace, and wounds were glorious,\n Where Kings were fair competitours for honour,", "_Achil._ Thou shalt have all:\n And do all through thy power, men shall admire thee,\n And the vices of _Septimius_ shall turn vertues.", "_Enter_ Septi[m]ius.\n\n _Ach._ May Victory\n Attend on't, where it is." ], [ "But _Cleopatra_ in the _Egyptian_ Sphear.", "May think of _Cleopatra_.", "_We treat not of what boldness she did dye,_\n _Nor of her fatal Love to_ Antony.\n _What we present and offer to your view,_", "The King without a Partner, in full splendour,\n Thought it convenient the fair _Cleopatra_,\n (An attribute not frequent to the Climate)", "_Cleo._ Yet (my _Eros_)\n Though thou hast profited nothing by observing\n The whole course of my life, learn in my death,\n Though not to equal, yet to imitate\n Thy fearless Mistress.", "_Cleo._ No, no, I love not that way; you are cozen'd:\n I love with as much ambition as a Conquerour,\n And where I love, will triumph.", "_Enter_ Cleopatra.\n\n _Ant._ The young Queen comes: give room.\n\n _Cæsar_. Welcom (my dearest)\n Come bless my side.", "_Cleo._ Pray you Sir, know me,\n And what I am.\n\n _Cæsar_. The greater, I more love ye,\n And you must know me too.", "The Princess _Cleopatra_ (if I said\n The Queen) _Achillas_ 'twere (I hope) no treason,\n She being by her Fathers Testament", "_Enter_ Sceva _with a Packet_, Cleopatra _in it._\n\n _Sce._ Are ye awake Sir?\n\n _Cæs._ I'th' name of Wonder.", "_Cleo._ He is no man:\n The shadow of a Greatness hangs upon him,\n And not the vertue: he is no Conquerour,", "_Cæsar_. Tell me\n From whence comes all this wealth?\n\n _Cleo._ Is your eye that way?\n And all my Beauties banisht?", "_Cleo._ How? frown on me?\n The eyes of _Cæsar_ wrapt in storms?\n\n _Cæsar_. I am sorry:\n But let me think--", "Are to delight us: alas, you wash an _Ethiop_:\n Can _Cleopatra_, while she does remember\n Whose Daughter she is, and whose Sister? (O", "_Cæsar_. These lips be witness,\n And if I break that oath--\n\n _Cleo._ You make me blush Sir,\n And in that blush interpret me.", "_Enter_ Sceva.\n\n _Cleo._ He is my conquest now, and so I'le work him,\n The conquerour of the world will I lead captive.", "_Cleo._ So far as modesty,\n And majesty gives leave Sir, ye are too violent.\n\n _Cæsar_. You are too cold to my desires.", "_Cleo._ Command, and goe without, Sir.\n I do command thee be my slave for ever,\n And vex while I laugh at thee.", "_Cleo._ And that great blessedness\n You first reap'd of me: till you taught my nature\n Like a rude storm to talk aloud, and thunder,", "_Cleo._ Now I am private Sir, I dare speak to ye:\n But thus low first, for as a God I honour ye.\n\n _Sce._ Lower you'l be anon." ], [ "THE FALSE ONE\n\nA Tragedy\n\nby Francis Beaumont and John Fletcher\n\nEdited by Arnold Glover", "_We treat not of what boldness she did dye,_\n _Nor of her fatal Love to_ Antony.\n _What we present and offer to your view,_", "But _Cleopatra_ in the _Egyptian_ Sphear.", "_Cleo._ He is no man:\n The shadow of a Greatness hangs upon him,\n And not the vertue: he is no Conquerour,", "_Cleo._ Yet (my _Eros_)\n Though thou hast profited nothing by observing\n The whole course of my life, learn in my death,\n Though not to equal, yet to imitate\n Thy fearless Mistress.", "_Cleo._ It is too late; when I have found thee absolute,\n The man that Fame reports thee, and to me,\n May be I shall think better. Farewel Conquerour. [_Exit._", "_Cleo._ No, no, I love not that way; you are cozen'd:\n I love with as much ambition as a Conquerour,\n And where I love, will triumph.", "_Cleo._ Pray you Sir, know me,\n And what I am.\n\n _Cæsar_. The greater, I more love ye,\n And you must know me too.", "_Cleo._ Stand off: to thee alone,\n I will discover what I dare not trust\n My Sister with, _Cæsar_ is amorous,", "_Enter_ Cleopatra.\n\n _Ant._ The young Queen comes: give room.\n\n _Cæsar_. Welcom (my dearest)\n Come bless my side.", "_Cleo._ Shew him a glass; that false face has betrai'd me:\n That base heart wrought me--", "_Enter_ Sceva _with a Packet_, Cleopatra _in it._\n\n _Sce._ Are ye awake Sir?\n\n _Cæs._ I'th' name of Wonder.", "_Cleo._ Now I am private Sir, I dare speak to ye:\n But thus low first, for as a God I honour ye.\n\n _Sce._ Lower you'l be anon.", "Was fashion'd to be false, wherefore should I\n That kill'd my General, and a _Roman_, one\n To whom I ow'd all nourishments of life,", "_Cleo._ Let me think first\n Whether I may put on a Patience\n That will with honour suffer me: know, I hate ye,\n Let that begin the story: Now I'le tell ye.", "_Ap._ To _Egypt_.\n\n _Cleo._ Ha! in person?\n\n _Ap._ 'Tis receiv'd\n For an undoubted truth.", "The King without a Partner, in full splendour,\n Thought it convenient the fair _Cleopatra_,\n (An attribute not frequent to the Climate)", "May think of _Cleopatra_.", "_Cæsar_. These lips be witness,\n And if I break that oath--\n\n _Cleo._ You make me blush Sir,\n And in that blush interpret me.", "_Cleo._ How? frown on me?\n The eyes of _Cæsar_ wrapt in storms?\n\n _Cæsar_. I am sorry:\n But let me think--" ], [ "(Thy Brother dead) shall willingly decree\n The Crown of _Egypt_ (that was his) to thee. [_Exeunt omnes._", "(That is appointed _Cleopatra_'s Guardian\n As well as _Ptolomies_) will e're approve\n Of this rash counsel, their consent not sought for,", "_Cleo._ Contemn me not, because I kneel thus, _Cæsar_,\n I am a Queen, and coheir to this country,", "The Crown, and sweat of thy _Pharsalian_ labour:\n The goal and mark of high ambitious honour.\n Before thy victory had no name, _Cæsar_,", "_Ap._ His army routed: he fled and pursu'd\n By the all-conquering Cæsar.\n\n _Cleo._ Whither bends he?", "_Cleo._ Be merry Sir,\n My Brother will be proud to do you honour\n That now appears himself.\n\n _Enter_ Ptolomy, Achoreus, Achillas, Photinus, Apollodorus.", "_Cæsar_. He comes: and I\n Shall do as I find cause.\n\n _Enter_ Ptolomy, Achoreus, Apollodorus.", "Upon that Soveraignty thou shouldst bow to.\n If in the Gulph of base ingratitude,\n All loyalty to _Ptolomy_ the King", "_Ptol._ To say I grieve his fortune\n As much as if the Crown I wear (his gift)\n Were ravish'd from me, is a holy truth,", "The King without a Partner, in full splendour,\n Thought it convenient the fair _Cleopatra_,\n (An attribute not frequent to the Climate)", "_Cæsar_. The matchless wealth of this Land!\n\n _Cleo._ Come, ye shall hear me.\n\n _Cæsar_. Away: let me imagine.", "With the Rites of _Ægypt_, or the Laws of Nature;\n But grant that _Cleopatra_ can sit down\n With this disgrace (though insupportable)", "Are wont to be my Orators; turn to tears,\n You wretched and poor seeds of Sun-burnt _Egypt_,\n And now you have found the nature of a Conquerour,", "_Pho._ Well said _Septimius_,\n Thou now art right again.\n\n _Achil._ But what course take we\n For the Princess _Cleopatra_?", "Thou awe of Nations, wherefore didst thou fall thus?\n What poor fate follow'd thee, and pluckt thee on\n To trust thy sacred life to an _Egyptian_;", "_Achil._ The deed is bloody\n If we conclude in _Ptolomies_ death.\n\n _Pho._ The better,\n The globe of Empire must be so manur'd.", "But was his conquest; and he gave thee motion.\n He triumph'd three times, who durst touch his person?\n The very walls of _Rome_ bow'd to his presence,", "The Princess _Cleopatra_ (if I said\n The Queen) _Achillas_ 'twere (I hope) no treason,\n She being by her Fathers Testament", "Julius Cæsar, _Emperour of_ Rome.\n Ptolomy, _King of_ Ægypt.", "_Enter_ Achillas, _and Souldiers, with the Body of_ Ptolomy.\n\n _Pho._ The King dead? this is a fair entrance to\n Our future happiness." ], [ "_Enter_ Cleopatra.\n\n _Ant._ The young Queen comes: give room.\n\n _Cæsar_. Welcom (my dearest)\n Come bless my side.", "_Ap._ To _Egypt_.\n\n _Cleo._ Ha! in person?\n\n _Ap._ 'Tis receiv'd\n For an undoubted truth.", "_Cleo._ It is too late; when I have found thee absolute,\n The man that Fame reports thee, and to me,\n May be I shall think better. Farewel Conquerour. [_Exit._", "_Cæsar_. The matchless wealth of this Land!\n\n _Cleo._ Come, ye shall hear me.\n\n _Cæsar_. Away: let me imagine.", "But _Cleopatra_ in the _Egyptian_ Sphear.", "_Cleo._ Contemn me not, because I kneel thus, _Cæsar_,\n I am a Queen, and coheir to this country,", "_Enter_ Sceva.\n\n _Cleo._ He is my conquest now, and so I'le work him,\n The conquerour of the world will I lead captive.", "The King without a Partner, in full splendour,\n Thought it convenient the fair _Cleopatra_,\n (An attribute not frequent to the Climate)", "_Enter_ Cleopatra.", "_Cleo._ Pray you Sir, know me,\n And what I am.\n\n _Cæsar_. The greater, I more love ye,\n And you must know me too.", "_We treat not of what boldness she did dye,_\n _Nor of her fatal Love to_ Antony.\n _What we present and offer to your view,_", "With the Rites of _Ægypt_, or the Laws of Nature;\n But grant that _Cleopatra_ can sit down\n With this disgrace (though insupportable)", "_Pho._ Well said _Septimius_,\n Thou now art right again.\n\n _Achil._ But what course take we\n For the Princess _Cleopatra_?", "_Cleo._ So far as modesty,\n And majesty gives leave Sir, ye are too violent.\n\n _Cæsar_. You are too cold to my desires.", "_ACTUS QUINTUS. SCENA PRIMA._\n\n _Enter_ Cæsar, Antony, Dolabella.\n\n _Ant._ The tumult still encreases.", "_Cæsar_. Stay.\n\n _Cleo._ I will not.\n\n _Cæsar_. I command.", "_Cleo._ Now I am private Sir, I dare speak to ye:\n But thus low first, for as a God I honour ye.\n\n _Sce._ Lower you'l be anon.", "_Enter_ Sceva _with a Packet_, Cleopatra _in it._\n\n _Sce._ Are ye awake Sir?\n\n _Cæs._ I'th' name of Wonder.", "_Cleo._ He is no man:\n The shadow of a Greatness hangs upon him,\n And not the vertue: he is no Conquerour,", "_Cleo._ Stand off: to thee alone,\n I will discover what I dare not trust\n My Sister with, _Cæsar_ is amorous," ], [ "The Crown, and sweat of thy _Pharsalian_ labour:\n The goal and mark of high ambitious honour.\n Before thy victory had no name, _Cæsar_,", "_Pho._ Good day _Achoreus_; my best friend _Achillas_,\n Hath fame deliver'd yet no certain rumour\n Of the great _Roman Action_?", "They have rich arms, are ten to one in number,\n Which makes them think the day already won;\n And _Pompey_ being master of the Sea,", "_Cæs._ I have heard too much,\n And study not with smooth shews to invade\n My noble Mind as you have done my Conquest.", "Did he not beat this _Pompey_, and pursu'd him?\n Was not this great man, his great enemy?\n This Godlike vertuous man, as people held him,", "_Achil._ In _Thessalie_, near the _Pharsalian_ plains\n Where _Cæsar_ with a handfull of his Men", "To me of _Labienus_: 'tis determin'd\n Already how you shall proceed: nor Fate\n Shall alter it, since now the dye is cast,", "_Ap._ His army routed: he fled and pursu'd\n By the all-conquering Cæsar.\n\n _Cleo._ Whither bends he?", "_Cleo._ He is no man:\n The shadow of a Greatness hangs upon him,\n And not the vertue: he is no Conquerour,", "_Cæsar._ Oh _Sceva, Sceva_, see that head: see Captains,\n The head of godlike _Pompey_.", "Is not victorious _Cæsar_ new arriv'd,\n And enter'd _Alexandria_, with his friends,\n His _Navy_ riding by to wait his charges?", "_Ptol._ I have commanded, and it shall be so,\n A preparation I have set o' foot,\n Worthy the friendship and the fame of _Cæsar_,", "_Cæsar_. The matchless wealth of this Land!\n\n _Cleo._ Come, ye shall hear me.\n\n _Cæsar_. Away: let me imagine.", "Look upon _Cæsar_, as he still appear'd\n A Conquerour, and this unfortunate King", "_Ach._ What's your opinion\n Of the success? I have heard, in multitudes\n Of Souldiers, and all glorious pomp of war,\n _Pompey_ is much superiour.", "_Pho._ This _Cæsar_ may account a little wicked,\n But yet remember, if thine own hands, Conquerour,", "_Pho._ Would that were the worst, Sir,\n That will repair it self: but I fear mainly,\n She has made her peace with _Cæsar_.", "In which _Lucullus_ and _Apicius_ joyn'd,\n To make a publique Feast: they at _Dirachium_\n Fought with success; but knew not to make use of", "Arm'd in the red _Pharsalian_ fields, _Septimius_,\n Where killing was in grace, and wounds were glorious,\n Where Kings were fair competitours for honour,", "And in this want will talk a little desperately:\n Here's gold, come share; I love a brave Commander:\n And be not peevish, do as _Cæsar_ does:" ], [ "_Pho._ Well said _Septimius_,\n Thou now art right again.\n\n _Achil._ But what course take we\n For the Princess _Cleopatra_?", "_Enter_ Cleopatra.\n\n _Ant._ The young Queen comes: give room.\n\n _Cæsar_. Welcom (my dearest)\n Come bless my side.", "But _Cleopatra_ in the _Egyptian_ Sphear.", "_Pho._ I will tame\n That haughty courage, and make thee stoop too.\n\n _Cleo._ Never,\n I was born to command, and will dye so.", "_Cleo._ Contemn me not, because I kneel thus, _Cæsar_,\n I am a Queen, and coheir to this country,", "Cleopatra, _Queen of_ Ægypt. Cæsar's _Mistris._\n Arsino, Cleopatra's _Sister._\n Eros, Cleopatra's _waiting Woman._", "The King without a Partner, in full splendour,\n Thought it convenient the fair _Cleopatra_,\n (An attribute not frequent to the Climate)", "_Cleo._ Stand off: to thee alone,\n I will discover what I dare not trust\n My Sister with, _Cæsar_ is amorous,", "The Princess _Cleopatra_ (if I said\n The Queen) _Achillas_ 'twere (I hope) no treason,\n She being by her Fathers Testament", "Are to delight us: alas, you wash an _Ethiop_:\n Can _Cleopatra_, while she does remember\n Whose Daughter she is, and whose Sister? (O", "_Cleo._ Be merry Sir,\n My Brother will be proud to do you honour\n That now appears himself.\n\n _Enter_ Ptolomy, Achoreus, Achillas, Photinus, Apollodorus.", "_Cleo._ Pray you Sir, know me,\n And what I am.\n\n _Cæsar_. The greater, I more love ye,\n And you must know me too.", "(That is appointed _Cleopatra_'s Guardian\n As well as _Ptolomies_) will e're approve\n Of this rash counsel, their consent not sought for,", "_Ap._ To _Egypt_.\n\n _Cleo._ Ha! in person?\n\n _Ap._ 'Tis receiv'd\n For an undoubted truth.", "_Young_ Cleopatra _here, and her great Mind_\n _Expressed to the height, with us a Maid, and free,_\n _And how he rated her Virginitie._", "You keep your Sister, (the high-soul'd Cleopatra)\n Both close and short enough, she may not see him;\n The rest, if I may counsel, Sir--", "_Cleo._ He is no man:\n The shadow of a Greatness hangs upon him,\n And not the vertue: he is no Conquerour,", "_Enter_ Cleopatra, Arsino, Eros.\n\n _Ars._ You are so impatient.", "_Cæsar_. The matchless wealth of this Land!\n\n _Cleo._ Come, ye shall hear me.\n\n _Cæsar_. Away: let me imagine.", "_Enter_ Sceva.\n\n _Cleo._ He is my conquest now, and so I'le work him,\n The conquerour of the world will I lead captive." ], [ "(Thy Brother dead) shall willingly decree\n The Crown of _Egypt_ (that was his) to thee. [_Exeunt omnes._", "_The Scene_ Ægypt.\n\n\n\nThe principal Actors were,", "Would yield up the dominion of this head\n To any mortal power: so blind and stupid,\n To trust these base _Egyptians_, that proclaim'd", "Hath found out _Egypt_, by him yet not ruin'd:\n And _Ptolomy_, things consider'd, justly may", "But claim a priviledge, equal to the Male;\n But how much such divisions have ta'en from\n The Majesty of _Egypt_, and what factions", "_Achil._ That we are\n To enquire, and learn of you Sir: whose grave care\n For _Egypts_ happiness, and great _Ptolomies_ good,\n Hath eyes and ears in all parts.", "You are young, be provident: fix not your Empire\n Upon the Tomb of him will shake all _Egypt_,\n Whose warlike groans will raise ten thousand Spirits,", "The government of _Egypt_ and of _Nile_\n To _Cleopatra_, that has title to them,\n At least defend them from the Roman _gripe_,", "Are wont to be my Orators; turn to tears,\n You wretched and poor seeds of Sun-burnt _Egypt_,\n And now you have found the nature of a Conquerour,", "_Ach._ Great _Osiris_,\n Defend thy _Ægypt_ from such cruelty,\n And barbarous ingratitude!", "Thou awe of Nations, wherefore didst thou fall thus?\n What poor fate follow'd thee, and pluckt thee on\n To trust thy sacred life to an _Egyptian_;", "_Cæs._ Keep strong Guards, and with wary eyes (my friends)\n There is no trusting to these base _Egyptians_;", "(That is appointed _Cleopatra_'s Guardian\n As well as _Ptolomies_) will e're approve\n Of this rash counsel, their consent not sought for,", "Believe me most bountiful; be you most thankful,\n That bounty share amongst ye: if I knew\n What to send you for a present, King of _Egypt_,", "_Ap._ To _Egypt_.\n\n _Cleo._ Ha! in person?\n\n _Ap._ 'Tis receiv'd\n For an undoubted truth.", "_Dol._ The spawn of _Egypt_ flow about your Palace,\n Arm'd all: and ready to assault.", "And I will run the hazard; Fire the Palace,\n And the rich Magazines that neighbour it,\n In which the Wealth of _Egypt_ is contain'd:", "I suffer in the name) and that (in Justice)\n There is no place in _Ægypt_, where I stand,\n But that the tributary Earth is proud", "But _Cleopatra_ in the _Egyptian_ Sphear.", "_Achil._ 'Tis confest\n (My good _Achoreus_) that in these Eastern Kingdoms\n Women are not exempted from the Sceptre," ], [ "_Enter_ Cleopatra.\n\n _Ant._ The young Queen comes: give room.\n\n _Cæsar_. Welcom (my dearest)\n Come bless my side.", "_Cleo._ Take this,\n And carry it to that Lordly _Cæsar_ sent thee:", "_Cæsar._ I do not use to wait, Lady,\n Where I am, all the dores are free, and open.\n\n _Cleo._ I ghess so, by your rudeness.", "_Cleo._ Contemn me not, because I kneel thus, _Cæsar_,\n I am a Queen, and coheir to this country,", "_Enter Cæsar._\n\n _Ap._ He enters.\n\n _Cleo._ How?", "_Cleo._ Stand off: to thee alone,\n I will discover what I dare not trust\n My Sister with, _Cæsar_ is amorous,", "_Cleo._ So far as modesty,\n And majesty gives leave Sir, ye are too violent.\n\n _Cæsar_. You are too cold to my desires.", "_Enter_ Sceva.\n\n _Cleo._ He is my conquest now, and so I'le work him,\n The conquerour of the world will I lead captive.", "_Cæsar_. The matchless wealth of this Land!\n\n _Cleo._ Come, ye shall hear me.\n\n _Cæsar_. Away: let me imagine.", "Are to delight us: alas, you wash an _Ethiop_:\n Can _Cleopatra_, while she does remember\n Whose Daughter she is, and whose Sister? (O", "_Ap._ To _Egypt_.\n\n _Cleo._ Ha! in person?\n\n _Ap._ 'Tis receiv'd\n For an undoubted truth.", "_Enter_ Apollodorus.\n\n _Ap._ _Cæsar_ commends his Service to your Grace.\n\n _Cleo._ His service? what's his service?", "Has broke through all the hopes I have, and ruin'd me:\n My Sister is with _Cæsar_, in his chamber,\n All night she has been with him; and no doubt", "_Enter_ Sceva _with a Packet_, Cleopatra _in it._\n\n _Sce._ Are ye awake Sir?\n\n _Cæs._ I'th' name of Wonder.", "_Cleo._ Pray you Sir, know me,\n And what I am.\n\n _Cæsar_. The greater, I more love ye,\n And you must know me too.", "_Cæsar_. Stay.\n\n _Cleo._ I will not.\n\n _Cæsar_. I command.", "_Cleo._ It is too late; when I have found thee absolute,\n The man that Fame reports thee, and to me,\n May be I shall think better. Farewel Conquerour. [_Exit._", "_Cleo._ Command, and goe without, Sir.\n I do command thee be my slave for ever,\n And vex while I laugh at thee.", "_Cleo._ How? frown on me?\n The eyes of _Cæsar_ wrapt in storms?\n\n _Cæsar_. I am sorry:\n But let me think--", "_Cleo._ Now I am private Sir, I dare speak to ye:\n But thus low first, for as a God I honour ye.\n\n _Sce._ Lower you'l be anon." ], [ "_Photinus_, and _Achillas_, (the one an Eunuch,\n The other a base bondman) thus raign over me.\n Seize my inheritance, and leave my Brother", "He was a _Roman_, and the top of Honour;\n And howsoever this might please Great _Cæsar_,\n I told ye that the foulness of his Death,", "_Cæsar_. O my fortune!\n My lustfull folly rather! but 'tis well,\n And worthily I am made a bondsmans prey,", "But was his conquest; and he gave thee motion.\n He triumph'd three times, who durst touch his person?\n The very walls of _Rome_ bow'd to his presence,", "That did induce young _Ptolomy_, or _Photinus_,\n (To whose directions he gives up himself,\n And I hope wisely) to commit his Sister,", "Did he not beat this _Pompey_, and pursu'd him?\n Was not this great man, his great enemy?\n This Godlike vertuous man, as people held him,", "_Ach._ No more of him,\n He is not worth our thoughts: a Fugitive\n From _Pompeys_ army: and now in a danger\n When he should use his service.", "_Cæsar._ Oh _Sceva, Sceva_, see that head: see Captains,\n The head of godlike _Pompey_.", "That never heard thy name sung, but in banquets;\n And loose lascivious pleasures? to a Boy,\n That had no faith to comprehend thy greatness,", "_Sept._ Stay, _Cæsar_.\n\n _Cæs._ Who's this? the Dog, _Septimius_?\n\n _Ant._ Cut his throat.", "_Cæs._ All is but death, good _Sceva_,\n Be therefore satisfied: and now my dearest,", "_Cæsar_. The wonder of this wealth so troubles me,\n I am not well: good-night.\n\n _Sce._ I am glad ye have it:\n Now we shall stir again.", "Behold that mightiness, behold that fierceness,\n Behold that child of war, with all his glories;\n By this poor hand made breathless, here (my _Achillas_)", "Than if with Garlands Crown'd, he had been chosen\n To fall a Sacrifice before the altar\n Of the Virgin Huntress: the King, nor great _Photinus_", "In which _Lucullus_ and _Apicius_ joyn'd,\n To make a publique Feast: they at _Dirachium_\n Fought with success; but knew not to make use of", "Dear to the Gods he was, to them that fear'd him\n A fair and noble Enemy. Didst thou hate him?\n And for thy love to _Cæsar_, sought his ruine?", "_Cæsar_. I'le be my self again, and meet their furies,\n Meet, and consume their mischiefs: make some shift, _Sceva_,", "_Achil._ 'Tis _Labienus_\n _Cæsars_ Lieutenant in the wars of _Gaul_,\n And fortunate in all his undertakings:", "_Sce._ A cunning thief, call him _Septimius_, Souldiers,\n The villain that kill'd _Pompey_.\n\n _All_. How?", "_Enter_ Septimius.\n\n _Ant._ What's this fellow?\n\n _Dol._ Why, a brave fellow, if we judge men by their clothes." ], [ "He was a _Roman_, and the top of Honour;\n And howsoever this might please Great _Cæsar_,\n I told ye that the foulness of his Death,", "_Photinus_, and _Achillas_, (the one an Eunuch,\n The other a base bondman) thus raign over me.\n Seize my inheritance, and leave my Brother", "_Ars._ My Brother seiz'd on\n By the _Roman_, as thought guilty of the tumult,\n And forc'd to bear him company, as mark'd out\n For his protection or revenge.", "That did induce young _Ptolomy_, or _Photinus_,\n (To whose directions he gives up himself,\n And I hope wisely) to commit his Sister,", "(Unless they would be thought Co-partners with you)\n Will leave you to the Law: and then, _Septimius_,\n Remember there are whips.", "_Cæsar_. O my fortune!\n My lustfull folly rather! but 'tis well,\n And worthily I am made a bondsmans prey,", "Plac'd there as sacred to the Peace of _Rome_;\n I raz'd _Massilia_, in my wanton anger:\n _Petreius_ and _Afranius_ I defeated:", "Out of cold blood, and hope of gain, base lucre,\n Slew'st thine own Feeder: come not near the altar,\n Nor with thy reeking hands pollute the Sacrifice,", "Had fallen upon him, what it had been then?\n If thine own sword had touch'd his throat, what that way!\n He was thy Son in Law, there to be tainted,", "Than if with Garlands Crown'd, he had been chosen\n To fall a Sacrifice before the altar\n Of the Virgin Huntress: the King, nor great _Photinus_", "Employs me as a Property, and grown useless\n Will shake me off again; he told me so\n When I kill'd _Pompey_; nor can I hope better,", "The life and light of _Rome_, to a blind stranger,\n That honorable war ne'r taught a nobleness,\n Nor worthy circumstance shew'd what a man was,", "We have offended _Cæsar_, in our wishes,\n And no way left us to redeem his favour\n But by the head of _Pompey_.", "_Sceva._ He was basely ruin'd,\n But let the Gods be griev'd that suffer'd it,\n And be you Cæsar--", "Would serve in their own carkasses for a feast,\n How _Cæsar_ with his Javelin force'd them on\n That made the least stop, when their angry hands", "Train'd up in Villany, besides that _Cerberus_\n That _Roman_ Dog, that lick'd the blood of _Pompey_.", "But was his conquest; and he gave thee motion.\n He triumph'd three times, who durst touch his person?\n The very walls of _Rome_ bow'd to his presence,", "_Cæsar_. Alas thou art rather mad: take thy rest _Sceva_,\n Thy duty makes thee erre, but I forgive thee:", "Has broke through all the hopes I have, and ruin'd me:\n My Sister is with _Cæsar_, in his chamber,\n All night she has been with him; and no doubt", "_Ach._ No more of him,\n He is not worth our thoughts: a Fugitive\n From _Pompeys_ army: and now in a danger\n When he should use his service." ], [ "_Sce._ A cunning thief, call him _Septimius_, Souldiers,\n The villain that kill'd _Pompey_.\n\n _All_. How?", "Did he not beat this _Pompey_, and pursu'd him?\n Was not this great man, his great enemy?\n This Godlike vertuous man, as people held him,", "But that this hour to _Pompey_ is his last. [_Exit._", "Employs me as a Property, and grown useless\n Will shake me off again; he told me so\n When I kill'd _Pompey_; nor can I hope better,", "_Ant._ Is't not _Septimius_?\n\n _Sce._ Yes.\n\n _Dol._ He that kill'd _Pompey_?", "_Cæsar._ Oh _Sceva, Sceva_, see that head: see Captains,\n The head of godlike _Pompey_.", "_Pompey_ I overthrew: what did that get me?\n The slubber'd Name of an authoriz'd Enemy. [_Noise within._", "The Nobles, and the Commons lay together,\n And Pontique, Punique, and _Assyrian_ blood\n Made up one crimson Lake: which _Pompey_ seeing,", "They have rich arms, are ten to one in number,\n Which makes them think the day already won;\n And _Pompey_ being master of the Sea,", "We have offended _Cæsar_, in our wishes,\n And no way left us to redeem his favour\n But by the head of _Pompey_.", "Thou killd'st great _Pompey_; he'l kill all his kindred,\n And justifie it: nay raise up _Trophies_ to it.", "Ye are poor and open: I must tell ye roundly,\n That Man that could not recompence the Benefits,\n The great and bounteous services of _Pompey_,", "_Ach._ What's your opinion\n Of the success? I have heard, in multitudes\n Of Souldiers, and all glorious pomp of war,\n _Pompey_ is much superiour.", "The Sons of _Pompey_ are Masters of the Sea,\n And from the reliques of their scatter'd faction,\n A new head's sprung; Say I defeat all these too;", "_Ach._ No more of him,\n He is not worth our thoughts: a Fugitive\n From _Pompeys_ army: and now in a danger\n When he should use his service.", "_3 Sol._ Come, cry no more: thou hast wep't out twenty _Pompeys_.\n\n _Enter_ Photinus, Achillas.\n\n _Pho._ So penitent?", "But there's a _Rome_, a _Senate_, and a _Cæsar_,\n (Though the great _Pompey_ lean to _Ptolomy_)", "Since we are sensible this _Cæsar_ loathes us,\n And have begun our fortune with great Pompey,\n Be of my mind.", "But since these Civil jars he turn'd to _Pompey_,\n And though he followed the better Cause\n Not with the like success.", "And be right glad of what they seem to weep for,\n There are such kind of Philosophers; now do I wonder\n How he would look if _Pompey_ were alive again," ], [ "THE FALSE ONE\n\nA Tragedy\n\nby Francis Beaumont and John Fletcher\n\nEdited by Arnold Glover", "GUTENBERG EBOOK THE FALSE ONE***\n\n\nE-text prepared by Jonathan Ingram, William Flis, and the Project\nGutenberg Online Distributed Proofreading Team", "Was fashion'd to be false, wherefore should I\n That kill'd my General, and a _Roman_, one\n To whom I ow'd all nourishments of life,", "Fie, how it choaks! too little of your loyaltie,\n Your honesty, your faith, that are pure Ambers;\n I smell the rotten smell of a hired Coward,", "_Sce._ You are cozen'd,\n There be of us as be of all other Nations,\n Villains, and Knaves; 'tis not the name contains him,", "Rude valors, so I let 'em pass; rude honours:\n There is a wench yet, that I know, affects me\n And company for a King: a young plump villain,", "By a dozen of his friends, though they were touch'd in't:\n For look you, 'tis a kind of merriment,\n When we have laid by foolish modesty", "_Out of their Stories, that have oft been nam'd_\n _With glory on the Stage; what borrows he_\n _From him that wrote old_ Priam's _Tragedy,_", "_Cleo._ Shew him a glass; that false face has betrai'd me:\n That base heart wrought me--", "_Sept._ I am an altered man, altered indeed,\n And will give you cause to say I am a _Roman_.\n\n _Dol._ Rogue, I grant thee.", "Have flung the name of happy _Cæsar_ on him,\n Himself ne're won it: he is so base and covetous,\n He'l sell his sword for gold.", "H'as suffer'd under the base dross of Nature:\n Poorly delivered up his power to wealth,\n (The god of bed-rid men) taught his eyes treason", "He may recover, thy part not engag'd\n Though one most dear, when all his hopes are dead,\n To drown him, set thy foot upon his head.", "Of his descent to Hell; where shall I hide me?\n The greatest daring to a man dishonest,\n Is but a Bastard Courage, ever fainting. [_Exit._", "As it is in my power, redeem my credit,\n And live to lye and swear again in fashion,\n Oh, 'twere a master-piece! ha!--me _Cæsar_,", "_Sce._ If thou bee'st thus loving, I shall honour thee,\n But great men may dissemble, 'tis held possible,", "_All_. Was never such a man.\n\n _1 Sold._ Dear honour'd Sir,\n Let us but know your name, that we may worship ye.", "_Cæsar_. These lips be witness,\n And if I break that oath--\n\n _Cleo._ You make me blush Sir,\n And in that blush interpret me.", "_Sce._ Nay, I am a Porter,\n A strong one too, or else my sides would crack, Sir,\n And my sins were as weighty, I should scarce walk with 'em.", "I was lov'd once for swearing, and for drinking,\n And for other principal Qualities that became me,\n Now a foolish unthankful Murther has undone me," ], [ "GUTENBERG EBOOK THE FALSE ONE***\n\n\nE-text prepared by Jonathan Ingram, William Flis, and the Project\nGutenberg Online Distributed Proofreading Team", "THE FALSE ONE\n\nA Tragedy\n\nby Francis Beaumont and John Fletcher\n\nEdited by Arnold Glover", "H'as suffer'd under the base dross of Nature:\n Poorly delivered up his power to wealth,\n (The god of bed-rid men) taught his eyes treason", "Fie, how it choaks! too little of your loyaltie,\n Your honesty, your faith, that are pure Ambers;\n I smell the rotten smell of a hired Coward,", "Upon the wealthy Quarry: how round it mark'd it:\n I observ'd his words, and to what it tended;\n How greedily he ask'd from whence it came,", "And, as ye had been sold to sordid infamy,\n You fell before the Images of treasure,\n And in your soul you worship'd: I stood slighted,", "Appear'd your _Mistress_; took into your eyes\n The common-strumpet love of hated lucre,\n Courted with covetous heart, the slave of nature,", "Was fashion'd to be false, wherefore should I\n That kill'd my General, and a _Roman_, one\n To whom I ow'd all nourishments of life,", "He has flung away, and goes like one of us now:\n Walks with his hands in's pockets, poor and sorrowfull,\n And gives the best instructions.--", "There's a new Love, a handsom one, a rich one:\n One that will hug his mind: bid him make love to it:\n Tell the ambitious Broker, this will suffer--", "_Cleo._ Shew him a glass; that false face has betrai'd me:\n That base heart wrought me--", "Carries her Litter to lye soft, do you see that?\n Invites ye like a Gamester: note that impudence,\n For shame reflect upon your self, your honour,", "_Sept._ I am trusted\n With all _Photinus's_ secrets.\n\n _Ant._ There's no doubt then\n Thou wilt be false.", "You that have _Roman_ hearts, take heed of falsehood:\n Take heed of blood; take heed of foul ingratitude.\n The Gods have scarce a mercy for those mischiefs,", "But was his conquest; and he gave thee motion.\n He triumph'd three times, who durst touch his person?\n The very walls of _Rome_ bow'd to his presence,", "A thing thy Mother brought into the World;\n My Brother's and my Slave: but thy behaviour,\n Oppos'd to that, an insolent intruder", "At these years do you learn to be fantastical?\n After so many bloody fields, a Fool?\n She brings her Bed along too, she'll lose no time,", "_Sce._ Yes, he has a _Roman_ face, he has been at fair wars\n And plenteous too, and rich, his Trappings shew it.", "_1 Sold._ I heard he was altered,\n And had given away his Gold to honest uses:\n Cry'd monstrously.", "Here they take life: here they inherit honour,\n Grow fixt, and shoot up everlasting triumphs:\n Take it, and look upon thy humble servant," ], [ "Fie, how it choaks! too little of your loyaltie,\n Your honesty, your faith, that are pure Ambers;\n I smell the rotten smell of a hired Coward,", "_We of our doubts, they of their fears are eas'd._\n _I would beg further (Gentlemen) and much say_\n _In favour of our selves, them, and the Play;_", "Rude valors, so I let 'em pass; rude honours:\n There is a wench yet, that I know, affects me\n And company for a King: a young plump villain,", "_Sce._ You are cozen'd,\n There be of us as be of all other Nations,\n Villains, and Knaves; 'tis not the name contains him,", "They stink, they stink, alas poor things, contemptible.\n By all the Gods in _Egypt_, the perfumes\n That went to trimming these cloathes, cost me--", "They'll give her that she came for, and dispatch her;\n Be loyal to your self. Thou damned Woman,\n Dost thou come hither with thy flourishes,", "I had rather touch the plague, than one unworthy:\n Goe seek some Mistris that a horse may marry,\n And keep her company, she is too good for ye. [_Exit._", "All in one half hour, to make an asse of him:\n I make no doubt she will be drunk too damnably,\n And in her drink will fight, then she fits him.", "_Sce._ Thou stinkest still.\n\n _Sep._ The powdering of this head too--", "I hear their Trumpets, 'tis too late to stagger,\n Give me the head, and be you confident:\n Hail Conquerour, and head of all the world,\n Now this head's off.", "By a dozen of his friends, though they were touch'd in't:\n For look you, 'tis a kind of merriment,\n When we have laid by foolish modesty", "_Pho._ Holy trifles,\n And not to have place in designs of State;\n This sword, which Fate commands me to unsheath,", "(As not a man of fashion will wear it)\n To talk what we have done; at least to hear it;\n If meerily set down, it fires the blood,", "At these years do you learn to be fantastical?\n After so many bloody fields, a Fool?\n She brings her Bed along too, she'll lose no time,", "He may recover, thy part not engag'd\n Though one most dear, when all his hopes are dead,\n To drown him, set thy foot upon his head.", "_Ant._ I would he could abstain.\n\n _Sce._ She is a witch sure,\n And works upon him with some damn'd inchantment.", "_Enter_ Sceva _with a Packet_, Cleopatra _in it._\n\n _Sce._ Are ye awake Sir?\n\n _Cæs._ I'th' name of Wonder.", "_1 Sol._ The pleasure _Cæsar_ sleeps in, makes us miserable,\n We are forgot, our maims and dangers laugh'd at;\n He Banquets, and we beg.", "It sits cold here; what are these? three poor Souldiers?\n Both poor and lame: their misery may make 'em\n A little look upon me, and adore me,\n If these will keep me company, I am made yet.", "_Achil._ 'Tis a strange impudence,\n This fellow does put on.\n\n _Ach._ The wonder great,\n He is accepted of." ], [ "A dismal Vault, whose dreadful mouth does open\n A mile beyond the City: in this Cave\n Lye but two hours conceal'd.", "At the devotion of her Brother, whom\n She only knows her equal, makes this place\n In which she lives (though stor'd with all delights)", "Here they take life: here they inherit honour,\n Grow fixt, and shoot up everlasting triumphs:\n Take it, and look upon thy humble servant,", "Again we follow'd; but got near the Sea;\n On which his Navy anchor'd; in one hand\n Holding a Scroll he had above the waves,", "Where thou canst meet with nothing but thy conscience,\n And that in all the shapes of all thy vill[anie]s\n Attend thee still, where bruit Beasts will abhor thee,", "In _Germany_, and _Gaul_, and _Britanny_\n When every night with pleasure I set down\n What the day ministred! The sleep came sweetly:", "It sits cold here; what are these? three poor Souldiers?\n Both poor and lame: their misery may make 'em\n A little look upon me, and adore me,\n If these will keep me company, I am made yet.", "I come home crown'd an honourable Rebel.\n I hear the Noise still, and it still comes nearer;\n Are the Guards fast? Who waits there?", "Nor labour'd through no showres of darts, and lances:\n Yet here he found a fort, that faced him strongly,\n An inward war: he was his Grand-sires Guest;", "Or corn not yet half ripe, and that a Banquet:\n They still besiege him, being ambitious only\n To come to blows, and let their swords determine", "At these years do you learn to be fantastical?\n After so many bloody fields, a Fool?\n She brings her Bed along too, she'll lose no time,", "Such plenty of all delicates are brought in,\n As if the place on which they are entrench'd,\n Were not a Camp of Souldiers, but _Rome_,", "He has flung away, and goes like one of us now:\n Walks with his hands in's pockets, poor and sorrowfull,\n And gives the best instructions.--", "As though I were a Rascal, no man knows me,\n No Eye looks after; as I were a Plague\n Their doors shut close against me; and I wondred at", "_Sep._ I'le cloth ye,\n Ye are lame, and then provide good lodging for ye:\n And at my Table, where no want shall meet ye.\n\n _Enter_ Sceva.", "PROLOGUE.", "Carries her Litter to lye soft, do you see that?\n Invites ye like a Gamester: note that impudence,\n For shame reflect upon your self, your honour,", "_Pho._ Thou lov'st me and I thank thee. [_Exeunt._\n\n\n\nSCENA II.", "_All things take life; and all things grow._\n _A thousand wealthy Treasures still,_\n _To do him service at his will_\n _Follow his rising Flood, and pour_", "By a dozen of his friends, though they were touch'd in't:\n For look you, 'tis a kind of merriment,\n When we have laid by foolish modesty" ], [ "(That is appointed _Cleopatra_'s Guardian\n As well as _Ptolomies_) will e're approve\n Of this rash counsel, their consent not sought for,", "That did induce young _Ptolomy_, or _Photinus_,\n (To whose directions he gives up himself,\n And I hope wisely) to commit his Sister,", "_Pho._ Well said _Septimius_,\n Thou now art right again.\n\n _Achil._ But what course take we\n For the Princess _Cleopatra_?", "_Ap._ His army routed: he fled and pursu'd\n By the all-conquering Cæsar.\n\n _Cleo._ Whither bends he?", "You keep your Sister, (the high-soul'd Cleopatra)\n Both close and short enough, she may not see him;\n The rest, if I may counsel, Sir--", "[_Exit._\n\n _Sep._ The King will yet consider.\n\n _Enter_ Ptolomy, Achoreus, Photinus.", "_Cleo._ Be merry Sir,\n My Brother will be proud to do you honour\n That now appears himself.\n\n _Enter_ Ptolomy, Achoreus, Achillas, Photinus, Apollodorus.", "SCENA III.\n\n _Enter_ Ptolomy, Achoreus, Photinus, Achillas.", "_Cæsar_. He comes: and I\n Shall do as I find cause.\n\n _Enter_ Ptolomy, Achoreus, Apollodorus.", "Worthy the honour that he justly holds\n In being Priest to _Isis_: But alas,\n What in a man, sequester'd from the world,", "_Ptol._ Curse on you all, ye are wretches.\n\n _Pho._ 'Twas providently done, _Achillas_.\n\n _Achil._ Pardon me.", "_Pho._ Do not shun me, _Cæsar_,\n From kingly _Ptolomy_ I bring this present,", "Offer'd him his protection, but _Pompey_\n Relying on his Benefits, and your Faith,\n Hath chosen _Ægypt_ for his Sanctuary,", "_Cleo._ Stand off: to thee alone,\n I will discover what I dare not trust\n My Sister with, _Cæsar_ is amorous,", "The Princess _Cleopatra_ (if I said\n The Queen) _Achillas_ 'twere (I hope) no treason,\n She being by her Fathers Testament", "But _Cleopatra_ in the _Egyptian_ Sphear.", "_Cæsar_. The matchless wealth of this Land!\n\n _Cleo._ Come, ye shall hear me.\n\n _Cæsar_. Away: let me imagine.", "SCENE IV.\n\n _Enter (severally)_ Arsino, Eros, Cleopatra.\n\n _Ars._ We are lost.", "Achoreus, _an honest Counsellor, Priest of_ Isis.\n Photinus, _a Politician, minion to_ Ptolomy.", "_ACTUS QUARTUS. SCENA PRIMA._\n\n _Enter_ Ptolomy, Photinus, Achillas, Achoreus." ], [ "_Cleo._ Take this,\n And carry it to that Lordly _Cæsar_ sent thee:", "_Cleo._ It is too late; when I have found thee absolute,\n The man that Fame reports thee, and to me,\n May be I shall think better. Farewel Conquerour. [_Exit._", "_Enter_ Cleopatra.\n\n _Ant._ The young Queen comes: give room.\n\n _Cæsar_. Welcom (my dearest)\n Come bless my side.", "Are to delight us: alas, you wash an _Ethiop_:\n Can _Cleopatra_, while she does remember\n Whose Daughter she is, and whose Sister? (O", "_Ap._ To _Egypt_.\n\n _Cleo._ Ha! in person?\n\n _Ap._ 'Tis receiv'd\n For an undoubted truth.", "_Cleo._ Stand off: to thee alone,\n I will discover what I dare not trust\n My Sister with, _Cæsar_ is amorous,", "_Enter_ Sceva _with a Packet_, Cleopatra _in it._\n\n _Sce._ Are ye awake Sir?\n\n _Cæs._ I'th' name of Wonder.", "They'll give her that she came for, and dispatch her;\n Be loyal to your self. Thou damned Woman,\n Dost thou come hither with thy flourishes,", "_Pho._ Well said _Septimius_,\n Thou now art right again.\n\n _Achil._ But what course take we\n For the Princess _Cleopatra_?", "_Enter_ Sceva.\n\n _Cleo._ He is my conquest now, and so I'le work him,\n The conquerour of the world will I lead captive.", "But _Cleopatra_ in the _Egyptian_ Sphear.", "You keep your Sister, (the high-soul'd Cleopatra)\n Both close and short enough, she may not see him;\n The rest, if I may counsel, Sir--", "_Cleo._ Command, and goe without, Sir.\n I do command thee be my slave for ever,\n And vex while I laugh at thee.", "_Cleo._ To prevent thee,\n In that I am the Mistress of my Fate;\n So hope I of my sister to confirm it.\n I spit at thee, and scorn thee.", "_Cleo._ Weep not, _Arsino_, common women do so,\n Nor lose a tear for him, it cannot help him;\n But study to dye nobly.", "_Cleo._ Well,\n I shall yet find a time to tell thee _Cæsar_,\n Thou hast wrong'd her Love: the rest here.", "Has broke through all the hopes I have, and ruin'd me:\n My Sister is with _Cæsar_, in his chamber,\n All night she has been with him; and no doubt", "_Cleo._ Contemn me not, because I kneel thus, _Cæsar_,\n I am a Queen, and coheir to this country,", "_Pho._ Would that were the worst, Sir,\n That will repair it self: but I fear mainly,\n She has made her peace with _Cæsar_.", "_Enter_ Cleopatra." ], [ "_Cæsar._ Oh _Sceva, Sceva_, see that head: see Captains,\n The head of godlike _Pompey_.", "Did he not beat this _Pompey_, and pursu'd him?\n Was not this great man, his great enemy?\n This Godlike vertuous man, as people held him,", "_Sce._ A cunning thief, call him _Septimius_, Souldiers,\n The villain that kill'd _Pompey_.\n\n _All_. How?", "Thou killd'st great _Pompey_; he'l kill all his kindred,\n And justifie it: nay raise up _Trophies_ to it.", "We have offended _Cæsar_, in our wishes,\n And no way left us to redeem his favour\n But by the head of _Pompey_.", "_Cæs._ Good, what follows?\n\n _Sept._ Fall me fairly on their throats,\n Their heads cut off and shorn, the multitude\n Will easily disperse.", "Employs me as a Property, and grown useless\n Will shake me off again; he told me so\n When I kill'd _Pompey_; nor can I hope better,", "_Ant._ Is't not _Septimius_?\n\n _Sce._ Yes.\n\n _Dol._ He that kill'd _Pompey_?", "The Nobles, and the Commons lay together,\n And Pontique, Punique, and _Assyrian_ blood\n Made up one crimson Lake: which _Pompey_ seeing,", "He was a _Roman_, and the top of Honour;\n And howsoever this might please Great _Cæsar_,\n I told ye that the foulness of his Death,", "_Sce._ Furies plague 'em,\n They had too fair an end to dye like Souldiers,\n _Pompey_ fell by the Sword, the Cross or Halter\n Should have dispatch'd them.", "Till _Nilus_ raise his seven heads and devour ye;\n My grief has stopt the rest: when _Pompey_ liv'd", "The Sons of _Pompey_ are Masters of the Sea,\n And from the reliques of their scatter'd faction,\n A new head's sprung; Say I defeat all these too;", "But that this hour to _Pompey_ is his last. [_Exit._", "Can you imagine, that _Romes_ glorious Senate\n (To whose charge, by the will of the dead King\n This government was deliver'd) or great _Pompey_,", "I hear their Trumpets, 'tis too late to stagger,\n Give me the head, and be you confident:\n Hail Conquerour, and head of all the world,\n Now this head's off.", "_Pho._ You have done well; and 'tis done, see _Achillas_,\n And in his hand the head.", "_Pompey_ I overthrew: what did that get me?\n The slubber'd Name of an authoriz'd Enemy. [_Noise within._", "_Ach._ What's your opinion\n Of the success? I have heard, in multitudes\n Of Souldiers, and all glorious pomp of war,\n _Pompey_ is much superiour.", "He must invade the Laws of _Rome_, and give\n A period to the liberty of the world.\n Then fell the _Lepidi_, and the bold _Corvini_," ], [ "Did he not beat this _Pompey_, and pursu'd him?\n Was not this great man, his great enemy?\n This Godlike vertuous man, as people held him,", "_Sce._ A cunning thief, call him _Septimius_, Souldiers,\n The villain that kill'd _Pompey_.\n\n _All_. How?", "But that this hour to _Pompey_ is his last. [_Exit._", "Employs me as a Property, and grown useless\n Will shake me off again; he told me so\n When I kill'd _Pompey_; nor can I hope better,", "_Cæsar._ Oh _Sceva, Sceva_, see that head: see Captains,\n The head of godlike _Pompey_.", "They have rich arms, are ten to one in number,\n Which makes them think the day already won;\n And _Pompey_ being master of the Sea,", "_Pompey_ I overthrew: what did that get me?\n The slubber'd Name of an authoriz'd Enemy. [_Noise within._", "But there's a _Rome_, a _Senate_, and a _Cæsar_,\n (Though the great _Pompey_ lean to _Ptolomy_)", "_Ach._ No more of him,\n He is not worth our thoughts: a Fugitive\n From _Pompeys_ army: and now in a danger\n When he should use his service.", "Ye are poor and open: I must tell ye roundly,\n That Man that could not recompence the Benefits,\n The great and bounteous services of _Pompey_,", "_Ach._ What's your opinion\n Of the success? I have heard, in multitudes\n Of Souldiers, and all glorious pomp of war,\n _Pompey_ is much superiour.", "_Ant._ Is't not _Septimius_?\n\n _Sce._ Yes.\n\n _Dol._ He that kill'd _Pompey_?", "The Nobles, and the Commons lay together,\n And Pontique, Punique, and _Assyrian_ blood\n Made up one crimson Lake: which _Pompey_ seeing,", "We have offended _Cæsar_, in our wishes,\n And no way left us to redeem his favour\n But by the head of _Pompey_.", "The Sons of _Pompey_ are Masters of the Sea,\n And from the reliques of their scatter'd faction,\n A new head's sprung; Say I defeat all these too;", "_Ant._ Dar'st thou speak, and remember\n There was a _Pompey_?", "Thou killd'st great _Pompey_; he'l kill all his kindred,\n And justifie it: nay raise up _Trophies_ to it.", "_3 Sol._ Come, cry no more: thou hast wep't out twenty _Pompeys_.\n\n _Enter_ Photinus, Achillas.\n\n _Pho._ So penitent?", "Can you imagine, that _Romes_ glorious Senate\n (To whose charge, by the will of the dead King\n This government was deliver'd) or great _Pompey_,", "What was not _Pompeys_, while the wars endured,\n The Conquerour will not challenge; by all the world\n Forsaken and despis'd, your gentle Guardian" ], [ "SCENE III.\n\n _Enter_ Septimius.", "_Sept._ Stay, _Cæsar_.\n\n _Cæs._ Who's this? the Dog, _Septimius_?\n\n _Ant._ Cut his throat.", "_Enter_ Septimius.", "_Enter_ Septimius.\n\n _1 Sold._ He spares us that labour,\n For here he comes.", "_Ant._ Is't not _Septimius_?\n\n _Sce._ Yes.\n\n _Dol._ He that kill'd _Pompey_?", "_Enter_ Septimius.\n\n _Ant._ What's this fellow?\n\n _Dol._ Why, a brave fellow, if we judge men by their clothes.", "_Sept_. May it please your Lordship?\n\n _Pho._ O _Septimius_!\n\n _Sept._ Your [Lordship] knows my wrongs.", "_Sce._ A cunning thief, call him _Septimius_, Souldiers,\n The villain that kill'd _Pompey_.\n\n _All_. How?", "_Achil._ It is not that: it may be some disgrace\n That he takes heavily; and would be cherish'd,\n _Septimius_ ever scorn'd to shew such weakness.", "_Ach._ No _Septimius_,\n To be a _Roman_ were an honour to you,\n Did not your manners, and your life take from it,", "_ACTUS SECUNDUS. SCENA PRIMA._\n\n _Enter_ Septimius, _with a head_, Achillas, _Guard._", "Arm'd in the red _Pharsalian_ fields, _Septimius_,\n Where killing was in grace, and wounds were glorious,\n Where Kings were fair competitours for honour,", "_Sept._ I am an altered man, altered indeed,\n And will give you cause to say I am a _Roman_.\n\n _Dol._ Rogue, I grant thee.", "_Ach._ Peace _Septimius_,\n Thy words sound more ungratefull than thy actions,\n Though sometimes safety seek an instrument", "(Unless they would be thought Co-partners with you)\n Will leave you to the Law: and then, _Septimius_,\n Remember there are whips.", "_Pho._ One thing I charge thee, see me no more, _Septimius_,\n Unless I send. [_Exit._", "_Sept._ Thus, _Cæsar_,\n To me alone, but bound by terrible oaths\n Not to discover it, he hath reveal'd", "_Sept._ And that the Ghosts of all those noble _Romans_\n That by thy Sword fell in this Civil War\n Expect revenge.", "_A[c]h._ What is the subject?\n Be free _Septimius_.", "_Pho._ When _Pompey_ was thy General, _Septimius_,\n Thou saidst as much to him." ], [ "_Enter_ Septimius.", "_Enter_ Septimius.\n\n _1 Sold._ He spares us that labour,\n For here he comes.", "SCENE III.\n\n _Enter_ Septimius.", "_Sept._ Stay, _Cæsar_.\n\n _Cæs._ Who's this? the Dog, _Septimius_?\n\n _Ant._ Cut his throat.", "_Ant._ Is't not _Septimius_?\n\n _Sce._ Yes.\n\n _Dol._ He that kill'd _Pompey_?", "_Enter_ Septimius.\n\n _Ant._ What's this fellow?\n\n _Dol._ Why, a brave fellow, if we judge men by their clothes.", "_Sce._ A cunning thief, call him _Septimius_, Souldiers,\n The villain that kill'd _Pompey_.\n\n _All_. How?", "_Pho._ When _Pompey_ was thy General, _Septimius_,\n Thou saidst as much to him.", "_Ach._ No _Septimius_,\n To be a _Roman_ were an honour to you,\n Did not your manners, and your life take from it,", "_Sept_. May it please your Lordship?\n\n _Pho._ O _Septimius_!\n\n _Sept._ Your [Lordship] knows my wrongs.", "Arm'd in the red _Pharsalian_ fields, _Septimius_,\n Where killing was in grace, and wounds were glorious,\n Where Kings were fair competitours for honour,", "_Achil._ It is not that: it may be some disgrace\n That he takes heavily; and would be cherish'd,\n _Septimius_ ever scorn'd to shew such weakness.", "_ACTUS SECUNDUS. SCENA PRIMA._\n\n _Enter_ Septimius, _with a head_, Achillas, _Guard._", "_Sept._ I am an altered man, altered indeed,\n And will give you cause to say I am a _Roman_.\n\n _Dol._ Rogue, I grant thee.", "(Unless they would be thought Co-partners with you)\n Will leave you to the Law: and then, _Septimius_,\n Remember there are whips.", "_Ach._ Peace _Septimius_,\n Thy words sound more ungratefull than thy actions,\n Though sometimes safety seek an instrument", "_Achil._ Thou shalt have all:\n And do all through thy power, men shall admire thee,\n And the vices of _Septimius_ shall turn vertues.", "_3 Sold._ And I too: look'd upon him, and observ'd it,\n He's the strangest _Septimus_ now--", "_Sept._ Thus, _Cæsar_,\n To me alone, but bound by terrible oaths\n Not to discover it, he hath reveal'd", "_A[c]h._ What is the subject?\n Be free _Septimius_." ], [ "_Cleo._ Take this,\n And carry it to that Lordly _Cæsar_ sent thee:", "_Enter_ Cleopatra.\n\n _Ant._ The young Queen comes: give room.\n\n _Cæsar_. Welcom (my dearest)\n Come bless my side.", "_Enter Cæsar._\n\n _Ap._ He enters.\n\n _Cleo._ How?", "_Enter_ Sceva _with a Packet_, Cleopatra _in it._\n\n _Sce._ Are ye awake Sir?\n\n _Cæs._ I'th' name of Wonder.", "_Cleo._ Stand off: to thee alone,\n I will discover what I dare not trust\n My Sister with, _Cæsar_ is amorous,", "_Cæsar._ I do not use to wait, Lady,\n Where I am, all the dores are free, and open.\n\n _Cleo._ I ghess so, by your rudeness.", "_Ap._ To _Egypt_.\n\n _Cleo._ Ha! in person?\n\n _Ap._ 'Tis receiv'd\n For an undoubted truth.", "_Cleo._ Contemn me not, because I kneel thus, _Cæsar_,\n I am a Queen, and coheir to this country,", "_Enter_ Sceva.\n\n _Cleo._ He is my conquest now, and so I'le work him,\n The conquerour of the world will I lead captive.", "_Cæsar_. The matchless wealth of this Land!\n\n _Cleo._ Come, ye shall hear me.\n\n _Cæsar_. Away: let me imagine.", "_Enter_ Cleopatra.", "_Enter_ Apollodorus.\n\n _Ap._ _Cæsar_ commends his Service to your Grace.\n\n _Cleo._ His service? what's his service?", "_Cleo._ So far as modesty,\n And majesty gives leave Sir, ye are too violent.\n\n _Cæsar_. You are too cold to my desires.", "_Cleo._ It is too late; when I have found thee absolute,\n The man that Fame reports thee, and to me,\n May be I shall think better. Farewel Conquerour. [_Exit._", "The King without a Partner, in full splendour,\n Thought it convenient the fair _Cleopatra_,\n (An attribute not frequent to the Climate)", "_Cæsar_. He comes: and I\n Shall do as I find cause.\n\n _Enter_ Ptolomy, Achoreus, Apollodorus.", "Has broke through all the hopes I have, and ruin'd me:\n My Sister is with _Cæsar_, in his chamber,\n All night she has been with him; and no doubt", "_Cleo._ How? frown on me?\n The eyes of _Cæsar_ wrapt in storms?\n\n _Cæsar_. I am sorry:\n But let me think--", "Are to delight us: alas, you wash an _Ethiop_:\n Can _Cleopatra_, while she does remember\n Whose Daughter she is, and whose Sister? (O", "_Cleo._ Be merry Sir,\n My Brother will be proud to do you honour\n That now appears himself.\n\n _Enter_ Ptolomy, Achoreus, Achillas, Photinus, Apollodorus." ], [ "_Achil._ The deed is bloody\n If we conclude in _Ptolomies_ death.\n\n _Pho._ The better,\n The globe of Empire must be so manur'd.", "Hath found out _Egypt_, by him yet not ruin'd:\n And _Ptolomy_, things consider'd, justly may", "_Ptol._ We give up\n Our absolute power to thee: dispose of it\n As reason shall direct thee.", "That did induce young _Ptolomy_, or _Photinus_,\n (To whose directions he gives up himself,\n And I hope wisely) to commit his Sister,", "_Enter_ Achillas, _and Souldiers, with the Body of_ Ptolomy.\n\n _Pho._ The King dead? this is a fair entrance to\n Our future happiness.", "_Ptol._ Curse on you all, ye are wretches.\n\n _Pho._ 'Twas providently done, _Achillas_.\n\n _Achil._ Pardon me.", "Thou awe of Nations, wherefore didst thou fall thus?\n What poor fate follow'd thee, and pluckt thee on\n To trust thy sacred life to an _Egyptian_;", "_Ptol._ Stay come no nearer,\n Me thinks I feel the very earth shake under me,\n I do remember him, he was my guardian,", "Upon that Soveraignty thou shouldst bow to.\n If in the Gulph of base ingratitude,\n All loyalty to _Ptolomy_ the King", "Julius Cæsar, _Emperour of_ Rome.\n Ptolomy, _King of_ Ægypt.", "_Achil._ That we are\n To enquire, and learn of you Sir: whose grave care\n For _Egypts_ happiness, and great _Ptolomies_ good,\n Hath eyes and ears in all parts.", "Are wont to be my Orators; turn to tears,\n You wretched and poor seeds of Sun-burnt _Egypt_,\n And now you have found the nature of a Conquerour,", "Till he may recollect his scattered powers,\n And try a second day: now _Ptolomy_,\n Though he appear not like that glorious thing", "_Achil._ What eye\n Will look upon King _Ptolomy_? if they do look,\n It must be in scorn:", "_ACTUS QUARTUS. SCENA PRIMA._\n\n _Enter_ Ptolomy, Photinus, Achillas, Achoreus.", "_Cæsar_. He comes: and I\n Shall do as I find cause.\n\n _Enter_ Ptolomy, Achoreus, Apollodorus.", "_Lab._ May the gods\n (As you intend) protect you. [_Exit._\n\n _Ptol._ Sit: sit all,\n It is my pleasure: your advice, and freely.", "[_Exit._\n\n _Sep._ The King will yet consider.\n\n _Enter_ Ptolomy, Achoreus, Photinus.", "That did possess 'em: _Cæsar, Ptolomy_,\n (Now I am steel'd) to me are empty names\n Esteem'd as _Pompeys_ was.", "_Ptol._ Do all;\n For in thy faithful service rests my safety. [_Exeunt._\n\n\n\nSCENE II." ], [ "(Thy Brother dead) shall willingly decree\n The Crown of _Egypt_ (that was his) to thee. [_Exeunt omnes._", "_Cleo._ Be merry Sir,\n My Brother will be proud to do you honour\n That now appears himself.\n\n _Enter_ Ptolomy, Achoreus, Achillas, Photinus, Apollodorus.", "_Enter_ Achillas, _and Souldiers, with the Body of_ Ptolomy.\n\n _Pho._ The King dead? this is a fair entrance to\n Our future happiness.", "(That is appointed _Cleopatra_'s Guardian\n As well as _Ptolomies_) will e're approve\n Of this rash counsel, their consent not sought for,", "_Cæsar_. He comes: and I\n Shall do as I find cause.\n\n _Enter_ Ptolomy, Achoreus, Apollodorus.", "_Achil._ The deed is bloody\n If we conclude in _Ptolomies_ death.\n\n _Pho._ The better,\n The globe of Empire must be so manur'd.", "Hath found out _Egypt_, by him yet not ruin'd:\n And _Ptolomy_, things consider'd, justly may", "[_Exit._\n\n _Sep._ The King will yet consider.\n\n _Enter_ Ptolomy, Achoreus, Photinus.", "_Cleo._ Weep not, _Arsino_, common women do so,\n Nor lose a tear for him, it cannot help him;\n But study to dye nobly.", "_Achil._ That we are\n To enquire, and learn of you Sir: whose grave care\n For _Egypts_ happiness, and great _Ptolomies_ good,\n Hath eyes and ears in all parts.", "_Pho._ Well said _Septimius_,\n Thou now art right again.\n\n _Achil._ But what course take we\n For the Princess _Cleopatra_?", "Would yield up the dominion of this head\n To any mortal power: so blind and stupid,\n To trust these base _Egyptians_, that proclaim'd", "_Ptol._ To say I grieve his fortune\n As much as if the Crown I wear (his gift)\n Were ravish'd from me, is a holy truth,", "_ACTUS QUARTUS. SCENA PRIMA._\n\n _Enter_ Ptolomy, Photinus, Achillas, Achoreus.", "_Pho._ Now thou singst sweetly:\n And _Ptolomy_ shall crown thee for thy service.", "Are wont to be my Orators; turn to tears,\n You wretched and poor seeds of Sun-burnt _Egypt_,\n And now you have found the nature of a Conquerour,", "SCENA III.\n\n _Enter_ Ptolomy, Achoreus, Photinus, Achillas.", "_Cleo._ It is too late; when I have found thee absolute,\n The man that Fame reports thee, and to me,\n May be I shall think better. Farewel Conquerour. [_Exit._", "But _Cleopatra_ in the _Egyptian_ Sphear.", "_Achil._ What eye\n Will look upon King _Ptolomy_? if they do look,\n It must be in scorn:" ] ]

[ "At the beginning of the story, who was the ruler of the kingdom?", "Who was the Roman officer that betrayed Pompey the Great?", "How did Sir Walter Raleigh die?", "Who has been suggested for the model for Septimius?", "Why might Septimius be perceived as a wreak prop on which to mount drama?", "What other play was influenced by Shakespeare's Antony Amber Cleopatra?", "How does material in The False One differ from that in Antony and Cleopatra?", "Who was placed in sole position of the crown after the downfall of Ptolemy XIII?", "Where is the play Antony and Cleopatra set?", "As of 48 BC what battle has not occured yet?", "Who is Cleopatra to Pharaoh Ptolemy XIII?", "Who rules Egypt during this time?", "How does Cleopatra deliver herself to Caesar?", "Who was Lucius?", "What was Lucius responsible for? ", "Pompey represents who in this interpretation?", "What Shakespeare work most influenced The False One?", "The False One is dominated by what kind of material?", "What keeps the play from cohering into an effective dramatic whole?", "What is the setting? ", "Who did Pharoah Ptolemy XIII sequester? ", "Who does Cleopatra have herself delivered to? ", "Who decapitated Pompey the Great? ", "Who does Pompey represent? ", "Who does Septimius represent? ", "What was the portrayal of Septimius modeled on? ", "How is Cleopatra delivered to Caesar? ", "Who deposed of Ptolemy?", "Who is in sole possession of the Egyptian crown after Ptolemy's death? " ]

[ [ "Pharaoh Ptolemy XIII", "Pharaoh Ptulemy XIII" ], [ "Lucius Septimius ", "Lucius Septimius" ], [ "Execution", "Executed" ], [ "Shakespeare's Enobarbus", "Shakespeare's Enobarbus" ], [ "He lacks redeeming or sympathetic qualities.", "Because he is portrayed as one who lacks redeem and sympathy." ], [ "The False One", "The False One" ], [ "It's more political. ", "It has more political material." ], [ "Cleopatra", "Cleopatra" ], [ "Egypt", "Egypt" ], [ "The Battle Of Pharsalia has not occured yet. ", "Battle of Pharsalia" ], [ "She is is sister, wife and queen. ", "A sister, wife, and queen." ], [ "Pharaoh Ptolemy XIII rules Egypt. ", "Ptolemy XIII" ], [ "She does so enclosed in a \"packet.\"", "Enclosed in a packet" ], [ "He was a Roman officer. ", "A Roman Officer" ], [ "He was responsible for betraying, murdering and decapitating Pompey the Great.", "The murder of Pompey" ], [ "He represents Sir Walter Raleigh. ", "Sir Walter Raleigh" ], [ "Antony and Cleopatra influence The False One heavily. ", "Shakespeare's Antony and Cleopatra" ], [ "It is dominated by political material. ", "Political" ], [ "The split focus between Cleopatra, Ceasar and Septimus. ", "The split in the play's focus among the characters. " ], [ "Egypt in 48 BC", "Egypt" ], [ "Cleopatra", "Cleopatra" ], [ "Ceasar", "Caesar" ], [ "Lucius Septimius", "Lucius Septimius" ], [ "Sir Walter Raleigh", "Sir Walter Raleigh" ], [ "Sir Lewis Stukeley", "Sir Lewis Stukeley" ], [ "Shakespeare's Enobarbus", "Sir Lewis Stukeley" ], [ "In a packet", "Enclosed in a \"packet\"" ], [ "Caesar", "Caesar" ], [ "Cleopatra", "Cleopatra" ] ]

[ [ "neighboring ranches. The people hated the Government so bitterly that\nthey were overjoyed to furnish assistance to the rebels. Demetrio's\nmen, therefore, were peacefully waiting for the complete recovery of", "Demetrio's wound had already healed. They began to discuss various\nprojects to go northward where, according to rumor, the rebels had\nbeaten the Federal troops all along the line.", "Demetrio Macias rode at the head of his men; behind him the members of\nhis staff: Colonel Anastasio Montanez, Lieutenant-Colonel Pancracio,", "Suddenly, Demetrio finds himself alone. Bullets whiz past his ears like\nhail. He dismounts and crawls over the rocks, until he finds a parapet:", "\"What do you say, boys?\" Demetrio asked them as soon as the old man had\ndisappeared.\n\n\"To hell with the mochos! We'll kill every blasted one of them!\" they\ncried in unison.", "Demetrio, standing like a furious bull in the middle of the arena, cast\nfierce glances at all the bystanders, Luis Cervantes, Anastasio,\nManteca, and the others.", "Bending over them, the rebels stripped those among the soldiers who\nwere best clad, laughing and joking as they despoiled them. Brushing\nback his long hair, that had fallen over his sweating forehead and\ncovered his eyes, Demetrio said:", "A curse broke from Demetrio's parched lips.\n\n\"Fire at 'em. Shoot any man who runs away!\"\n\n\"Storm the hill!\" he thundered like a wild beast.", "Venancio's shout of protest was drowned out in the loud laughter of the\nothers. Demetrio, looking pale and sallow, motioned for silence. Then,\nplaintively:", "Now it was Demetrio's men who screamed insults. Manteca, his smooth\nface swollen in exertion, yelled his lungs out. Pancracio roared, the", "Demetrio's men camped in a corral.\n\n\"Do you remember Camilla?\" Demetrio asked with a sigh as he settled on\nhis back on the manure pile where the rest were already stretched out.", "\"Viva Demetrio Macias,\" they all shouted.", "Demetrio smiles and without further delay calls to his men to come in.\nLike hungry dogs who have sniffed their meat, the mob bursts in,", "Demetrio buckled his cartridge belt about his waist and picked up his\nrifle. He was tall and well built, with a sanguine face and beardless", "On the day General Natera began his advance against the town of\nZacatecas, Demetrio with a hundred men went to meet him at Fresnillo.\n\nThe leader received him cordially.", "Demetrio shook his bead.\n\n\"You wouldn't do that!\"\n\n\"Why not? What are we staying on for? ... What cause are we defending\nnow?\"", "When Demetrio announces that he will not allow looting and orders them\nto disband, the mob, disconsolate, obeys him, and soon scatters; but", "The enthusiasm and rejoicing were general. Demetrio's friends, in the\nexcitement of drunkenness, offered their services. Demetrio was so", "For a second, Demetrio glanced at the soldiers' black coats hanging on\nthe wall, then at his own men, thick on the church tower behind the\niron rail. He smiled with satisfaction and turning to his men said:", "The enemy scatter in all directions, pursuing the few fugitives hiding\nin the brush. Demetrio aims; he does not waste a single shot." ], [ "Once more Camilla glanced adoringly at Luis Cervantes' radiant, clean\nface; at his glaucous, soft eyes, his cheeks pink and polished as a", "Camilla continued to cross-question him with such familiarity that she\nsuddenly found herself addressing him intimately, in the singular tu.\nAbsorbed in his own thoughts, Luis Cervantes had ceased listening to\nher. He thought:", "The more distrait and indifferent Luis Cervantes grew, the bolder\nCamilla. At last, she said: \"Listen to me, you nice young fellow, I", "\"Camilla? What girl do you mean, Demetrio?\"\n\n\"The girl that used to feed me up there at the ranch!\"", "\"What's your name?\" he asked.\n\n\"Camilla.\"\n\n\"Ah, there's a lovely name! And the girl that bears it, lovelier still!\"", "\"I'll tell you, War Paint.... It's funny, but I'm beginning to fall for\nhim.... Would you believe it!\" Camilla whispered back.", "\"Liar!\" Camilla said, her face transfigured with joy. \"Suppose I hadn't\ncome after you?\"\n\n\"I intended to say good-bye to you at the dance this evening.\"", "\"Of course!\" she replied.\n\nThey went on. The valley was lost in darkness; stars came out. Demetrio\nput his arm around Camilla's waist amorously and whispered in her ear.", "At sundown, Camilla went to the river to fetch water as usual. Luis\nCervantes, walking down the same trail, met her. Camilla felt her", "That evening, there was much merrymaking at the dance, and a great\nquantity of mezcal was drunk. \"I miss Camilla,\" said Demetrio in a loud\nvoice. Everybody looked about for Camilla.", "\"Why do you say that, Camilla? You've been extremely kind to me; why,\nyou've been more than a friend, you've taken care of me as if you were", "Camilla's tongue clove to her mouth, heavy and damp as a rag; she could\nnot utter a word. A blush suffused her cheeks, turning them red as", "\"I think,\" Venancio expressed his opinion with great seriousness, \"that\nif Camilla woke up in the General's bed, it was just a mistake. We", "gave him rags. He was careful to avoid questioning her. Three days\nlater, Camilla reappeared, more coy and eager than ever.", "Camilla wept all night. On the morrow at dawn, she begged Demetrio to\nlet her return home.\n\n\"If you don't like me, all right,\" he answered sullenly.", "\"Why did you let them?\" Demetrio asked indolently.\n\nThe man persisted, lamenting and weeping. Luis Cervantes was about to\nthrow him out with an insult. But Camilla intervened.", "Camilla felt something rise within her breast, an empty ache that\nbecame a knot when it reached her throat; she closed her eyes fast to", "Camilla blushed. As he sought to seize her wrist, she grew frightened,\nand Picking up the empty pitcher, flew out the door.", "Utterly at a loss, Camilla could not answer. Then he burst into\nlaughter again and repeated the question. A sense of confusion came\nupon her. Disturbed, troubled, she said brokenly:", "Luis Cervantes hurried toward her with some cotton; but Camilla,\nchoking down her sobs and wiping her eyes, said hoarsely:" ], [ "Camilla continued to cross-question him with such familiarity that she\nsuddenly found herself addressing him intimately, in the singular tu.\nAbsorbed in his own thoughts, Luis Cervantes had ceased listening to\nher. He thought:", "\"Camilla? What girl do you mean, Demetrio?\"\n\n\"The girl that used to feed me up there at the ranch!\"", "The more distrait and indifferent Luis Cervantes grew, the bolder\nCamilla. At last, she said: \"Listen to me, you nice young fellow, I", "\"What's your name?\" he asked.\n\n\"Camilla.\"\n\n\"Ah, there's a lovely name! And the girl that bears it, lovelier still!\"", "\"La Adelita,\" the revolutionary song, to the settlement. Camilla, who\nhad come out when Maria Antonia shouted, could no longer control", "\"I think,\" Venancio expressed his opinion with great seriousness, \"that\nif Camilla woke up in the General's bed, it was just a mistake. We", "and work.\" Then, aside to Camilla: \"There's always more damned fools in\nthe valley than among us folk in the sierra, don't you think?\"", "Once more Camilla glanced adoringly at Luis Cervantes' radiant, clean\nface; at his glaucous, soft eyes, his cheeks pink and polished as a", "\"Why did you let them?\" Demetrio asked indolently.\n\nThe man persisted, lamenting and weeping. Luis Cervantes was about to\nthrow him out with an insult. But Camilla intervened.", "\"Why do you say that, Camilla? You've been extremely kind to me; why,\nyou've been more than a friend, you've taken care of me as if you were", "\"Give Camilla the roan mare,\" Demetrio ordered Pancracio, who was\nalready saddling the horses.\n\n\"Camilla can't go!\" said War Paint promptly.", "At sundown, Camilla went to the river to fetch water as usual. Luis\nCervantes, walking down the same trail, met her. Camilla felt her", "That evening, there was much merrymaking at the dance, and a great\nquantity of mezcal was drunk. \"I miss Camilla,\" said Demetrio in a loud\nvoice. Everybody looked about for Camilla.", "Camilla felt something rise within her breast, an empty ache that\nbecame a knot when it reached her throat; she closed her eyes fast to", "gave him rags. He was careful to avoid questioning her. Three days\nlater, Camilla reappeared, more coy and eager than ever.", "War Paint called Camilla aside.", "Luis Cervantes hurried toward her with some cotton; but Camilla,\nchoking down her sobs and wiping her eyes, said hoarsely:", "Camilla, suddenly she reached out, seized the other's hair and pulled\nwith all her might. Camilla's horse shied; Camilla, trying to brush her", "Camilla's tongue clove to her mouth, heavy and damp as a rag; she could\nnot utter a word. A blush suffused her cheeks, turning them red as", "Utterly at a loss, Camilla could not answer. Then he burst into\nlaughter again and repeated the question. A sense of confusion came\nupon her. Disturbed, troubled, she said brokenly:" ], [ "sides. Did not the sufferings of the underdogs, of the disinherited\nmasses, move him to the core? Henceforth he espoused the cause of", "\"Get those coming up from under! Los de Abajo! Get the underdogs!\" he\nscreamed.\n\nNow his fellows were exchanging rifles, laughing and making wagers on\ntheir marksmanship.", "\"As I was saying,\" Luis Cervantes resumed, \"when the revolution is\nover, everything is over. Too bad that so many men have been killed,", "\"I've been a rebel the last two months!\"\n\n\"Oh, I see! That's why you speak with such faith and enthusiasm about\nthings we all felt when we joined the revolution.\"", "\"I wanted to fight for the sacred cause of the oppressed, but you don't\nunderstand ... you cast me aside.... Very well, then, you can do as you\nplease with me!\"", "\"The revolution benefits the poor, the ignorant, all those who have\nbeen slaves all their lives, all the unhappy people who do not even", "\"You ask me why I am still a rebel? Well, the revolution is like a\nhurricane: if you're in it, you're not a man ... you're a leaf, a dead\nleaf, blown by the wind.\"", "\"How beautiful the revolution! Even in its most barbarous aspect it is\nbeautiful,\" Solis said with deep feeling. Then a vague melancholy\nseized him, and speaking low:", "\"Nonsense! Rot! What kind of doctor do you think you are? You're no\ndoctor at all. I'll wager you've already forgotten why you ever joined\nus,\" said Quail.", "His staff obeys. Monico and the ladies kiss his hands, weeping with\ngratitude. The mob in the street, talking and laughing, stands waiting\nfor the general's permission to ransack the cacique's house.", "Yes, failure! For he had never learned to appreciate exactly the\ndifference between fulminating sentences of death upon bandits in the\ncolumns of a small country newspaper and actually setting out in search", "This signal insult was destined to bear poisonous fruit. Luis Cervantes\ndetermined to play turncoat; indeed, mentally, he had already changed", "When Demetrio announces that he will not allow looting and orders them\nto disband, the mob, disconsolate, obeys him, and soon scatters; but", "\"That's nothing. We're going to do things different now. They tell me\nthat as soon as Crispin Robles enters a town he gets hold of all the", "Venancio's shout of protest was drowned out in the loud laughter of the\nothers. Demetrio, looking pale and sallow, motioned for silence. Then,\nplaintively:", "She threw away the leaf she had crumpled in her hand and covered her\nface with a corner of her apron. When she opened her eyes, Luis\nCervantes had disappeared.", "Late in the afternoon Luis Cervantes rubbed his eyes and sat up. He had\nbeen sleeping on the hard pavement, close to the trunk of a fruit tree.\nAnastasio, Pancracio and Quail slept nearby, breathing heavily.", "\"See here, brothers,\" he said, \"I spits out the truth when I sees\nsomething. I always tell the boss that if these people stick to us very", "Luis Cervantes gave himself away. His eyes shone with such an obvious\ngreed that Quail recanted and said:", "together. A week later, after his first skirmish against the rebels, he\nunderstood every rule of the game. Luis Cervantes would have taken up a" ], [ "\"I've been a rebel the last two months!\"\n\n\"Oh, I see! That's why you speak with such faith and enthusiasm about\nthings we all felt when we joined the revolution.\"", "We are not fighting to dethrone a miserable murderer, we are fighting\nagainst tyranny itself. What moves us is what men call ideals; our", "The rebels were a maddened mob, sunburnt, filthy, naked. Their high\nwide-brimmed straw hats hid their faces. The \"high hats\" came back as", "action is what men call fighting for a principle. A principle! That's\nwhy Villa and Natera and Carranza are fighting; that's why we, every\nman of us, are fighting.\"", "together. A week later, after his first skirmish against the rebels, he\nunderstood every rule of the game. Luis Cervantes would have taken up a", "should use them. That means fighting. Against whom? For whom? That is\nscarcely a matter of importance.", "revolutionists or bandits, call them what you will, were going to\ndepose the Government. Tomorrow would therefore belong wholly to them.\nA man must consequently be on their side, only on their side.", "about the strength of the assailants, he had remained extremely quiet\nand prudent; but now that they had driven the rebels back without\nallowing them a chance to fire a single shot, he waxed bold and brave.", "\"You ask me why I am still a rebel? Well, the revolution is like a\nhurricane: if you're in it, you're not a man ... you're a leaf, a dead\nleaf, blown by the wind.\"", "\"The revolution benefits the poor, the ignorant, all those who have\nbeen slaves all their lives, all the unhappy people who do not even", "right. Do you want to know why I'm a rebel? Well, I'll tell you.", "The prisoners grew confused; they looked at each other hesitatingly,\nunable to give a prompt answer.\n\n\"They're Carranzistas,\" one of the soldiers said.", "\"Well, I'm a revolutionist, too, you know. The Government drafted me\nand I served as a private, but I managed to desert during the battle\nthe day before yesterday, and I've been walking about in search of you\nall.\"", "\"No. It's about their only pleasure after putting their bellies up as\ntargets for the enemy's bullets.\"", "Bending over them, the rebels stripped those among the soldiers who\nwere best clad, laughing and joking as they despoiled them. Brushing\nback his long hair, that had fallen over his sweating forehead and\ncovered his eyes, Demetrio said:", "Another volley and a score of soldiers hurtled down from rock to rock.\n\n\"Come out, bandits. Come out, you starved dogs!\"\n\n\"To hell with you, you corn rustlers!\"", "Republic. No--we fought to defend the sacred rights of the people\nagainst the tyranny of some vile cacique. And so, just as Villa or", "\"Get those coming up from under! Los de Abajo! Get the underdogs!\" he\nscreamed.\n\nNow his fellows were exchanging rifles, laughing and making wagers on\ntheir marksmanship.", "happy that he could scarcely speak. They were going to fight Orozco and\nhis men! At last, they would pit themselves against real men! At last", "\"I wanted to fight for the sacred cause of the oppressed, but you don't\nunderstand ... you cast me aside.... Very well, then, you can do as you\nplease with me!\"" ], [ "\"I've been a rebel the last two months!\"\n\n\"Oh, I see! That's why you speak with such faith and enthusiasm about\nthings we all felt when we joined the revolution.\"", "We are not fighting to dethrone a miserable murderer, we are fighting\nagainst tyranny itself. What moves us is what men call ideals; our", "action is what men call fighting for a principle. A principle! That's\nwhy Villa and Natera and Carranza are fighting; that's why we, every\nman of us, are fighting.\"", "The rebels were a maddened mob, sunburnt, filthy, naked. Their high\nwide-brimmed straw hats hid their faces. The \"high hats\" came back as", "together. A week later, after his first skirmish against the rebels, he\nunderstood every rule of the game. Luis Cervantes would have taken up a", "\"You ask me why I am still a rebel? Well, the revolution is like a\nhurricane: if you're in it, you're not a man ... you're a leaf, a dead\nleaf, blown by the wind.\"", "revolutionists or bandits, call them what you will, were going to\ndepose the Government. Tomorrow would therefore belong wholly to them.\nA man must consequently be on their side, only on their side.", "should use them. That means fighting. Against whom? For whom? That is\nscarcely a matter of importance.", "about the strength of the assailants, he had remained extremely quiet\nand prudent; but now that they had driven the rebels back without\nallowing them a chance to fire a single shot, he waxed bold and brave.", "\"The revolution benefits the poor, the ignorant, all those who have\nbeen slaves all their lives, all the unhappy people who do not even", "right. Do you want to know why I'm a rebel? Well, I'll tell you.", "\"No. It's about their only pleasure after putting their bellies up as\ntargets for the enemy's bullets.\"", "\"Well, I'm a revolutionist, too, you know. The Government drafted me\nand I served as a private, but I managed to desert during the battle\nthe day before yesterday, and I've been walking about in search of you\nall.\"", "Yes, failure! For he had never learned to appreciate exactly the\ndifference between fulminating sentences of death upon bandits in the\ncolumns of a small country newspaper and actually setting out in search", "\"I wanted to fight for the sacred cause of the oppressed, but you don't\nunderstand ... you cast me aside.... Very well, then, you can do as you\nplease with me!\"", "happy that he could scarcely speak. They were going to fight Orozco and\nhis men! At last, they would pit themselves against real men! At last", "\"As I was saying,\" Luis Cervantes resumed, \"when the revolution is\nover, everything is over. Too bad that so many men have been killed,", "them, saying, \"Run for your lives.\" It was all crystal clear. Even his\nnoble-spirited horse, accustomed to battle, sought to sweep back on its", "Another volley and a score of soldiers hurtled down from rock to rock.\n\n\"Come out, bandits. Come out, you starved dogs!\"\n\n\"To hell with you, you corn rustlers!\"", "Bending over them, the rebels stripped those among the soldiers who\nwere best clad, laughing and joking as they despoiled them. Brushing\nback his long hair, that had fallen over his sweating forehead and\ncovered his eyes, Demetrio said:" ], [ "At the foot of a hollow, sumptuous and huge as the portico of an old\ncathedral, Demetrio Macias, his eyes leveled in an eternal glance,\ncontinues to point the barrel of his gun.", "His famous marksmanship fills him with joy. Where he settles his\nglance, he settles a bullet. He loads his gun once more ... takes\naim....", "Demetrio Macias smiles slyly. \"Are friends,\" he asked, \"usually\nwelcomed gun in hand?\"", "Demetrio Macias' men grew silent for a moment. They believed they heard\nthe familiar rumor of firing in the distance. A few minutes elapsed but\nthe sound was not repeated.", "\"Demetrio Macias!\" the sergeant cried as he stepped back in terror.\n\nThe lieutenant stood up, silent, cold and motionless as a statue.\n\n\"Shoot them!\" the woman croaked.", "Three blows with the butt of the rifle. Three more. No answer.\nPancracio disobeys orders. He fires, smashing the lock. The door opens.", "Demetrio Macias rode at the head of his men; behind him the members of\nhis staff: Colonel Anastasio Montanez, Lieutenant-Colonel Pancracio,", "In the brush and foliage of the sierra, Demetrio Macias and his\nthreescore men slept until the halloo of the horn, blown by Pancracio\nfrom the crest of a peak, awakened them.", "He aimed at the large mirror on the opposite wall which gave back his\nwhole body in reflection. He took careful aim....\n\n\"Don't move, War Paint.\"", "\"Get those coming up from under! Los de Abajo! Get the underdogs!\" he\nscreamed.\n\nNow his fellows were exchanging rifles, laughing and making wagers on\ntheir marksmanship.", "\"A shot, you say? All right, then, hand me my gun.\"\n\nAnastasio Montanez rubbed his eyes, stretched out his arms and legs,\nand stood up lazily.", "a shot lays him low. He falls like a bull pierced in the neck by the\nmatador's sword. Motionless, his smoking gun in his hand, Demetrio\nwaits for the soldiers to withdraw.", "\"Twenty Mauser cartridges and a half yard of sausage if you let me\nspill that lad riding the bay mare. All right! Watch me.... There! See\nhim jump! Like a bloody deer.\"", "as they gave orders, and soldiers, marching at ease, were clearly\naudible. Demetrio raised his hand; the locks of rifles clicked. \"Fire!\"\nhe cried tensely.", "A loud volley of rifle shots rang out, deafening them. Demetrio's horse\nreared, staggered on its hind legs, bent its forelegs, and fell to the", "On the morrow, casualties were reported. Always a few dead. An old\nprostitute was found with a bullet through her stomach; two of Colonel\nMacias' new men lay in the gutter, slit from ear to ear.", "motionless. Venancio falls close beside him, his chest riddled with\nbullets. Meco hurtles over the precipice, bounding from rock to rock.", "Suddenly, Demetrio finds himself alone. Bullets whiz past his ears like\nhail. He dismounts and crawls over the rocks, until he finds a parapet:", "The enemy scatter in all directions, pursuing the few fugitives hiding\nin the brush. Demetrio aims; he does not waste a single shot.", "III\n\n\"General Macias, I want you to meet my future wife,\" Luis Cervantes\nsaid with great emphasis as he led a beautiful girl into the dining\nroom." ], [ "\"Now Chief,\" Cervantes pursued, \"I took a fancy to you the first time I\nlaid eyes on you and I like you more and more every day because I", "Once more Camilla glanced adoringly at Luis Cervantes' radiant, clean\nface; at his glaucous, soft eyes, his cheeks pink and polished as a", "\"Right now I feel like getting damn drunk,\" Demetrio answered, spurring\nhis horse forward and leaving them as if he wished to abandon himself\nentirely to his sadness.\n\nAfter many hours of riding he called Cervantes.", "Camilla continued to cross-question him with such familiarity that she\nsuddenly found herself addressing him intimately, in the singular tu.\nAbsorbed in his own thoughts, Luis Cervantes had ceased listening to\nher. He thought:", "fighting!\" Demetrio said, looking at the bulging sack of silver\nCervantes was passing to him. Cervantes left his seat to squat down by\nDemetrio's side.", "Your affectionate friend,\n Luis Cervantes\n\n\nVenancio finished reading the letter for the hundredth time and,\nsighing, repeated:", "Luis Cervantes gave himself away. His eyes shone with such an obvious\ngreed that Quail recanted and said:", "\"Set fire to the house!\" he orders Luis Cervantes when they reach their\nquarters.\n\nWith a curious eagerness Luis Cervantes does not transmit the order but\nundertakes the task in person.", "Cervantes' feet.", "took us in.... She asked after you, Pancracio. Next morning Luis\nCervantes wakes me up. 'Quail, Quail, saddle the horses. Leave me mine", "Luis Cervantes, who already shared this hidden, implacably mortal\nhatred of the upper classes, of his officers, and of his superiors,", "Luis Cervantes was obliging enough; he jumped down and joined her.\n\n\"You're proud, ain't you? Have I been so mean that you don't even want\nto talk to me?\"", "The more distrait and indifferent Luis Cervantes grew, the bolder\nCamilla. At last, she said: \"Listen to me, you nice young fellow, I", "At sundown, Camilla went to the river to fetch water as usual. Luis\nCervantes, walking down the same trail, met her. Camilla felt her", "Luis Cervantes saw that the last remark was addressed to his bride;\nwith great surprise he realized that it was not Demetrio's foot he had", "Cervantes writhed at his friend's words; his argument was quite out of\nplace ... painful.... To avoid being forced to take issue, he invited\nSolis to cite the circumstances that had destroyed his illusions.", "\"I tell you honestly: I have been converted,\" Cervantes answered.\n\n\"Are you absolutely convinced?\"\n\nSolis sighed, filled the glasses; they drank.", "\"Why did you let them?\" Demetrio asked indolently.\n\nThe man persisted, lamenting and weeping. Luis Cervantes was about to\nthrow him out with an insult. But Camilla intervened.", "lulled by the narrator's mellifluous voice, began to snore. But Luis\nCervantes listened avidly and as soon as Venancio topped off his talk", "For three days she was nowhere to be found. It was always her mother,\nAgapita, who answered Cervantes' call, and boiled the water for him and" ], [ "His staff obeys. Monico and the ladies kiss his hands, weeping with\ngratitude. The mob in the street, talking and laughing, stands waiting\nfor the general's permission to ransack the cacique's house.", "The general's staff smiled ... a sinister, malign smile....\n\nMaking their spurs ring against the pavement, they walked toward a\nlarge pretentious house, obviously that of a cacique.", "\"To the country of Monico the cacique!\"", "possession to the earth. What man among them now remembered the stern\nchief of police, the growling policeman, or the conceited cacique? What", "Republic. No--we fought to defend the sacred rights of the people\nagainst the tyranny of some vile cacique. And so, just as Villa or", "protest against the evils of all the caciques who are overrunning the\nwhole nation. We are the elements of a social movement which will not", "They established themselves in a large gloomy house, which likewise\nbelonged to the cacique of Moyahua. The previous occupants had already", "Venancio was a barber. In his native town, he pulled teeth and\nfulfilled the office of medicine man. He was accorded an unimpeachable", "Late in the afternoon Luis Cervantes rubbed his eyes and sat up. He had\nbeen sleeping on the hard pavement, close to the trunk of a fruit tree.\nAnastasio, Pancracio and Quail slept nearby, breathing heavily.", "Rosa or the other nearby ranches are on our side: they wouldn't try to\ntrail us. That cacique who's chased and run me ragged over these hills,", "Luis Cervantes saw his guards lying on top of a dung heap, snoring. In\nhis imagination, he reviewed the features of last night's men. One,", "\"Look here, Chief,\" said Luis Cervantes. \"You know that some of\nNatera's men are at Juchipila, quite near here. I think we should join", "Dawn broke behind a cloud of fine reddish dust; the sun rose an immense\ncurtain of fiery purple. Luis Cervantes pulled his reins and waited for\nQuail. \"What's the last word on our deal, Quail?\"", "\"Get those coming up from under! Los de Abajo! Get the underdogs!\" he\nscreamed.\n\nNow his fellows were exchanging rifles, laughing and making wagers on\ntheir marksmanship.", "A few moments later, amid cries of joy and a bustle of arms, they began\nsaddling their horses. But the enemy turned out to be a few burros and\ntwo Indians, driving them forward.", "\"By God, that chief of yours is a man!\" Solis said. \"What daring, what\nassurance! He left me gasping--and a hell of a lot of other men with\nmore experience than me, too!\"", "of the river margins, were playing cards. Anastasio Montanez, looking\non indifferently, turned his black hairy face toward Luis Cervantes\nand, leveling his kindly gaze upon him, asked:", "\"Well, I want to tell you something. You don't know that your chief is\na wicked man, do you? Shall I tell you what he did to me? You know", "\"The fall of Zacatecas will be Huerta's requiescat in pace,\" Luis\nCervantes cried with unusual excitement. \"We've got to be there before\nthe fight starts so that we can join Natera's army.\"", "They advanced toward the main road; in the distance they spied a figure\nof an Indian sitting on the embankment. They drew up to him. He proved" ], [ "Demetrio Macias rode at the head of his men; behind him the members of\nhis staff: Colonel Anastasio Montanez, Lieutenant-Colonel Pancracio,", "In the brush and foliage of the sierra, Demetrio Macias and his\nthreescore men slept until the halloo of the horn, blown by Pancracio\nfrom the crest of a peak, awakened them.", "At the foot of a hollow, sumptuous and huge as the portico of an old\ncathedral, Demetrio Macias, his eyes leveled in an eternal glance,\ncontinues to point the barrel of his gun.", "Suddenly, Demetrio finds himself alone. Bullets whiz past his ears like\nhail. He dismounts and crawls over the rocks, until he finds a parapet:", "Everything was still swathed in shadows as Demetrio Macias began his\ndescent to the bottom of the ravine. Between rocks striped with huge", "With all haste, Anastasio Montanez helped Demetrio up behind him on his\nhorse; the others retreated, seeking shelter along the walls of the\nhouses.", "Everything was silent, desolate. As soon as they saw men on horseback,\nthe people in the huts scurried into the hills to hide. Demetrio grew\nindignant.", "Demetrio did not share the untoward exaltation. After all, they were\nretreating defeated. He called Montanez and Pancracio aside and said:", "\"Goddamn their souls, they've branded me!\" Demetrio cried, his teeth\nflashing.\n\nThen, very swiftly, he slid down a gully and was lost....", "Demetrio Macias' men grew silent for a moment. They believed they heard\nthe familiar rumor of firing in the distance. A few minutes elapsed but\nthe sound was not repeated.", "\"Well, Demetrio, I think you had better hide, all the same.\"\n\nStolidly, the man finished eating; next he reached for a cantaro and\ngulped down the water in it; then he stood up.", "\"Demetrio Macias!\" the sergeant cried as he stepped back in terror.\n\nThe lieutenant stood up, silent, cold and motionless as a statue.\n\n\"Shoot them!\" the woman croaked.", "At midnight Demetrio Macias ordered the march to be resumed. The town\nwas five or six miles away; the best plan was to take the soldiers by\nsurprise, before reveille.", "\"So your name is Demetrio Macias?\" the girl asked suddenly. Seated on\nthe bar, she swung her legs; at every swing, the toes of her shoes\ntouched Demetrio's back.", "The soldiers had retreated; Demetrio began the search for the soldiers'\nhorses which had been hidden in the sierra.", "\"So you're the famous Demetrio Macias, the hero of Zacatecas?\" the girl\nasked.\n\nDemetrio bowed assent, while Blondie, laughing, said:", "\"Viva Demetrio Macias,\" they all shouted.", "The enemy scatter in all directions, pursuing the few fugitives hiding\nin the brush. Demetrio aims; he does not waste a single shot.", "A curse broke from Demetrio's parched lips.\n\n\"Fire at 'em. Shoot any man who runs away!\"\n\n\"Storm the hill!\" he thundered like a wild beast.", "VI\n\nDemetrio Macias' wife, mad with joy, rushed along the trail to meet\nhim, leading a child by the hand. An absence of almost two years!" ], [ "Luis Cervantes, who already shared this hidden, implacably mortal\nhatred of the upper classes, of his officers, and of his superiors,", "\"The fall of Zacatecas will be Huerta's requiescat in pace,\" Luis\nCervantes cried with unusual excitement. \"We've got to be there before\nthe fight starts so that we can join Natera's army.\"", "together. A week later, after his first skirmish against the rebels, he\nunderstood every rule of the game. Luis Cervantes would have taken up a", "\"My name is Luis Cervantes, sir. I'm a medical student and a\njournalist. I wrote a piece in favor of the revolution, you see; as a", "Luis Cervantes was obliging enough; he jumped down and joined her.\n\n\"You're proud, ain't you? Have I been so mean that you don't even want\nto talk to me?\"", "\"Look here, Chief,\" said Luis Cervantes. \"You know that some of\nNatera's men are at Juchipila, quite near here. I think we should join", "This signal insult was destined to bear poisonous fruit. Luis Cervantes\ndetermined to play turncoat; indeed, mentally, he had already changed", "\"Set fire to the house!\" he orders Luis Cervantes when they reach their\nquarters.\n\nWith a curious eagerness Luis Cervantes does not transmit the order but\nundertakes the task in person.", "From then on, Luis Cervantes' prestige with the soldiers increased.\nSome actually dared to make confessions. One among them, conspicuous", "Luis Cervantes gave himself away. His eyes shone with such an obvious\ngreed that Quail recanted and said:", "A certain incident came to precipitate their action. Seated on a crag\nof the sierra in the cool of the afternoon breeze, Luis Cervantes gazed", "\"It's positively infamous, senor; look,\" Luis Cervantes said, pointing\nto the bloodstains on his trousers and to his bleeding face.", "\"Are you Luis Cervantes?\"\n\n\"Yes. You're Solis, eh?\"", "Late in the afternoon Luis Cervantes rubbed his eyes and sat up. He had\nbeen sleeping on the hard pavement, close to the trunk of a fruit tree.\nAnastasio, Pancracio and Quail slept nearby, breathing heavily.", "\"Well, but ... look here, let's have a drink, come along.\" Then:\n\n\"Hm,\" Solis went on, offering Cervantes a chair, \"since when have you\nturned rebel?\"", "\"As I was saying,\" Luis Cervantes resumed, \"when the revolution is\nover, everything is over. Too bad that so many men have been killed,", "\"The spy!\" Luis Cervantes cried triumphantly. \"Didn't I tell you?\"", "\"Don't you think it advisable to go to Aguascalientes first, General?\"\nLuis Cervantes asked.\n\n\"What for?\"\n\n\"Our funds are melting slowly.\"", "\"Well, you see, just this week we recruited over five hundred new men;\nall the money's gone in advance loans and gratuities,\" Luis Cervantes\nanswered in a low voice.", "Luis Cervantes' eyes shone. He took the phosphate box, heavy with its\ncontents, and stood up smiling.\n\n\"I'll see you tomorrow,\" he said. \"Good night, General! Sleep well.\"" ], [ "Demetrio Macias rode at the head of his men; behind him the members of\nhis staff: Colonel Anastasio Montanez, Lieutenant-Colonel Pancracio,", "\"So you're the famous Demetrio Macias, the hero of Zacatecas?\" the girl\nasked.\n\nDemetrio bowed assent, while Blondie, laughing, said:", "In the brush and foliage of the sierra, Demetrio Macias and his\nthreescore men slept until the halloo of the horn, blown by Pancracio\nfrom the crest of a peak, awakened them.", "\"He's bleeding frightfully,\" said Anastasio Montanez, tearing off one\nof his shirt-sleeves and tying it tightly about Demetrio's thigh, a\nlittle above the wound.", "neighboring ranches. The people hated the Government so bitterly that\nthey were overjoyed to furnish assistance to the rebels. Demetrio's\nmen, therefore, were peacefully waiting for the complete recovery of", "\"So your name is Demetrio Macias?\" the girl asked suddenly. Seated on\nthe bar, she swung her legs; at every swing, the toes of her shoes\ntouched Demetrio's back.", "A curse broke from Demetrio's parched lips.\n\n\"Fire at 'em. Shoot any man who runs away!\"\n\n\"Storm the hill!\" he thundered like a wild beast.", "\"So we're in Limon, eh, the famous Demetrio Macias' country, eh? Do you\nhear that, Lieutenant? We're in Limon.\"", "At midnight Demetrio Macias ordered the march to be resumed. The town\nwas five or six miles away; the best plan was to take the soldiers by\nsurprise, before reveille.", "Demetrio, standing like a furious bull in the middle of the arena, cast\nfierce glances at all the bystanders, Luis Cervantes, Anastasio,\nManteca, and the others.", "At the foot of a hollow, sumptuous and huge as the portico of an old\ncathedral, Demetrio Macias, his eyes leveled in an eternal glance,\ncontinues to point the barrel of his gun.", "\"Demetrio Macias!\" the sergeant cried as he stepped back in terror.\n\nThe lieutenant stood up, silent, cold and motionless as a statue.\n\n\"Shoot them!\" the woman croaked.", "\"Well, men,\" Demetrio said, \"you know we've only twenty rifles, besides\nmy thirty-thirty. If there are just a few of them, we'll shoot until", "Everything was still swathed in shadows as Demetrio Macias began his\ndescent to the bottom of the ravine. Between rocks striped with huge", "Now it was Demetrio's men who screamed insults. Manteca, his smooth\nface swollen in exertion, yelled his lungs out. Pancracio roared, the", "Demetrio and Camilla rode toward them. Inside the corral a man, clad in\nshirt and trousers of cheap white cloth, sat greedily puffing at a", "That was when Demetrio Macias plunged in. Did he wait for orders? Not\nhe! He just shouted:", "\"What do you say, boys?\" Demetrio asked them as soon as the old man had\ndisappeared.\n\n\"To hell with the mochos! We'll kill every blasted one of them!\" they\ncried in unison.", "When Demetrio announces that he will not allow looting and orders them\nto disband, the mob, disconsolate, obeys him, and soon scatters; but", "skin. The leg, badly swollen, seemed about to burst. At every move he\nmade, Demetrio stifled a moan. Luis Cervantes cut the ligaments, soaked" ], [ "Once more Camilla glanced adoringly at Luis Cervantes' radiant, clean\nface; at his glaucous, soft eyes, his cheeks pink and polished as a", "Camilla continued to cross-question him with such familiarity that she\nsuddenly found herself addressing him intimately, in the singular tu.\nAbsorbed in his own thoughts, Luis Cervantes had ceased listening to\nher. He thought:", "\"Camilla? What girl do you mean, Demetrio?\"\n\n\"The girl that used to feed me up there at the ranch!\"", "The more distrait and indifferent Luis Cervantes grew, the bolder\nCamilla. At last, she said: \"Listen to me, you nice young fellow, I", "\"Liar!\" Camilla said, her face transfigured with joy. \"Suppose I hadn't\ncome after you?\"\n\n\"I intended to say good-bye to you at the dance this evening.\"", "\"I'll tell you, War Paint.... It's funny, but I'm beginning to fall for\nhim.... Would you believe it!\" Camilla whispered back.", "\"What's your name?\" he asked.\n\n\"Camilla.\"\n\n\"Ah, there's a lovely name! And the girl that bears it, lovelier still!\"", "\"I think,\" Venancio expressed his opinion with great seriousness, \"that\nif Camilla woke up in the General's bed, it was just a mistake. We", "\"Why do you say that, Camilla? You've been extremely kind to me; why,\nyou've been more than a friend, you've taken care of me as if you were", "\"Of course!\" she replied.\n\nThey went on. The valley was lost in darkness; stars came out. Demetrio\nput his arm around Camilla's waist amorously and whispered in her ear.", "Camilla had never seen Luis Cervantes laugh so heartily.\n\n\"But it is really true, all this you've told me?\"", "When Demetrio returned, Camilla, weeping, told him everything.\n\n\"Don't pay no attention to that crazy baggage. It's all lies, lies!\"", "\"He lied to me! He lied! He came to the ranch and he told me, 'Camilla,\nI came just to get you. Do you want to go away with me?' You can be", "That evening, there was much merrymaking at the dance, and a great\nquantity of mezcal was drunk. \"I miss Camilla,\" said Demetrio in a loud\nvoice. Everybody looked about for Camilla.", "Camilla's tongue clove to her mouth, heavy and damp as a rag; she could\nnot utter a word. A blush suffused her cheeks, turning them red as", "Luis Cervantes hurried toward her with some cotton; but Camilla,\nchoking down her sobs and wiping her eyes, said hoarsely:", "gave him rags. He was careful to avoid questioning her. Three days\nlater, Camilla reappeared, more coy and eager than ever.", "At sundown, Camilla went to the river to fetch water as usual. Luis\nCervantes, walking down the same trail, met her. Camilla felt her", "Camilla wept all night. On the morrow at dawn, she begged Demetrio to\nlet her return home.\n\n\"If you don't like me, all right,\" he answered sullenly.", "Camilla felt something rise within her breast, an empty ache that\nbecame a knot when it reached her throat; she closed her eyes fast to" ], [ "\"Of course!\" she replied.\n\nThey went on. The valley was lost in darkness; stars came out. Demetrio\nput his arm around Camilla's waist amorously and whispered in her ear.", "\"Why did you let them?\" Demetrio asked indolently.\n\nThe man persisted, lamenting and weeping. Luis Cervantes was about to\nthrow him out with an insult. But Camilla intervened.", "Camilla wept all night. On the morrow at dawn, she begged Demetrio to\nlet her return home.\n\n\"If you don't like me, all right,\" he answered sullenly.", "When Demetrio returned, Camilla, weeping, told him everything.\n\n\"Don't pay no attention to that crazy baggage. It's all lies, lies!\"", "\"Camilla? What girl do you mean, Demetrio?\"\n\n\"The girl that used to feed me up there at the ranch!\"", "\"You know,\" Demetrio said softly, \"I feel as though I'd like to see my\nwife again!\"\n\nShortly after, War Paint sought out Camilla.", "Camilla, frightened, hurried back to Demetrio's side.\n\n\n\nX", "\"Give Camilla the roan mare,\" Demetrio ordered Pancracio, who was\nalready saddling the horses.\n\n\"Camilla can't go!\" said War Paint promptly.", "Slyly he winked at his companions. The prisoner had turned into an\nanimal; he gulped, panting, dry-mouthed. Camilla, who had witnessed the\nscene, spurred her horse and caught up with Demetrio.", "That evening, there was much merrymaking at the dance, and a great\nquantity of mezcal was drunk. \"I miss Camilla,\" said Demetrio in a loud\nvoice. Everybody looked about for Camilla.", "Demetrio and Camilla rode toward them. Inside the corral a man, clad in\nshirt and trousers of cheap white cloth, sat greedily puffing at a", "\"Yes,\" she answered in a faint voice.\n\nShe was indeed beginning to \"fall for him\" as she had expressed it.\n\nDemetrio slept badly. He flung out of the house very early.", "again in your life. Don't you know that Demetrio is on the point of\nbecoming a general, you silly girl? He'll be a very wealthy man, with", "Since Demetrio did not go to Limon or remember his wife again, Camilla\ngrew very happy. War Paint had merely stung herself, like a scorpion.\n\n\n\nXI", "\"You won't have long to wait. Everything will be arranged when you\nreturn,\" Luis Cervantes whispered to him.\n\n\"What do you mean?\" Demetrio asked. \"I thought that you and Camilla...\"", "Camilla continued to cross-question him with such familiarity that she\nsuddenly found herself addressing him intimately, in the singular tu.\nAbsorbed in his own thoughts, Luis Cervantes had ceased listening to\nher. He thought:", "Don Monico, in consternation, throws himself at Demetrio's feet, clasps\nhis knees, kisses his shoes: \"My wife! ... My children! ... Please,\nSenor Don Demetrio, my friend!\"", "The more distrait and indifferent Luis Cervantes grew, the bolder\nCamilla. At last, she said: \"Listen to me, you nice young fellow, I", "\"Come on, Tenderfoot; here's a job for you,\" Pancracio said as he saw\nCamilla on Demetrio's saddle, her face covered with blood.", "\"You go to father's house, quick!\" Demetrio ordered. She wanted to hold\nhim in her arms; she entreated, she wept. But he pushed away from her" ], [ "Original Title: LOS DE ABAJO\n\n\n\n\nPART ONE", "As she began, Anastasio Montanez and Quail lay on the floor near the\nstretcher, their mouths gaping, all ears to the story. But Fortunata's", "\"Get those coming up from under! Los de Abajo! Get the underdogs!\" he\nscreamed.\n\nNow his fellows were exchanging rifles, laughing and making wagers on\ntheir marksmanship.", "their leather sandals, scattering death and destruction below them. In\nthe belfry, a few men struggled to emerge from the pile of dead who had\nfallen upon them.", "Late in the afternoon Luis Cervantes rubbed his eyes and sat up. He had\nbeen sleeping on the hard pavement, close to the trunk of a fruit tree.\nAnastasio, Pancracio and Quail slept nearby, breathing heavily.", "\"See here, brothers,\" he said, \"I spits out the truth when I sees\nsomething. I always tell the boss that if these people stick to us very", "It was all a matter of a few minutes. Once in the alley, hugging to the\nwalls, they marched forward in single file until they reached the rear", "\"Down there, down there!\" said Demetrio as he leveled his rifle at the\ntranslucent thread of the river.", "When, after many hours of climbing, he gazed back, huge flames shot up\nfrom the depths of the canyon by the river. It was his house,\nblazing....\n\n\n\nII", "Like monkeys the others followed him, reaching the other side with\nbleeding, grimy hands. The rest was easy. The deep worn steps along the", "\"Of course it's not empty. How about the light and that child there?\nLook here, confound it, we want to eat, and damn quick tool Are you\ncoming out or are we going to make you?\"", "suspect they are poor because the rich who stand above them, the rich\nwho rule them, change their sweat and blood and tears into gold...\"", "From peak to peak, the shouts rang as distinctly as though uttered\nacross a street. Suddenly, Quail stood up, naked, holding his trousers", "From that night onward Venancio, unlike the others, ceased calling him\nTenderfoot. He addressed him as Louie.\n\nIt was Louie, this, and Louie, that, right and left, all the time.", "At the foot of a hollow, sumptuous and huge as the portico of an old\ncathedral, Demetrio Macias, his eyes leveled in an eternal glance,\ncontinues to point the barrel of his gun.", "strained their eyes, they could distinguish others behind him, ten,\ntwenty, a hundred. ... Then, suddenly, darkness swallowed them up. Only", "Below in the depths of the canyon, through the gauze of the rain they\ncould see the tall, sheer palms shaking in the wind, opening out like", "\"Goddamn their souls, they've branded me!\" Demetrio cried, his teeth\nflashing.\n\nThen, very swiftly, he slid down a gully and was lost....", "to count for yourself.... One, two, three ... and when you've had\nenough you just tell me and I'll stop.' And Blondie pulled out his\nsword and beat him till he cried for mercy.\"", "Another volley and a score of soldiers hurtled down from rock to rock.\n\n\"Come out, bandits. Come out, you starved dogs!\"\n\n\"To hell with you, you corn rustlers!\"" ], [ "At the foot of a hollow, sumptuous and huge as the portico of an old\ncathedral, Demetrio Macias, his eyes leveled in an eternal glance,\ncontinues to point the barrel of his gun.", "Demetrio Macias rode at the head of his men; behind him the members of\nhis staff: Colonel Anastasio Montanez, Lieutenant-Colonel Pancracio,", "\"Demetrio Macias!\" the sergeant cried as he stepped back in terror.\n\nThe lieutenant stood up, silent, cold and motionless as a statue.\n\n\"Shoot them!\" the woman croaked.", "\"So your name is Demetrio Macias?\" the girl asked suddenly. Seated on\nthe bar, she swung her legs; at every swing, the toes of her shoes\ntouched Demetrio's back.", "\"Viva Demetrio Macias,\" they all shouted.", "\"So you're the famous Demetrio Macias, the hero of Zacatecas?\" the girl\nasked.\n\nDemetrio bowed assent, while Blondie, laughing, said:", "Demetrio Macias' men grew silent for a moment. They believed they heard\nthe familiar rumor of firing in the distance. A few minutes elapsed but\nthe sound was not repeated.", "VI\n\nDemetrio Macias' wife, mad with joy, rushed along the trail to meet\nhim, leading a child by the hand. An absence of almost two years!", "That was when Demetrio Macias plunged in. Did he wait for orders? Not\nhe! He just shouted:", "Everything was still swathed in shadows as Demetrio Macias began his\ndescent to the bottom of the ravine. Between rocks striped with huge", "Demetrio Macias smiles slyly. \"Are friends,\" he asked, \"usually\nwelcomed gun in hand?\"", "When Demetrio announces that he will not allow looting and orders them\nto disband, the mob, disconsolate, obeys him, and soon scatters; but", "Demetrio Macias was too elated to listen to him. \"I'm a colonel, my\nlad! And you're my secretary!\"", "a shot lays him low. He falls like a bull pierced in the neck by the\nmatador's sword. Motionless, his smoking gun in his hand, Demetrio\nwaits for the soldiers to withdraw.", "Then, after a pause: \"All right, Demetrio Macias, if you don't want to\nshake hands, all right! But it's because you don't know me, that's why,", "\"All right, all right!\" said Montanez. \"Viva Demetrio Macias, our\nchief, and long life to God in His heaven and to the Virgin Mary.\"", "\"You'll see: you'll feel much better now.\"\n\nObeying Remigia's instructions, Demetrio lay motionless, crumpled up on\none side.", "Demetrio's words. Fools do not eat fire. That very day Valderrama\ndisappeared mysteriously as he had come.", "Don Monico, in consternation, throws himself at Demetrio's feet, clasps\nhis knees, kisses his shoes: \"My wife! ... My children! ... Please,\nSenor Don Demetrio, my friend!\"", "Suddenly, Demetrio finds himself alone. Bullets whiz past his ears like\nhail. He dismounts and crawls over the rocks, until he finds a parapet:" ], [ "\"You ask me why I am still a rebel? Well, the revolution is like a\nhurricane: if you're in it, you're not a man ... you're a leaf, a dead\nleaf, blown by the wind.\"", "\"But you've only a handful of men down here; you'll only be an\nunimportant chieftain. There's no argument about it, the revolution is", "\"I've been a rebel the last two months!\"\n\n\"Oh, I see! That's why you speak with such faith and enthusiasm about\nthings we all felt when we joined the revolution.\"", "\"Nonsense! Rot! What kind of doctor do you think you are? You're no\ndoctor at all. I'll wager you've already forgotten why you ever joined\nus,\" said Quail.", "\"The revolution benefits the poor, the ignorant, all those who have\nbeen slaves all their lives, all the unhappy people who do not even", "The rebels were a maddened mob, sunburnt, filthy, naked. Their high\nwide-brimmed straw hats hid their faces. The \"high hats\" came back as", "revolutionists or bandits, call them what you will, were going to\ndepose the Government. Tomorrow would therefore belong wholly to them.\nA man must consequently be on their side, only on their side.", "We are not fighting to dethrone a miserable murderer, we are fighting\nagainst tyranny itself. What moves us is what men call ideals; our", "\"Well, I'm a revolutionist, too, you know. The Government drafted me\nand I served as a private, but I managed to desert during the battle\nthe day before yesterday, and I've been walking about in search of you\nall.\"", "together. A week later, after his first skirmish against the rebels, he\nunderstood every rule of the game. Luis Cervantes would have taken up a", "Yes, failure! For he had never learned to appreciate exactly the\ndifference between fulminating sentences of death upon bandits in the\ncolumns of a small country newspaper and actually setting out in search", "\"All right; just as you say. But don't forget that tenderfoots are like\nmoisture, they seep in everywhere. It's the tenderfoots who stopped us\nreaping the harvest of the revolution.\"", "Anastasio and Pancracio, convinced by this simple, lucid explanation\nanswered:\n\n\"That's God's truth! They've no guts! That's the trouble with them!\"", "\"It ain't that, I guess. They don't give a whoop for the other side\neither.\"\n\n\"But why should they like us?\"\n\nThey spoke no more.", "\"Well, but ... look here, let's have a drink, come along.\" Then:\n\n\"Hm,\" Solis went on, offering Cervantes a chair, \"since when have you\nturned rebel?\"", "about the strength of the assailants, he had remained extremely quiet\nand prudent; but now that they had driven the rebels back without\nallowing them a chance to fire a single shot, he waxed bold and brave.", "neighboring ranches. The people hated the Government so bitterly that\nthey were overjoyed to furnish assistance to the rebels. Demetrio's\nmen, therefore, were peacefully waiting for the complete recovery of", "\"These fellows have no guts. It's not so hard to take a town. It's like\nthis. First, you open up, this way....\" He sketched a vast gesture,", "\"I heard him too,\" Anastasio answered. \"People who can read and write\nget things clear, all right; nothing was ever truer. But what I can't", "\"As I was saying,\" Luis Cervantes resumed, \"when the revolution is\nover, everything is over. Too bad that so many men have been killed," ], [ "\"The revolution benefits the poor, the ignorant, all those who have\nbeen slaves all their lives, all the unhappy people who do not even", "\"How beautiful the revolution! Even in its most barbarous aspect it is\nbeautiful,\" Solis said with deep feeling. Then a vague melancholy\nseized him, and speaking low:", "\"How beautiful the revolution!\n Even in its most barbarous aspect it is beautiful,\"\n Solis said with deep feeling.\n\n\n\nI", "\"As I was saying,\" Luis Cervantes resumed, \"when the revolution is\nover, everything is over. Too bad that so many men have been killed,", "\"I've been a rebel the last two months!\"\n\n\"Oh, I see! That's why you speak with such faith and enthusiasm about\nthings we all felt when we joined the revolution.\"", "\"What about you? Are you tired of the revolution?\" asked Cervantes\nsharply.", "\"Well, I'm a revolutionist, too, you know. The Government drafted me\nand I served as a private, but I managed to desert during the battle\nthe day before yesterday, and I've been walking about in search of you\nall.\"", "\"All right; just as you say. But don't forget that tenderfoots are like\nmoisture, they seep in everywhere. It's the tenderfoots who stopped us\nreaping the harvest of the revolution.\"", "\"What kind of beasts are you?\" the prisoner cried. He could say no\nmore: Anastasio's fist, crashing down upon his face, sent his head\nturning on his neck, covered with blood.", "revolutionists or bandits, call them what you will, were going to\ndepose the Government. Tomorrow would therefore belong wholly to them.\nA man must consequently be on their side, only on their side.", "\"Here you may witness the blessings of the revolution caught in a\nsingle tear.\"", "\"Well, I want to tell you something. You don't know that your chief is\na wicked man, do you? Shall I tell you what he did to me? You know", "\"What a brute that Blondie is: you ought to see what he did to a\nwretched prisoner,\" she said. Then she told Demetrio what had occurred.\nThe latter wrinkled his brow but made no answer.", "Then Fortunata gave vent to her sorrows. She liked these gentlemen of\nthe revolution, all right, that she did--for, three months ago, you", "\"You ask me why I am still a rebel? Well, the revolution is like a\nhurricane: if you're in it, you're not a man ... you're a leaf, a dead\nleaf, blown by the wind.\"", "you might perhaps have found some use for it. What, in heaven's name,\ndo I stand to gain, whether the revolution wins or loses?\"", "War Paint rocked in her saddle, convulsed with mirth. Camilla, unable\nto control herself, blurted out:\n\n\"The beast! His heart's rotten to the core! No wonder I loathe him!\"", "\"I wanted to fight for the sacred cause of the oppressed, but you don't\nunderstand ... you cast me aside.... Very well, then, you can do as you\nplease with me!\"", "\"God, there's a roundabout way to tackle the question. If I were you,\nI'd just shoot him and let it go at that,\" said Pancracio\ncontemptuously.", "the revolution, because it's the revolution!\"" ], [ "His staff obeys. Monico and the ladies kiss his hands, weeping with\ngratitude. The mob in the street, talking and laughing, stands waiting\nfor the general's permission to ransack the cacique's house.", "The general's staff smiled ... a sinister, malign smile....\n\nMaking their spurs ring against the pavement, they walked toward a\nlarge pretentious house, obviously that of a cacique.", "\"To the country of Monico the cacique!\"", "possession to the earth. What man among them now remembered the stern\nchief of police, the growling policeman, or the conceited cacique? What", "Republic. No--we fought to defend the sacred rights of the people\nagainst the tyranny of some vile cacique. And so, just as Villa or", "protest against the evils of all the caciques who are overrunning the\nwhole nation. We are the elements of a social movement which will not", "They established themselves in a large gloomy house, which likewise\nbelonged to the cacique of Moyahua. The previous occupants had already", "Venancio was a barber. In his native town, he pulled teeth and\nfulfilled the office of medicine man. He was accorded an unimpeachable", "Late in the afternoon Luis Cervantes rubbed his eyes and sat up. He had\nbeen sleeping on the hard pavement, close to the trunk of a fruit tree.\nAnastasio, Pancracio and Quail slept nearby, breathing heavily.", "Rosa or the other nearby ranches are on our side: they wouldn't try to\ntrail us. That cacique who's chased and run me ragged over these hills,", "Luis Cervantes saw his guards lying on top of a dung heap, snoring. In\nhis imagination, he reviewed the features of last night's men. One,", "\"Look here, Chief,\" said Luis Cervantes. \"You know that some of\nNatera's men are at Juchipila, quite near here. I think we should join", "Dawn broke behind a cloud of fine reddish dust; the sun rose an immense\ncurtain of fiery purple. Luis Cervantes pulled his reins and waited for\nQuail. \"What's the last word on our deal, Quail?\"", "\"Get those coming up from under! Los de Abajo! Get the underdogs!\" he\nscreamed.\n\nNow his fellows were exchanging rifles, laughing and making wagers on\ntheir marksmanship.", "A few moments later, amid cries of joy and a bustle of arms, they began\nsaddling their horses. But the enemy turned out to be a few burros and\ntwo Indians, driving them forward.", "\"By God, that chief of yours is a man!\" Solis said. \"What daring, what\nassurance! He left me gasping--and a hell of a lot of other men with\nmore experience than me, too!\"", "of the river margins, were playing cards. Anastasio Montanez, looking\non indifferently, turned his black hairy face toward Luis Cervantes\nand, leveling his kindly gaze upon him, asked:", "\"Well, I want to tell you something. You don't know that your chief is\na wicked man, do you? Shall I tell you what he did to me? You know", "\"The fall of Zacatecas will be Huerta's requiescat in pace,\" Luis\nCervantes cried with unusual excitement. \"We've got to be there before\nthe fight starts so that we can join Natera's army.\"", "They advanced toward the main road; in the distance they spied a figure\nof an Indian sitting on the embankment. They drew up to him. He proved" ], [ "\"You go to father's house, quick!\" Demetrio ordered. She wanted to hold\nhim in her arms; she entreated, she wept. But he pushed away from her", "When Demetrio announces that he will not allow looting and orders them\nto disband, the mob, disconsolate, obeys him, and soon scatters; but", "\"Demetrio, please. For God's sake, don't go away! My heart tells me\nsomething will happen to you this time.\"", "Demetrio shook his bead.\n\n\"You wouldn't do that!\"\n\n\"Why not? What are we staying on for? ... What cause are we defending\nnow?\"", "Demetrio did not share the untoward exaltation. After all, they were\nretreating defeated. He called Montanez and Pancracio aside and said:", "Demetrio's face grew dark. Both remained silent, lost in anguish.\nDemetrio suppressed a sigh. Memories crowded and buzzed through his\nbrain like bees about a hive.", "Demetrio's words. Fools do not eat fire. That very day Valderrama\ndisappeared mysteriously as he had come.", "Suddenly, Demetrio finds himself alone. Bullets whiz past his ears like\nhail. He dismounts and crawls over the rocks, until he finds a parapet:", "Don Monico, in consternation, throws himself at Demetrio's feet, clasps\nhis knees, kisses his shoes: \"My wife! ... My children! ... Please,\nSenor Don Demetrio, my friend!\"", "again in your life. Don't you know that Demetrio is on the point of\nbecoming a general, you silly girl? He'll be a very wealthy man, with", "Then, suddenly, he noted the surprise with which Demetrio and his men\ngreeted his suggestion. Crestfallen, he realized they still considered\nhim of no account.", "\"All right,\" said Demetrio, \"you can go where you're headed for, see,\nbut you be damn careful not to tell anyone you saw us, because if you", "\"Well, Demetrio, I think you had better hide, all the same.\"\n\nStolidly, the man finished eating; next he reached for a cantaro and\ngulped down the water in it; then he stood up.", "\"Why did you let them?\" Demetrio asked indolently.\n\nThe man persisted, lamenting and weeping. Luis Cervantes was about to\nthrow him out with an insult. But Camilla intervened.", "Demetrio reappeared. Seeing him, Solis relapsed into silence.\n\n\"Come along,\" Demetrio said to Cervantes. \"Come with me.\"", "\"That's one on you, my dear.... Demetrio's going to leave you flat! He\ntold me so himself; 'I'm going to get my real woman,' he says, and he", "Demetrio repeats his order to search.\n\nOnce again the women disappear to return this time with a moth-eaten\nwallet containing a few Huerta bills.", "As Demetrio began to tell that famous exploit, the men realized the\ndanger they were facing. What if the enemy, instead of being two days", "Demetrio handed the reins of his horse to his orderly and walked slowly\nalong the steep trail with his wife and son.", "\"What? What's that you're saying?\" Still she could not catch Demetrio's\nmeaning. Then the truth dawned upon her. \"You want to send me away? By\nGod, I suppose you believe all the filth that bitch...\"" ], [ "Suddenly, Demetrio finds himself alone. Bullets whiz past his ears like\nhail. He dismounts and crawls over the rocks, until he finds a parapet:", "Demetrio awoke with a start. He waded the river, following its course\nwhich ran counter to the canyon; he climbed the crags laboriously as an", "Demetrio did not share the untoward exaltation. After all, they were\nretreating defeated. He called Montanez and Pancracio aside and said:", "\"Well, Demetrio, I think you had better hide, all the same.\"\n\nStolidly, the man finished eating; next he reached for a cantaro and\ngulped down the water in it; then he stood up.", "The soldiers had retreated; Demetrio began the search for the soldiers'\nhorses which had been hidden in the sierra.", "the mountains in the background, and over the sky, burning like a roof\nafire. He began to sing. He put such feeling into his voice and such\nexpression into the strings that, as he finished, Demetrio turned his", "The enemy scatter in all directions, pursuing the few fugitives hiding\nin the brush. Demetrio aims; he does not waste a single shot.", "Everything was silent, desolate. As soon as they saw men on horseback,\nthe people in the huts scurried into the hills to hide. Demetrio grew\nindignant.", "As Demetrio began to tell that famous exploit, the men realized the\ndanger they were facing. What if the enemy, instead of being two days", "When Demetrio announces that he will not allow looting and orders them\nto disband, the mob, disconsolate, obeys him, and soon scatters; but", "At sunset, amid the flames dyeing the sky with vivid, variegated\ncolors, they descried a group of houses up in the heart of the blue\nmountains. Demetrio ordered them to carry him there.", "With all haste, Anastasio Montanez helped Demetrio up behind him on his\nhorse; the others retreated, seeking shelter along the walls of the\nhouses.", "Demetrio's words. Fools do not eat fire. That very day Valderrama\ndisappeared mysteriously as he had come.", "\"You go to father's house, quick!\" Demetrio ordered. She wanted to hold\nhim in her arms; she entreated, she wept. But he pushed away from her", "\"Goddamn their souls, they've branded me!\" Demetrio cried, his teeth\nflashing.\n\nThen, very swiftly, he slid down a gully and was lost....", "A curse broke from Demetrio's parched lips.\n\n\"Fire at 'em. Shoot any man who runs away!\"\n\n\"Storm the hill!\" he thundered like a wild beast.", "Demetrio's wound had already healed. They began to discuss various\nprojects to go northward where, according to rumor, the rebels had\nbeaten the Federal troops all along the line.", "\"Right now I feel like getting damn drunk,\" Demetrio answered, spurring\nhis horse forward and leaving them as if he wished to abandon himself\nentirely to his sadness.\n\nAfter many hours of riding he called Cervantes.", "On the morrow, Demetrio complained bitterly of his wound; he could no\nlonger ride on horseback. They were forced to carry him the rest of the\nway on a makeshift stretcher of leaves and branches.", "\"Here, kid, take these bills. It ain't much. But you'll be all right\nwith some alcohol and arnica.\"\n\nAfter drinking a great deal of alcohol and beer, Demetrio spoke:" ], [ "neighboring ranches. The people hated the Government so bitterly that\nthey were overjoyed to furnish assistance to the rebels. Demetrio's\nmen, therefore, were peacefully waiting for the complete recovery of", "Demetrio's wound had already healed. They began to discuss various\nprojects to go northward where, according to rumor, the rebels had\nbeaten the Federal troops all along the line.", "Bending over them, the rebels stripped those among the soldiers who\nwere best clad, laughing and joking as they despoiled them. Brushing\nback his long hair, that had fallen over his sweating forehead and\ncovered his eyes, Demetrio said:", "Demetrio shook his bead.\n\n\"You wouldn't do that!\"\n\n\"Why not? What are we staying on for? ... What cause are we defending\nnow?\"", "The enthusiasm and rejoicing were general. Demetrio's friends, in the\nexcitement of drunkenness, offered their services. Demetrio was so", "When Demetrio announces that he will not allow looting and orders them\nto disband, the mob, disconsolate, obeys him, and soon scatters; but", "\"What do you say, boys?\" Demetrio asked them as soon as the old man had\ndisappeared.\n\n\"To hell with the mochos! We'll kill every blasted one of them!\" they\ncried in unison.", "Demetrio, standing like a furious bull in the middle of the arena, cast\nfierce glances at all the bystanders, Luis Cervantes, Anastasio,\nManteca, and the others.", "A curse broke from Demetrio's parched lips.\n\n\"Fire at 'em. Shoot any man who runs away!\"\n\n\"Storm the hill!\" he thundered like a wild beast.", "Now it was Demetrio's men who screamed insults. Manteca, his smooth\nface swollen in exertion, yelled his lungs out. Pancracio roared, the", "\"Viva Demetrio Macias,\" they all shouted.", "Suddenly, Demetrio finds himself alone. Bullets whiz past his ears like\nhail. He dismounts and crawls over the rocks, until he finds a parapet:", "Venancio's shout of protest was drowned out in the loud laughter of the\nothers. Demetrio, looking pale and sallow, motioned for silence. Then,\nplaintively:", "Demetrio smiles and without further delay calls to his men to come in.\nLike hungry dogs who have sniffed their meat, the mob bursts in,", "everyone applauded enthusiastically. Demetrio took the insignia in his\nhands; and with flushed face, and eyes shining, declared with great\ncandor:", "Demetrio repeats his order to search.\n\nOnce again the women disappear to return this time with a moth-eaten\nwallet containing a few Huerta bills.", "Demetrio Macias rode at the head of his men; behind him the members of\nhis staff: Colonel Anastasio Montanez, Lieutenant-Colonel Pancracio,", "Demetrio did not share the untoward exaltation. After all, they were\nretreating defeated. He called Montanez and Pancracio aside and said:", "On the day General Natera began his advance against the town of\nZacatecas, Demetrio with a hundred men went to meet him at Fresnillo.\n\nThe leader received him cordially.", "Then, suddenly, he noted the surprise with which Demetrio and his men\ngreeted his suggestion. Crestfallen, he realized they still considered\nhim of no account." ], [ "Once more Camilla glanced adoringly at Luis Cervantes' radiant, clean\nface; at his glaucous, soft eyes, his cheeks pink and polished as a", "Camilla continued to cross-question him with such familiarity that she\nsuddenly found herself addressing him intimately, in the singular tu.\nAbsorbed in his own thoughts, Luis Cervantes had ceased listening to\nher. He thought:", "The more distrait and indifferent Luis Cervantes grew, the bolder\nCamilla. At last, she said: \"Listen to me, you nice young fellow, I", "\"Camilla? What girl do you mean, Demetrio?\"\n\n\"The girl that used to feed me up there at the ranch!\"", "\"What's your name?\" he asked.\n\n\"Camilla.\"\n\n\"Ah, there's a lovely name! And the girl that bears it, lovelier still!\"", "\"I'll tell you, War Paint.... It's funny, but I'm beginning to fall for\nhim.... Would you believe it!\" Camilla whispered back.", "\"Liar!\" Camilla said, her face transfigured with joy. \"Suppose I hadn't\ncome after you?\"\n\n\"I intended to say good-bye to you at the dance this evening.\"", "\"Of course!\" she replied.\n\nThey went on. The valley was lost in darkness; stars came out. Demetrio\nput his arm around Camilla's waist amorously and whispered in her ear.", "At sundown, Camilla went to the river to fetch water as usual. Luis\nCervantes, walking down the same trail, met her. Camilla felt her", "That evening, there was much merrymaking at the dance, and a great\nquantity of mezcal was drunk. \"I miss Camilla,\" said Demetrio in a loud\nvoice. Everybody looked about for Camilla.", "\"Why do you say that, Camilla? You've been extremely kind to me; why,\nyou've been more than a friend, you've taken care of me as if you were", "Camilla's tongue clove to her mouth, heavy and damp as a rag; she could\nnot utter a word. A blush suffused her cheeks, turning them red as", "\"I think,\" Venancio expressed his opinion with great seriousness, \"that\nif Camilla woke up in the General's bed, it was just a mistake. We", "gave him rags. He was careful to avoid questioning her. Three days\nlater, Camilla reappeared, more coy and eager than ever.", "Camilla wept all night. On the morrow at dawn, she begged Demetrio to\nlet her return home.\n\n\"If you don't like me, all right,\" he answered sullenly.", "\"Why did you let them?\" Demetrio asked indolently.\n\nThe man persisted, lamenting and weeping. Luis Cervantes was about to\nthrow him out with an insult. But Camilla intervened.", "Camilla felt something rise within her breast, an empty ache that\nbecame a knot when it reached her throat; she closed her eyes fast to", "Camilla blushed. As he sought to seize her wrist, she grew frightened,\nand Picking up the empty pitcher, flew out the door.", "Utterly at a loss, Camilla could not answer. Then he burst into\nlaughter again and repeated the question. A sense of confusion came\nupon her. Disturbed, troubled, she said brokenly:", "Luis Cervantes hurried toward her with some cotton; but Camilla,\nchoking down her sobs and wiping her eyes, said hoarsely:" ], [ "their leather sandals, scattering death and destruction below them. In\nthe belfry, a few men struggled to emerge from the pile of dead who had\nfallen upon them.", "\"Get those coming up from under! Los de Abajo! Get the underdogs!\" he\nscreamed.\n\nNow his fellows were exchanging rifles, laughing and making wagers on\ntheir marksmanship.", "suspect they are poor because the rich who stand above them, the rich\nwho rule them, change their sweat and blood and tears into gold...\"", "In the distance, from a conical heap of reeds and dry straws, man after\nman emerged, one after the other, their legs and chests naked, lambent", "\"See here, brothers,\" he said, \"I spits out the truth when I sees\nsomething. I always tell the boss that if these people stick to us very", "strained their eyes, they could distinguish others behind him, ten,\ntwenty, a hundred. ... Then, suddenly, darkness swallowed them up. Only", "\"Of course it's not empty. How about the light and that child there?\nLook here, confound it, we want to eat, and damn quick tool Are you\ncoming out or are we going to make you?\"", "Like monkeys the others followed him, reaching the other side with\nbleeding, grimy hands. The rest was easy. The deep worn steps along the", "\"Yes? Really? Well, if you want my opinion, I think this is just what\nought to happen. So far as I'm concerned, you can go straight to hell.\nWe're all fed up with you, see?\"", "\"The revolution benefits the poor, the ignorant, all those who have\nbeen slaves all their lives, all the unhappy people who do not even", "Original Title: LOS DE ABAJO\n\n\n\n\nPART ONE", "The smoke of the guns hangs thick in the air. Locusts chant their\nmysterious, imperturbable song. Doves coo lyrically in the crannies of\nthe rocks. The cows graze placidly.", "Another volley and a score of soldiers hurtled down from rock to rock.\n\n\"Come out, bandits. Come out, you starved dogs!\"\n\n\"To hell with you, you corn rustlers!\"", "\"You know I'm on guard around here. Well, I hears a noise in the brush,\nsee, and I shouts, 'Who goes there?' and then this lad answers,", "Pop, pop! One shot for each of them, and a well-earned rest for a pair\nof poor sinners, be damned to them!\"", "\"Hey, men,\" said a workman sticking his head out of a large door, \"go\nfor 'em through the back of the chapel. They're all in there. Cut back", "From peak to peak, the shouts rang as distinctly as though uttered\nacross a street. Suddenly, Quail stood up, naked, holding his trousers", "A workingman appeared at the small door of the spiral staircase,\nannouncing that the assailants were hidden in a corral where they might\neasily be captured. This message came from the citizens keeping watch\non housetops.", "and work.\" Then, aside to Camilla: \"There's always more damned fools in\nthe valley than among us folk in the sierra, don't you think?\"", "to count for yourself.... One, two, three ... and when you've had\nenough you just tell me and I'll stop.' And Blondie pulled out his\nsword and beat him till he cried for mercy.\"" ], [ "Luis Cervantes, who already shared this hidden, implacably mortal\nhatred of the upper classes, of his officers, and of his superiors,", "together. A week later, after his first skirmish against the rebels, he\nunderstood every rule of the game. Luis Cervantes would have taken up a", "\"The fall of Zacatecas will be Huerta's requiescat in pace,\" Luis\nCervantes cried with unusual excitement. \"We've got to be there before\nthe fight starts so that we can join Natera's army.\"", "Luis Cervantes was obliging enough; he jumped down and joined her.\n\n\"You're proud, ain't you? Have I been so mean that you don't even want\nto talk to me?\"", "\"My name is Luis Cervantes, sir. I'm a medical student and a\njournalist. I wrote a piece in favor of the revolution, you see; as a", "\"Look here, Chief,\" said Luis Cervantes. \"You know that some of\nNatera's men are at Juchipila, quite near here. I think we should join", "This signal insult was destined to bear poisonous fruit. Luis Cervantes\ndetermined to play turncoat; indeed, mentally, he had already changed", "\"Set fire to the house!\" he orders Luis Cervantes when they reach their\nquarters.\n\nWith a curious eagerness Luis Cervantes does not transmit the order but\nundertakes the task in person.", "From then on, Luis Cervantes' prestige with the soldiers increased.\nSome actually dared to make confessions. One among them, conspicuous", "Luis Cervantes gave himself away. His eyes shone with such an obvious\ngreed that Quail recanted and said:", "\"It's positively infamous, senor; look,\" Luis Cervantes said, pointing\nto the bloodstains on his trousers and to his bleeding face.", "\"Well, but ... look here, let's have a drink, come along.\" Then:\n\n\"Hm,\" Solis went on, offering Cervantes a chair, \"since when have you\nturned rebel?\"", "A certain incident came to precipitate their action. Seated on a crag\nof the sierra in the cool of the afternoon breeze, Luis Cervantes gazed", "\"As I was saying,\" Luis Cervantes resumed, \"when the revolution is\nover, everything is over. Too bad that so many men have been killed,", "\"Are you Luis Cervantes?\"\n\n\"Yes. You're Solis, eh?\"", "\"The spy!\" Luis Cervantes cried triumphantly. \"Didn't I tell you?\"", "\"Well, you see, just this week we recruited over five hundred new men;\nall the money's gone in advance loans and gratuities,\" Luis Cervantes\nanswered in a low voice.", "Late in the afternoon Luis Cervantes rubbed his eyes and sat up. He had\nbeen sleeping on the hard pavement, close to the trunk of a fruit tree.\nAnastasio, Pancracio and Quail slept nearby, breathing heavily.", "Camilla continued to cross-question him with such familiarity that she\nsuddenly found herself addressing him intimately, in the singular tu.\nAbsorbed in his own thoughts, Luis Cervantes had ceased listening to\nher. He thought:", "\"Don't you think it advisable to go to Aguascalientes first, General?\"\nLuis Cervantes asked.\n\n\"What for?\"\n\n\"Our funds are melting slowly.\"" ], [ "The rebels were a maddened mob, sunburnt, filthy, naked. Their high\nwide-brimmed straw hats hid their faces. The \"high hats\" came back as", "Some of the soldiers, gazing at the spire of the church, sighed sadly.\nThey marched forward through the canyon, uncertain, unsteady, as blind", "In the distance, from a conical heap of reeds and dry straws, man after\nman emerged, one after the other, their legs and chests naked, lambent", "Before resuming their march, they built a fire on which to roast some\nbull meat. Anastasio Montanez, searching for food among the huizache", "Another volley and a score of soldiers hurtled down from rock to rock.\n\n\"Come out, bandits. Come out, you starved dogs!\"\n\n\"To hell with you, you corn rustlers!\"", "Bending over them, the rebels stripped those among the soldiers who\nwere best clad, laughing and joking as they despoiled them. Brushing\nback his long hair, that had fallen over his sweating forehead and\ncovered his eyes, Demetrio said:", "\"Hey, there, woman: we want food! Give us eggs, milk, beans, anything\nyou've got! We're starving!\"\n\n\"Curse the sierra! It would take the Devil himself not to lose his way!\"", "Demetrio awoke with a start. He waded the river, following its course\nwhich ran counter to the canyon; he climbed the crags laboriously as an", "strained their eyes, they could distinguish others behind him, ten,\ntwenty, a hundred. ... Then, suddenly, darkness swallowed them up. Only", "The sun, beating down upon them, dulled their minds and bodies and\npresently they were silent. All day long they rode through the canyon,", "Yes, failure! For he had never learned to appreciate exactly the\ndifference between fulminating sentences of death upon bandits in the\ncolumns of a small country newspaper and actually setting out in search", "They resumed their march; their uncertainty translated into a\nlugubrious silence. Slowly, inevitably, the catastrophe must come; it", "Everything was silent, desolate. As soon as they saw men on horseback,\nthe people in the huts scurried into the hills to hide. Demetrio grew\nindignant.", "Late in the afternoon Luis Cervantes rubbed his eyes and sat up. He had\nbeen sleeping on the hard pavement, close to the trunk of a fruit tree.\nAnastasio, Pancracio and Quail slept nearby, breathing heavily.", "Before dawn, they left for Tepatitlan. Their silhouettes wavered\nindistinctly over the road and the fields that bordered it, rising and", "their leather sandals, scattering death and destruction below them. In\nthe belfry, a few men struggled to emerge from the pile of dead who had\nfallen upon them.", "They advanced toward the main road; in the distance they spied a figure\nof an Indian sitting on the embankment. They drew up to him. He proved", "up and down the steep, round hills, dirty and bald as a man's head,\nhill after hill in endless succession. At last, late in the afternoon,", "Since nobody knew where the city square was, Venancio made him walk\nahead to show the way. Trembling with fear, the poor devil told them\nthey were doing him a terrible wrong.", "Now the moving dwarf figures were lost in the dense chaparral, now they\nreappeared, stark and black against the ocher. The voices of officers," ], [ "At the foot of a hollow, sumptuous and huge as the portico of an old\ncathedral, Demetrio Macias, his eyes leveled in an eternal glance,\ncontinues to point the barrel of his gun.", "Demetrio Macias rode at the head of his men; behind him the members of\nhis staff: Colonel Anastasio Montanez, Lieutenant-Colonel Pancracio,", "\"Demetrio Macias!\" the sergeant cried as he stepped back in terror.\n\nThe lieutenant stood up, silent, cold and motionless as a statue.\n\n\"Shoot them!\" the woman croaked.", "On the morrow, casualties were reported. Always a few dead. An old\nprostitute was found with a bullet through her stomach; two of Colonel\nMacias' new men lay in the gutter, slit from ear to ear.", "at last, insults. Pancracio brought his stony face close to Manteca,\nwho looked at him with snake's eyes, convulsive, foaming at the mouth.", "Everything was still swathed in shadows as Demetrio Macias began his\ndescent to the bottom of the ravine. Between rocks striped with huge", "motionless. Venancio falls close beside him, his chest riddled with\nbullets. Meco hurtles over the precipice, bounding from rock to rock.", "Demetrio Macias' men grew silent for a moment. They believed they heard\nthe familiar rumor of firing in the distance. A few minutes elapsed but\nthe sound was not repeated.", "III\n\n\"General Macias, I want you to meet my future wife,\" Luis Cervantes\nsaid with great emphasis as he led a beautiful girl into the dining\nroom.", "disappeared. His eyes gleamed with the light of madness. His glance\nstrayed over the square, the tumbled kiosk, the old adobe houses, over", "A painful silhouette crosses his mind. He sees a woman with a child in\nher arms walking over the rocks of the sierra in the moonlight. A house\nin flames....", "Tears of rage and pain rise to Demetrio's eyes as Anastasio slowly\nslides from his horse without a sound, and lies outstretched,", "\"All right, all right!\" said Montanez. \"Viva Demetrio Macias, our\nchief, and long life to God in His heaven and to the Virgin Mary.\"", "\"So we're in Limon, eh, the famous Demetrio Macias' country, eh? Do you\nhear that, Lieutenant? We're in Limon.\"", "\"Yes ... yes ... exactly what I've been thinking myself,\" said Venancio\nin a climax of enthusiasm.\n\n\"Hey, there, Pancracio,\" Macias called, \"pull down two more beers.\"", "\"Get out, all of you; it's aching again. Anastasio put out the candle.\nLock him up in the corral and let Pancracio and Manteca watch him.\nTomorrow, we'll see.\"", "\"As I was saying,\" Luis Cervantes resumed, \"when the revolution is\nover, everything is over. Too bad that so many men have been killed,", "Demetrio Macias smiles slyly. \"Are friends,\" he asked, \"usually\nwelcomed gun in hand?\"", "a shot lays him low. He falls like a bull pierced in the neck by the\nmatador's sword. Motionless, his smoking gun in his hand, Demetrio\nwaits for the soldiers to withdraw.", "\"So your name is Demetrio Macias?\" the girl asked suddenly. Seated on\nthe bar, she swung her legs; at every swing, the toes of her shoes\ntouched Demetrio's back." ] ]

[ "What rebel group does Demetrio's group support?", "Who is Camila in love with?", "What is Camila's status in society?", "How does the causes leader change?", "How certain are the rebels of who they are fighting for?", "How certain are the rebels of what they are fighting for?", "What kind of accuracy does Macias fire his rifle with?", "Who is in love with Cervantes?", "What is a cacique?", "Why does Demetrio Macias flee into the mountains?", "Why does Luis Cervantes join the rebels?", "What does Demetrio Macias start with his band of rebels?", "Who is Camila really in love with?", "Why does Camila become lovers with Demetrio?", "Why is the story called the ones below?", "What happens to Demetrio Macias in the end?", "Why aren't the rebels better leaders than the current government?", "Which character uses the revolution as an excuse to do cruel things?", "What is a cacique?", "Why does Demetrio have to abandon his family?", "What does Demetrio do after escaping to the mountains?", "What do Demetrio and the rebels support?", "Who is Camila in love with?", "Who are the 'ones below'?", "Why has Luis Cervantes joined the rebels?", "What do the rebels struggle to find along their path?", "What are the last images we see of Macias?" ]

[ [ "Mexican Revolution", "Mexican Revolution" ], [ "Cervantes", "Luis Cervantes" ], [ "peasant", "peasant" ], [ "from day to night", "Because those who joined him ended up behaving just like those they were rebelling again, he loses hope that things can ever change." ], [ "not very", "uncertain" ], [ "not very", "not certain at all" ], [ "deadly", "deathly accuracy" ], [ "Camila", "Camila" ], [ "a leader or important person", "a leader or important person" ], [ "The local cacique sends soldiers after him because they are enemies.", "Because federal soldiers come looking for him." ], [ "He was mistreated by the Federales, so he turns on them.", "He was mistreated by the Federales. " ], [ "The Mexican Revolution.", "He starts practicing the very abuses that he used to suffer." ], [ "Luis Cervantes.", "Cervantes" ], [ "Luis Cervantes cheats her into it.", "She gets cheated into it. " ], [ "The Mexican people are mistreated no matter who rules over them.", "Because that is the position of the Mexican people" ], [ "He goes back to his family and fights it out with the Federales.", "he is all alone, firing his rifle into an unbeatable army of enemies" ], [ "They practice what was done to them, they don't know any better.", "Because they are abusive and practice injustice." ], [ "Guero Margarito.", "Guero Margariot" ], [ "A leader, or important person", "A cacique is a leader or important person in this town." ], [ "The Federales are looking for him.", "Because the Federales come looking for him." ], [ "He forms a group of rebels.", "He forms a group of rebels." ], [ "Mexican Revolution", "Mexican Revolution" ], [ "Cervantes", "Luis Cervantes" ], [ "The Mexican People", "Mexican people" ], [ "He was mistreated by the federals.", "Because he has been mistreated by the federal soldiers." ], [ "A cause", "a cause" ], [ "He is alone, firing his gun, extremely outnumbered.", "Alone firing his rifle at his enemies. " ] ]

[ [ "them again, tell 'em the Wild Hogs will\n be right here in Lucas tonight.\n Woody puts his face into his hands.", "(YELLING OUT)\n Alright, Wild Hogs. We know you're in\n town somewhere, 'cause you haven't", "DOUG\n (sotto, to the guys)\n Not another one of these assholes.\n Murdock hears this and whips around to see the Wild Hogs.", "Ride free.\" That's the Wild Hog creed.", "WOODY\n shit.\n (to Hells Angels)\n I meant full-figured.\n The Hells Angels close to within a few feet of the \"Wild\n Hogs,\" and raise their weapons to strike.", "BOB\n Wild Hogs ride!\n The guys continue with enthusiastic cheers as we hear the", "\"Wild Hogs\" writers first draft 7/06/05 40.\n\n EXT. BLANCHARD SPRINGS, OZARK NATIONAL FOREST - LATER", "the Hells Angels.\n The color drains from the Wild Hog's faces.", "being a \"Wild Hog\" meant something!\n Woody takes off his \"Wild Hogs\" jacket and throws it at\n their feet. He hops out of the fountain and storms off", "CHARLEY (CONT'D)\n We're not going to live in fear of your\n gang anymore, Jack. If the Wild Hogs can", "BOB\n He's right, Doug. Wild Hogs!\n Bob takes his cellphone and throws it in the storm drain.\n\n DOUG", "\"Wild Hogs\" writers first draft 7/06/05 43.\n\n EXT. HIGHWAY U.S. 50 - LATE THAT AFTERNOON", "JACK\n Come on, now. You shouldn't be\n protecting them. These \"Wild Hogs,\" not\n only passed us when we specifically told", "JACK (CONT'D)\n So you re \"Wild Hogs,\" huh? That's your\n gang?", "about it. The camera pans around and we see they are all\n wearing \"Wild Hogs\" jackets. And on this, we:", "into the street. The camera rotates around him and comes\n to rest on the back of his jacket, where we see a large\n patch that reads \"Wild Hogs.\" The camera ZOOMS IN ON", "Suddenly, the door pops open on the port-o-potty and the\n WILD HOGS topple out of it in a heap. We see they're", "WILD HOGS\n\n\n\n Written by\n\n Brad Copeland", "JACK\n Give me the crowbar.\n Oilcan nods and hands it to Jack. Jack smiles at the\n four fallen Wild Hogs.", "\"Wild Hogs\" writers first draft 7/06/05 66.\n\n EXT. BIKER BAR - SAME TIME" ], [ "JACK (CONT'D)\n So you re \"Wild Hogs,\" huh? That's your\n gang?", "JACK\n Well, well. The \"Wild Hogs.\" I'm glad\n to see you're finally showing us a little\n respect.", "JACK\n Come on, now. You shouldn't be\n protecting them. These \"Wild Hogs,\" not\n only passed us when we specifically told", "DOUG\n (sotto, to the guys)\n Not another one of these assholes.\n Murdock hears this and whips around to see the Wild Hogs.", "JACK\n Give me the crowbar.\n Oilcan nods and hands it to Jack. Jack smiles at the\n four fallen Wild Hogs.", "WOODY\n shit.\n (to Hells Angels)\n I meant full-figured.\n The Hells Angels close to within a few feet of the \"Wild\n Hogs,\" and raise their weapons to strike.", "about it. The camera pans around and we see they are all\n wearing \"Wild Hogs\" jackets. And on this, we:", "CHARLEY\n And I believe that's his jacket.\n Jack begrudgingly takes off Dudley's \"Wild Hogs\" jacket\n and tosses it to him. Dudley proudly puts it on.", "being a \"Wild Hog\" meant something!\n Woody takes off his \"Wild Hogs\" jacket and throws it at\n their feet. He hops out of the fountain and storms off", "CHARLEY (CONT'D)\n We're not going to live in fear of your\n gang anymore, Jack. If the Wild Hogs can", "BOB\n Wild Hogs ride!\n The guys continue with enthusiastic cheers as we hear the", "into the street. The camera rotates around him and comes\n to rest on the back of his jacket, where we see a large\n patch that reads \"Wild Hogs.\" The camera ZOOMS IN ON", "(YELLING OUT)\n Alright, Wild Hogs. We know you're in\n town somewhere, 'cause you haven't", "\"Wild Hogs\" writers first draft 7/06/05 103.\n Jack looks down at Dudley, then to the other bikers.\n\n JACK", "\"Wild Hogs\" writers first draft 7/06/05 108.\n Jack looks back to the Hells Angels, who chuckle. This\n will be a quick fight.", "them again, tell 'em the Wild Hogs will\n be right here in Lucas tonight.\n Woody puts his face into his hands.", "alongside Doug. They nod silently to each other and tap\n fists like the toughest guys in the world. We see Bob is\n also wearing a \"Wild Hogs\" jacket.", "\"Wild Hogs\" writers first draft 7/06/05 43.\n\n EXT. HIGHWAY U.S. 50 - LATE THAT AFTERNOON", "JACK\n Good.\n (to Hells Angels)\n Saddle up, boys.\n The guys get on their bikes.\n\n JACK (CONT'D)", "\"Wild Hogs\" writers first draft 7/06/05 86.\n Jack laughs." ], [ "WOODY\n\n (TO HIMSELF)\n Come after us now, assholes.\n Woody goes along to each bike, smiling with a weird\n recklessness as he slices through each gas line.", "he is, and kneels next to the line of Hells Angels\n motorcycles. He takes out an army knife, and slices\n through one of the motorcycle's gas line. Gas starts", "JACK\n What the f--\n (sees cut gas line)\n You've gotta be kidding me.", "the bikes sputter and choke to a stop.\n ANGLE ON: JACK. He's on his hog, with a cigarette\n dangling out of his mouth. He looks down in confusion at", "(QUICKLY)\n Okay, let's ride!\n The guys all hastily start their bikes and take off up\n the freeway ramp. We hear the truck driver screaming\n profanities as they guiltily ride away.", "Suddenly, the cigarette falls out of Jacks mouth, and\n onto the ground. A puddle of gas from the sliced line\n catches on fire.", "DOUG\n We are the real bikers.\n As Doug says this, Dudley kicks the Panhead into gear and", "Jack starts his bike and roars out of the town. The\n others follow him, gunning their bikes and leaving skid\n marks and smoke in their trail. A kid yells at the Hells", "WOODY\n We can still outrun them. They're fat.\n Woody turns around to see Hells Angles have now closed in\n behind them, blocking their escape. Jack smiles.", "SFX: SIREN\n Jack and the Hells Angels look up the road.\n ANGLE ON: DOWN STREET. CHARLEY is riding his shiny", "Woody starts up his bike. Doug and Bob look at each\n other and shrug. Dudley hurries out of the sidecar.", "The crowd chatters in approval as Dudley gets on the '51\n Panhead and starts the engine. He revs it a few times\n and Jack shoots Doug an infuriated glare.", "The Hells Angels park their bikes. We see all the\n townspeople have stopped enjoying themselves, and just\n stand there, scared. Jack gets off his bike and looks\n around.\n\n JACK", "The Hells Angels roar away from the bar on their\n motorcycles. They get to the end of the driveway, and", "EXT. BIKER BAR - SAME TIME\n\n JACK, and the other bikers stand by the smoldering pile\n of wood that was once their bar. OILCAN approaches Jack.", "INT. BIKER BAR - SAME TIME\n\n Jack is playing darts with the other bikers. He goes to\n throw a dart and hears engines roar past the bar outside.", "Jack takes a garbage can and tosses it into the diner\n window. The crowd gasps, as the Hells Angels laugh.\n CHARLEY steps out of the crowd.", "The Hells Angels have returned, and set up shop in the\n diner, but are also flowing out onto the street. Jack\n stumbles into the middle of the road, with a bottle of\n tequila in his hand.", "JACK\n Good.\n (to Hells Angels)\n Saddle up, boys.\n The guys get on their bikes.\n\n JACK (CONT'D)", "JACK (CONT'D)\n shit.\n The flames quickly follow the line of leaked gas like a\n fuse, back towards the bar." ], [ "Jack starts his bike and roars out of the town. The\n others follow him, gunning their bikes and leaving skid\n marks and smoke in their trail. A kid yells at the Hells", "We see their jackets say \"Hells Angels.\" The bikers turn\n and stare at WOODY, DOUG, BOB and DUDLEY.", "The bikers kind of chuckle to themselves. The leader of\n the gang, JACK, steps forward. He's in his late 40's -", "The Hells Angels park their bikes. We see all the\n townspeople have stopped enjoying themselves, and just\n stand there, scared. Jack gets off his bike and looks\n around.\n\n JACK", "The Hells Angels roar away from the bar on their\n motorcycles. They get to the end of the driveway, and", "DOUG\n We are the real bikers.\n As Doug says this, Dudley kicks the Panhead into gear and", "JACK\n Those assholes think they can cross the\n Hells Angels? Do you know how bad\n they've made us all look!?\n The gang nods. They all look pissed.", "INT. BIKER BAR - SAME TIME\n\n Jack is playing darts with the other bikers. He goes to\n throw a dart and hears engines roar past the bar outside.", "The Hells Angels have returned, and set up shop in the\n diner, but are also flowing out onto the street. Jack\n stumbles into the middle of the road, with a bottle of\n tequila in his hand.", "They go to park their bikes, but there's not enough\n space. There's a police car in the parking spot next to\n them, and the town sheriff, CHARLEY, comes running", "The Hells Angels are suddenly silent. Jack turns back\n and looks at Doug in disbelief - then rage. Doug starts\n to look a little worried.", "DOUG\n Well, what's the point of being in a\n motorcycle gang if we can't ourselves in\n a little trouble?\n Woody looks back at him. Doug smiles a little bit.", "CHARLEY\n You guys aren't Hells Angels?\n\n DOUG\n No. We're Wild Hogs. That's our gang.", "the Hells Angels.\n The color drains from the Wild Hog's faces.", "SFX: SIREN\n Jack and the Hells Angels look up the road.\n ANGLE ON: DOWN STREET. CHARLEY is riding his shiny", "The crowd is silent for a moment, then hesitantly gives a\n uncomfortable cheer. Charley turns back to the Hells\n Angels.", "The bar is full of bikers, but not the kind we saw\n before. These guys are greasy, tattooed and menacing.", "Harley Davidson police bike. Behind him are BUCK and\n EARL, driving a police cruiser. Behind the cruiser is a\n large group of people carrying rakes, hedge clippers,", "DOUG\n Wait!! Wait a minute!\n The Hells Angels stop.\n\n DOUG (CONT'D)", "the bikes sputter and choke to a stop.\n ANGLE ON: JACK. He's on his hog, with a cigarette\n dangling out of his mouth. He looks down in confusion at" ], [ "Jack takes a garbage can and tosses it into the diner\n window. The crowd gasps, as the Hells Angels laugh.\n CHARLEY steps out of the crowd.", "DOUG\n We are the real bikers.\n As Doug says this, Dudley kicks the Panhead into gear and", "Doug exits and looks around the corner of the building,\n making sure the Hells Angels are still sleeping, then\n starts walking towards a wooded park behind the town.", "Jack starts his bike and roars out of the town. The\n others follow him, gunning their bikes and leaving skid\n marks and smoke in their trail. A kid yells at the Hells", "alongside Doug. They nod silently to each other and tap\n fists like the toughest guys in the world. We see Bob is\n also wearing a \"Wild Hogs\" jacket.", "The bikers kind of chuckle to themselves. The leader of\n the gang, JACK, steps forward. He's in his late 40's -", "DOUG\n (sotto, to the guys)\n Not another one of these assholes.\n Murdock hears this and whips around to see the Wild Hogs.", "JACK\n Well, well. One of you came to face the\n music, huh? That's brave. And stupid.\n The Hells Angels laugh. Dudley takes a deep breath and\n walks up to Jack.", "BOB, DOUG, WOODY and DUDLEY enter, with their motorcycle\n boots thunking on the wood floor, announcing to the\n entire diner that there are bikers there.", "BUD (CONT'D)\n Not another one of these assholes.\n A moment later, MURDOCK, a fat, grungy Hells Angel,", "Hells Angels cheer. Jack high fives them as Doug\n struggles back to his feet and looks back at Woody and\n Bob, cradling his face.", "desperately for somewhere to hide - but the Hells Angels\n are too close. There's no time. Woody spots a port-o-\n potty from the block party and starts corralling Doug,", "DOUG\n (knowingly, to group)\n Nope. The Hells Angels have him.\n Doug gives a look to the other guys. They mouth \"Shit:\"", "Doug looks at Woody. He's starting to figure it out.\n Woody guiltily avoids Doug's glare and watches the Hells\n Angels through a vent in the port-o-potty.", "Charley shuts it behind them. They lean back on the\n fence, trying to gather their bearings, except Bob - who\n is thrilled.", "The Hells Angels have returned, and set up shop in the\n diner, but are also flowing out onto the street. Jack\n stumbles into the middle of the road, with a bottle of\n tequila in his hand.", "JACK\n Anybody else the leader of this gang?\n Bob takes a deep breath, and bends down an grabs a long\n lead pipe. He starts towards Jack.", "Upon hearing this, BOB, DUDLEY and DOUG all look at\n WOODY, who shrugs sheepishly. Bob is enraged.", "The guys shake their heads and look back into the fire.\n After a moment, Doug smiles.", "INT. MAIN STREET DINER - A FEW MINUTES LATER\n\n DUDLEY kicks open the front door. JACK and the other\n Hells Angels are inside, drinking and carrying on." ], [ "JACK (CONT'D)\n So you re \"Wild Hogs,\" huh? That's your\n gang?", "them again, tell 'em the Wild Hogs will\n be right here in Lucas tonight.\n Woody puts his face into his hands.", "CHARLEY\n And I believe that's his jacket.\n Jack begrudgingly takes off Dudley's \"Wild Hogs\" jacket\n and tosses it to him. Dudley proudly puts it on.", "about it. The camera pans around and we see they are all\n wearing \"Wild Hogs\" jackets. And on this, we:", "JACK\n Well, well. The \"Wild Hogs.\" I'm glad\n to see you're finally showing us a little\n respect.", "JACK\n Come on, now. You shouldn't be\n protecting them. These \"Wild Hogs,\" not\n only passed us when we specifically told", "JACK\n Give me the crowbar.\n Oilcan nods and hands it to Jack. Jack smiles at the\n four fallen Wild Hogs.", "(YELLING OUT)\n Alright, Wild Hogs. We know you're in\n town somewhere, 'cause you haven't", "into the street. The camera rotates around him and comes\n to rest on the back of his jacket, where we see a large\n patch that reads \"Wild Hogs.\" The camera ZOOMS IN ON", "CHARLEY (CONT'D)\n We're not going to live in fear of your\n gang anymore, Jack. If the Wild Hogs can", "DOUG\n (sotto, to the guys)\n Not another one of these assholes.\n Murdock hears this and whips around to see the Wild Hogs.", "BOB\n He's right, Doug. Wild Hogs!\n Bob takes his cellphone and throws it in the storm drain.\n\n DOUG", "being a \"Wild Hog\" meant something!\n Woody takes off his \"Wild Hogs\" jacket and throws it at\n their feet. He hops out of the fountain and storms off", "\"Wild Hogs\" writers first draft 7/06/05 40.\n\n EXT. BLANCHARD SPRINGS, OZARK NATIONAL FOREST - LATER", "\"Wild Hogs\" writers first draft 7/06/05 116.\n Jack just stares at the trashed motorcycle, mortified.\n\n DISSOLVE TO:", "WOODY\n shit.\n (to Hells Angels)\n I meant full-figured.\n The Hells Angels close to within a few feet of the \"Wild\n Hogs,\" and raise their weapons to strike.", "\"Wild Hogs\" writers first draft 7/06/05 103.\n Jack looks down at Dudley, then to the other bikers.\n\n JACK", "Doug takes his Wild Hogs jacket and pulls it on.", "BOB\n Wild Hogs ride!\n The guys continue with enthusiastic cheers as we hear the", "alongside Doug. They nod silently to each other and tap\n fists like the toughest guys in the world. We see Bob is\n also wearing a \"Wild Hogs\" jacket." ], [ "Jack stands next to Dudley, who is duct-taped to a chair\n with so much tape that it looks like he's in a cocoon.\n Only his head is uncovered. Jack holds Dudley's\n cellphone.", "DUDLEY\n Ow. Ow! Ow, ow. Ow. Ow!...\n After a painful minute, Dudley is untaped. Charley looks\n at Jack's jacket.", "They push DUDLEY forward. We see he is now completely\n cocooned in duct-tape - like a mummy. There is only a\n small slit for his mouth and eyes.", "DOUG\n --each other's company...\n Dudley grabs the bag and heads off.\n\n DUDLEY\n Fine. I'll just hang it on a tree.", "Woody realizes he's in trouble and starts to run again.\n The bull quickly catches him and rams him into the air.\n Woody lands hard, with a grunt.", "The guys look at him, surprised and somewhat impressed.\n Woody takes a breath and climbs over the fence. He\n approaches the Bull very quietly and cautiously. He gets", "Jack signals to one of the Hells Angels. He grabs\n Dudley's tape and spins him around to untape him.", "JACK\n Don't get tired yet. The hurt is just\n beginning.\n Doug tries to stand back up, but it's getting harder. He\n slyly grabs a handful of sand as he starts to stand.", "DOUG (CONT'D)\n Ahhhhhhhh!\n It's too late. The Bull catches Doug and bucks him into", "desperately for somewhere to hide - but the Hells Angels\n are too close. There's no time. Woody spots a port-o-\n potty from the block party and starts corralling Doug,", "the air. Doug flies ten feet and comes crashing down on\n the muddy grass. The Bull takes a few steps back and\n starts lining up another charge at him.", "CHARLEY (CONT'D)\n Good. Now I'd like you to untape our\n friend Dudley.", "Doug nods and goes to kick Jack, but Jack grabs the foot\n and pushes him backwards. Doug falls back to the dirt.\n Jack stands up and dusts himself off.", "Charley shuts it behind them. They lean back on the\n fence, trying to gather their bearings, except Bob - who\n is thrilled.", "WOODY\n Doug, wait!\n It's too late. Doug slaps the bull hard, and turns to\n run.", "Suddenly, the Bull charges into the fence, which Bob's\n butt is sticking through. Bob goes flying and lands face\n down in the dirt. He scrambles back up, furious.", "Upon hearing this, BOB, DUDLEY and DOUG all look at\n WOODY, who shrugs sheepishly. Bob is enraged.", "disentergrates the tent. Doug, Bob and Woody just watch,\n knowing there's nothing they can do. After a moment,\n DUDLEY runs back up with the correct water jug and", "within three feet of it, leans in and slaps the Bull hard\n on the ass.\n The bull makes an annoyed sound and turns around, but", "Dudley laughs and pulls on his jacket, as Woody ties a\n bandana skull-cap on his head. The guys look at Woody." ], [ "MURDOCK has arrived at the bar, which is just a burned\n shack at this point. The Hell's Angels are gathered", "JACK (CONT'D)\n shit.\n The flames quickly follow the line of leaked gas like a\n fuse, back towards the bar.", "EXT. BIKER BAR - SAME TIME\n\n JACK, and the other bikers stand by the smoldering pile\n of wood that was once their bar. OILCAN approaches Jack.", "(MUMBLES)\n I can have a light.\n Doug continues into the bar, but now with less swagger.", "flame has reached the parking area and ignited all the\n puddles of gas. They all watch in horror as the fire\n ravenously engulfs the old wooden porch of the bar, then", "behind him. The guys don't notice - but we see the\n marshmallow land on the tent and continue to burn. Bob\n continues to huff on the air mattress. He stops and", "highschool. I'm sorry your bar got\n burned down, and we'll be glad to help\n you get it rebuilt, but we're done being", "playing dress up. This bar is, too. And\n we didn't get into this to play dress up -\n we got in this to live. \"Be cool and", "The guys get a good distance away from the bar and Woody\n waves for them to stop. They do and Woody looks back to\n the bar.", "The guys look at it and nod. It is a cool looking shack\n of a bar. Doug admires the row of motorcycles out front.", "Woody doesn't respond. He just stares vacantly into the\n fire for a beat.", "(LAUGHS)\n I can only say that because I'm on his\n right side. Which as you can see, is\n blown off.\n Earl laughs again, as BUCK extends his hand - oblivious.", "Woody rides up to the bar, and looks back to make sure\n he's out of Doug, Bob and Dudley's sight. He sees that", "INT. BIKER BAR - SAME TIME\n\n Jack is playing darts with the other bikers. He goes to\n throw a dart and hears engines roar past the bar outside.", "The Hells Angels roar away from the bar on their\n motorcycles. They get to the end of the driveway, and", "Charley shuts it behind them. They lean back on the\n fence, trying to gather their bearings, except Bob - who\n is thrilled.", "The guys shake their heads and look back into the fire.\n After a moment, Doug smiles.", "The block party is winding down. Dudley is sitting by\n himself at a picnic table, in post-Maggie bliss.", "them not to, they drained out all our gas\n and burned down our bar. Like the little\n cowards they are. Now where are they!!?", "empties it on what is now a flaming pile of ash. It does\n nothing." ], [ "\"Wild Hogs\" writers first draft 7/06/05 40.\n\n EXT. BLANCHARD SPRINGS, OZARK NATIONAL FOREST - LATER", "(YELLING OUT)\n Alright, Wild Hogs. We know you're in\n town somewhere, 'cause you haven't", "BOB\n Wild Hogs ride!\n The guys continue with enthusiastic cheers as we hear the", "them again, tell 'em the Wild Hogs will\n be right here in Lucas tonight.\n Woody puts his face into his hands.", "CHARLEY (CONT'D)\n We're not going to live in fear of your\n gang anymore, Jack. If the Wild Hogs can", "BOB\n He's right, Doug. Wild Hogs!\n Bob takes his cellphone and throws it in the storm drain.\n\n DOUG", "\"Wild Hogs\" writers first draft 7/06/05 43.\n\n EXT. HIGHWAY U.S. 50 - LATE THAT AFTERNOON", "JACK (CONT'D)\n So you re \"Wild Hogs,\" huh? That's your\n gang?", "WOODY\n shit.\n (to Hells Angels)\n I meant full-figured.\n The Hells Angels close to within a few feet of the \"Wild\n Hogs,\" and raise their weapons to strike.", "about it. The camera pans around and we see they are all\n wearing \"Wild Hogs\" jackets. And on this, we:", "\"Wild Hogs\" writers first draft 7/06/05 66.\n\n EXT. BIKER BAR - SAME TIME", "into the street. The camera rotates around him and comes\n to rest on the back of his jacket, where we see a large\n patch that reads \"Wild Hogs.\" The camera ZOOMS IN ON", "DOUG\n (sotto, to the guys)\n Not another one of these assholes.\n Murdock hears this and whips around to see the Wild Hogs.", "being a \"Wild Hog\" meant something!\n Woody takes off his \"Wild Hogs\" jacket and throws it at\n their feet. He hops out of the fountain and storms off", "CHARLEY\n And I believe that's his jacket.\n Jack begrudgingly takes off Dudley's \"Wild Hogs\" jacket\n and tosses it to him. Dudley proudly puts it on.", "Ride free.\" That's the Wild Hog creed.", "the Hells Angels.\n The color drains from the Wild Hog's faces.", "WILD HOGS\n\n\n\n Written by\n\n Brad Copeland", "JACK\n Come on, now. You shouldn't be\n protecting them. These \"Wild Hogs,\" not\n only passed us when we specifically told", "\"Wild Hogs\" writers first draft 7/06/05 4.\n\n INT. SMALL OFFICE - MORNING" ], [ "DOUG (CONT'D)\n\n (UNSURE)\n Great.\n\n CUT TO:", "DOUG\n Thanks, man.\n Doug smiles and gives Dudley a squeeze on the shoulder.\n Dudley is clearly disappointed, having assumed Doug would", "DOUG (CONT'D)\n Yes!--\n But Doug is instantly punched in the stomach by Jack's", "Doug is in a bed, with Kelly next to him. A DOCTOR\n enters with a chart.\n\n DOCTOR\n Well, Mr. Matthews--", "DOUG (CONT'D)\n\n (SMILES)\n I even got beaten up.\n Doug winks cockily. Kelly lights up.", "DOUG\n It's not a big secret, Bob. She's a\n swimsuit model. She's hot. I mean, so", "The guests laugh. They think he's joking.\n\n \n\n ROGER\n\n \n Come on, Doug. You should be proud!", "DOUG (CONT'D)\n That was a pass, dudes!\n It wasn't.\n Doug nods with false confidence to the kids, stands there\n awkwardly for a moment, then quietly heads inside.", "Doug. Doug sees the fear on the guys faces and looks\n back over his shoulder. His smile quickly turns to\n terror.", "(TO HIMSELF)\n Free and wild.\n Doug looks around the party. Several middle-aged couples", "DOUG (CONT'D)\n (yells to Jack)\n Give us back our friend, asshole!", "DOUG (CONT'D)\n .The adventure.\n Doug looks at Woody and Bob. Woody smiles and pulls on\n his jacket.", "BOB (CONT'D)\n That's her.\n Bob looks out the window nervously. Kelly looks at Doug.", "DOUG drives a Volvo station wagon along the streets of\n Cincinnati. BILLY is next to him, in the passenger\n seat, looking bored. Doug notices.", "Doug exits and looks around the corner of the building,\n making sure the Hells Angels are still sleeping, then\n starts walking towards a wooded park behind the town.", "DUDLEY\n (loudly, to Doug)\n so he is one of those assholes, Doug.", "JACK\n So it's like a little hobby for you guys?\n How sweet.\n Doug smiles, but is now sensing the hostility. He looks\n back for the exit.", "BOB\n Doug! Are you okay?\n\n DOUG\n Yeah, I'm okay. Just stress.\n\n BOB\n Oh, man. Thank god.", "DOUG, looking depressed, pulls into the driveway. He\n looks over and sees BILLY and three of his friends\n shooting baskets. He smiles, gets out of the car and\n struts over.", "DOUG (CONT'D)\n (yelling over music)\n Awwww, yeah. This is the shit! It ain't\n 1980 anymore, man. Yeah!" ], [ "DUDLEY (CONT'D)", "DUDLEY (CONT'D)", "DUDLEY\n I'm a biker, dude! I got a tat!\n Dudley yanks his jacket down to his elbows and we see he", "DUDLEY\n Okay, then. Thanks for hearing me out.\n Dudley starts for the door, but several Hells Angels move", "DUDLEY (CONT'D)\n Ow!", "DUDLEY\n (loudly, to Doug)\n so he is one of those assholes, Doug.", "DOUG\n Thanks, man.\n Doug smiles and gives Dudley a squeeze on the shoulder.\n Dudley is clearly disappointed, having assumed Doug would", "DUDLEY\n Nooo. I'm just minding my own business.\n I don't want to cause any trouble.\n Dudley turns to Woody and stares at him. Woody looks\n confused.", "DUDLEY (CONT'D)\n Crap.\n\n JACK", "DUDLEY (CONT'D)\n Sorry.\n\n CUT TO:\n\n INT. DOUG MATTHEW'S OFFICE - THAT AFTERNOON", "DUDLEY\n Ahhhhhhhhhhh!\n Dudley charges Jack, but his limited mobility results not", "DUDLEY\n Let's ride.\n They start their motorcycles. The engines roar to life.\n\n DISSOLVE TO:", "DUDLEY\n\n (TO JACK)\n Yeah, just a little hobby for us.\n\n (MORE)", "DUDLEY\n (muffled from tape)\n Hey, guyth.\n Doug shakes his head.\n\n DOUG\n Just hold tight, Dudley.", "Maggie takes this in. After a moment, she smiles and\n kisses Dudley.", "DUDLEY\n Hell yeah, brother.\n Dudley whips his jacket off and hands it to Jack, who", "DUDLEY\n My life blows. I don't have a family.\n Or a wife. I have a cat that doesn't", "CHARLEY\n Uh uh. A deal's a deal, Jack.\n Jack grits his teeth and throws a set of keys at Dudley.", "DUDLEY\n This is poop. Don't eat it.\n Dudley sets the bag aside and has a seat by the fire.", "WOODY\n Yup. I tried to be polite. I tried to\n reason. I told them Dudley was dying.\n\n DUDLEY\n What?" ], [ "Charley shuts it behind them. They lean back on the\n fence, trying to gather their bearings, except Bob - who\n is thrilled.", "BOB, in leather biker gear, rolls out of his garage on\n another shimmering Harley Davidson. He looks around", "BOB (CONT'D)\n That's her.\n Bob looks out the window nervously. Kelly looks at Doug.", "(TO BOB)\n You just did that so Karen wouldn't call.\n\n BOB\n Yup.\n Bob starts his bike.", "BOB\n Wow. Everyone is so nice, here.\n The guys sit in one of the booths. Dudley hangs back,\n and struggles to talk to Maggie.\n\n DUDLEY", "BOB (CONT'D)\n Hah! Missed me, you fat bastard!", "BOB LEVENSTEIN, 40s, is working at his computer. Bob is\n good enough looking, but with a gawky wimpishness and", "BOB\n You son of a bitch!\n Bob lunges at Woody, but the sudden shifting of weight is\n too much for the port-o-potty...", "(TO BOB)\n Just stay down.\n Bob nods.", "BOB\n Because I want to kick him in the face.\n Doug and Woody laugh again. Bob just steams. They spot\n DUDLEY, and head over to him.", "SMASH CUT TO:\n\n EXT. BOB'S DRIVEWAY - A MINUTE LATER", "BOB\n Oh, man. Check it out. A 1951 Panhead.\n You know how rare this thing is?\n The guys all crowd around the bike.", "BOB (CONT'D)\n\n (TO CHARLEY)\n Give me your gun! Give me the gun! He\n deserves it!", "The pull into the parking lot and climb off their bikes.\n Bob immediately falls to the ground.", "Doug takes this in, and smiles at her. She's a good\n wife, and he knows it. Suddenly, BOB enters the room.", "BOB (CONT'D)\n Listen to me. This is My vacation and if\n I want to ride on with my friends, well", "BOB\n That's it. He's never had a girlfriend\n so he's probably getting carried away.\n He once drank eighteen Mocha Latte's\n because the Starbucks clerk was smiling\n at him.", "BOB\n Doug! Are you okay?\n\n DOUG\n Yeah, I'm okay. Just stress.\n\n BOB\n Oh, man. Thank god.", "There's a moment of silence as Karen absorbs this. The\n guys all look at Bob proudly. After a few seconds,\n Karen's face softens.", "BOB (CONT'D)\n Whhheew: Yeah! That's c-c-cold:\n He sees DOUG, WOODY and DUDLEY are just staring at him." ], [ "DOUG\n Well, Woody is the one who really--", "Woody lowers his head. The guys take this in for a\n minute. Woody looks at them, waiting for their sympathy.\n Finally, Doug speaks.", "Woody takes this in, gritting his teeth in disappointment.", "look at Woody. Woody rolls his eyes...", "Woody rides up to the bar, and looks back to make sure\n he's out of Doug, Bob and Dudley's sight. He sees that", "WOODY\n Man, did you see the look on Bob's face\n when he got up? Didn't dodge him that\n time!\n Woody and Doug laugh. Bob looks pissed.", "Dudley nods. Woody grits his teeth as they enter the\n town. It's a quiet, one stop-light town - with an old", "Woody realizes he's in trouble and starts to run again.\n The bull quickly catches him and rams him into the air.\n Woody lands hard, with a grunt.", "that's what happens when you screw with\n Woody Stevens. You go down. Hard.\n As Woody talks, he passes by framed magazine covers of a", "WOODY\n And the friends.\n Woody steps over to Doug. Bob looks at them for a\n moment, then finally smiles and pulls on his jacket.", "We see the pristine living room of an expensive,\n architectural house.\n\n MALE VOICE (O.C.)\n Woody.", "Woody eyes water a little and he quickly turns away from\n Doug. They sit there for another moment.", "except for you, Woody. You're still\n living the fairy tale. Swimsuit model\n wife. Big job at an investment firm.\n You've got the good life.", "The guys get a good distance away from the bar and Woody\n waves for them to stop. They do and Woody looks back to\n the bar.", "WOODY (CONT'D)\n Whhhheeeeeeew!\n Woody gets to the fence and hurls himself over. The guys\n all applaud.", "WOODY\n Hey.\n\n DOUG\n Hey. Going fishing?", "(GETTING ANGRY)\n Woody Stevens!\n We see WOODY STEVENS, 40s, handsome, but with shifty eyes", "Woody doesn't respond. He just stares vacantly into the\n fire for a beat.", "Dudley laughs and pulls on his jacket, as Woody ties a\n bandana skull-cap on his head. The guys look at Woody.", "The guys ignore him. Woody looks back down the highway\n uneasily, then heads inside the motel office." ], [ "Woody rides up to the bar, and looks back to make sure\n he's out of Doug, Bob and Dudley's sight. He sees that", "go. Quick. Before they change their\n mind.\n Woody quickly starts his bike and rides on. The guys\n shrug, impressed, and follow him.", "Woody nods back, revs his engine, and joins alongside\n them.", "WOODY\n\n (TO HIMSELF)\n Come after us now, assholes.\n Woody goes along to each bike, smiling with a weird\n recklessness as he slices through each gas line.", "The guys get a good distance away from the bar and Woody\n waves for them to stop. They do and Woody looks back to\n the bar.", "WOODY (CONT'D)\n Whhhheeeeeeew!\n Woody gets to the fence and hurls himself over. The guys\n all applaud.", "The guys look at him, surprised and somewhat impressed.\n Woody takes a breath and climbs over the fence. He\n approaches the Bull very quietly and cautiously. He gets", "WOODY (CONT'D)\n Go! Go! Go!\n Woody pushes his puzzled friends into the port-o-potty,", "The bull turns back to charge at Woody again, and Bob\n jumps over the fence.", "WOODY\n Exactly. Which is why we need to keep\n riding until we figure out where that\n happiness is. You don't get old Doug\n back by just staying put.", "WOODY\n And the friends.\n Woody steps over to Doug. Bob looks at them for a\n moment, then finally smiles and pulls on his jacket.", "EXT. HIGHWAY U.S. 50 - A FEW MINUTES LATER\n\n WOODY pulls up on his bike, where DOUG, BOB and DUDLEY\n are waiting.", "Dudley laughs and pulls on his jacket, as Woody ties a\n bandana skull-cap on his head. The guys look at Woody.", "WOODY\n Bob, let's not get carried away--\n\n BOB\n No, you know what? This guy needs a\n talking to just like his friends did,\n Woody.", "Woody lowers his head. The guys take this in for a\n minute. Woody looks at them, waiting for their sympathy.\n Finally, Doug speaks.", "The guys ignore him. Woody looks back down the highway\n uneasily, then heads inside the motel office.", "WOODY (CONT'D)\n Run, Doug! Go!\n Doug climbs to his feet and sees the bull charging Woody.", "Woody realizes he's in trouble and starts to run again.\n The bull quickly catches him and rams him into the air.\n Woody lands hard, with a grunt.", "A MINUTE LATER, Woody pulls onto the street on his\n Harley. DOUG and BOB turn the corner and nod to him.", "WOODY\n Anybody else got that \"pre-rape\" feeling?\n\n EXT. BIKER BAR - CONTINUOUS" ], [ "Woody takes this in, gritting his teeth in disappointment.", "WOODY (CONT'D)\n I've lost everything. The firm fired me,\n Claudia left me... It's all gone. My", "that's what happens when you screw with\n Woody Stevens. You go down. Hard.\n As Woody talks, he passes by framed magazine covers of a", "Woody lowers his head. The guys take this in for a\n minute. Woody looks at them, waiting for their sympathy.\n Finally, Doug speaks.", "Woody realizes he's in trouble and starts to run again.\n The bull quickly catches him and rams him into the air.\n Woody lands hard, with a grunt.", "Upon hearing this, BOB, DUDLEY and DOUG all look at\n WOODY, who shrugs sheepishly. Bob is enraged.", "WOODY\n Because I don't have anything to go back\n to, okay!\n Doug and Bob go silent. Woody looks away - trying to\n collect himself. After a moment, he faces them.", "BOB\n You son of a bitch!\n Bob lunges at Woody, but the sudden shifting of weight is\n too much for the port-o-potty...", "WOODY (CONT'D)\n Go! Go! Go!\n Woody pushes his puzzled friends into the port-o-potty,", "DOUG\n (realizing, to Woody)\n This trip is just you running from your\n life. Your miserable, screwed up life.", "WOODY (CONT'D)\n I didn't want to lose, Doug. I've lost\n everything else and I didn't want to lose", "JACK\n Yup. Your piece of junk.\n Woody, Doug and Bob look at each other. This isn't good.\n Doug tries to laugh it off.", "WOODY\n Anyway, none of that worked. So I laid\n it out for them. I said, \"Hey, go ahead", "Woody rides up to the bar, and looks back to make sure\n he's out of Doug, Bob and Dudley's sight. He sees that", "BOB (CONT'D)\n What?\n\n WOODY\n Why are you naked?", "WOODY\n We are slapping the bull.\n Doug knows it's no use. He nods, defeated.\n\n CUT TO:", "DOUG\n Well, Woody is the one who really--", "WOODY\n You did lose him, Doug. You know why?\n You're housebroken. You're too", "WOODY\n\n (TO HIMSELF)\n Come after us now, assholes.\n Woody goes along to each bike, smiling with a weird\n recklessness as he slices through each gas line.", "WOODY\n No. No way. This is my fault. All this\n is my fault. I have some money in my\n severance package. We're using it." ], [ "Maggie smiles. She has a radiant sweetness, even though\n she's scared to death.\n DUDLEY stares at her, captivated. He's in love.", "Maggie takes this in. After a moment, she smiles and\n kisses Dudley.", "DUDLEY\n This has been the best vacation of my\n life. I met you.\n Maggie blushes.", "DUDLEY (CONT'D)", "DUDLEY (CONT'D)", "(TO MAGGIE)\n Um... So?\n Dudley tries to think of something else to say, but\n can't. He nods awkwardly, then heads over to the booth.\n He sits down with the guys.", "Maggie watches curiously as Dudley pulls himself along\n the ground by his elbows - then springs up to his feet\n and starts a move that resembles a sprinkler. Maggie", "DUDLEY\n Ow. Ow! Ow, ow. Ow. Ow!...\n After a painful minute, Dudley is untaped. Charley looks\n at Jack's jacket.", "in a tackle, but in him leaning on Jack. After a moment,\n Jack takes a step back and Dudley falls to the ground.", "DUDLEY\n Ahhhhhhhhhhh!\n Dudley charges Jack, but his limited mobility results not", "DOUG\n You have a sister?\n\n DUDLEY\n I have a soulmate.", "DOUG\n Hey, Dud. You look happy.\n\n DUDLEY\n I danced with her. And she likes macs.\n You know what that means?", "DUDLEY\n This is poop. Don't eat it.\n Dudley sets the bag aside and has a seat by the fire.", "DUDLEY\n I'm a biker, dude! I got a tat!\n Dudley yanks his jacket down to his elbows and we see he", "and lands on it's side - with Dudley in it. Dudley looks\n out at the floor, helpless.", "MAGGIE\n Hi.\n Dudley is wide-eyed.\n\n DUDLEY\n Um... I, uh---", "DOUG\n Thanks, man.\n Doug smiles and gives Dudley a squeeze on the shoulder.\n Dudley is clearly disappointed, having assumed Doug would", "DUDLEY\n Oh, man. I thought it was going to\n happen slowly. I thought I had time!\n Dudley sits on the fountain edge and starts to tear up.", "DUDLEY (CONT'D)\n\n (TO GUYS)\n She's perfect.\n\n DOUG\n You like the waitress, huh?", "DUDLEY\n Nooo. I'm just minding my own business.\n I don't want to cause any trouble.\n Dudley turns to Woody and stares at him. Woody looks\n confused." ], [ "Jack stands next to Dudley, who is duct-taped to a chair\n with so much tape that it looks like he's in a cocoon.\n Only his head is uncovered. Jack holds Dudley's\n cellphone.", "Jack signals to one of the Hells Angels. He grabs\n Dudley's tape and spins him around to untape him.", "DUDLEY\n Ahhhhhhhhhhh!\n Dudley charges Jack, but his limited mobility results not", "in a tackle, but in him leaning on Jack. After a moment,\n Jack takes a step back and Dudley falls to the ground.", "DUDLEY\n Hell yeah, brother.\n Dudley whips his jacket off and hands it to Jack, who", "JACK (CONT'D)\n Shut up!!\n The gang stops laughing, off Jack's warning glare.\n Dudley looks up from the floor.", "DUDLEY (CONT'D)\n Crap.\n\n JACK", "DUDLEY (CONT'D)\n Ow.\n Jack cracks his knuckles and looks to OILCAN.", "Jack walks over to the computer and looks at Dudley for a\n moment. He then picks the computer up and smashes it\n down on the ground. It breaks into a hundred pieces.", "DUDLEY\n Ow. Ow! Ow, ow. Ow. Ow!...\n After a painful minute, Dudley is untaped. Charley looks\n at Jack's jacket.", "DUDLEY\n No, I actually feel pretty--\n Jack kicks Dudley's chair with his foot. It tips over", "They push DUDLEY forward. We see he is now completely\n cocooned in duct-tape - like a mummy. There is only a\n small slit for his mouth and eyes.", "JACK\n Well, well. One of you came to face the\n music, huh? That's brave. And stupid.\n The Hells Angels laugh. Dudley takes a deep breath and\n walks up to Jack.", "Jack smiles at Dudley and puts his foot through what's\n left of it. The Hells Angels stifle laughter. Dudley is\n starting to look a little nervous.", "CHARLEY (CONT'D)\n Good. Now I'd like you to untape our\n friend Dudley.", "JACK\n Well, I guess that's all of you--\n DUDLEY, still covered in tape, comes running into the\n circle from the other side.", "CHARLEY\n Uh uh. A deal's a deal, Jack.\n Jack grits his teeth and throws a set of keys at Dudley.", "JACK\n Come on, Dud. Let's go see how you look\n on it.\n Jack smiles and leads Dudley outside. Doug, Bob and\n Woody share an uncertain look.", "DUDLEY\n I'm a biker, dude! I got a tat!\n Dudley yanks his jacket down to his elbows and we see he", "JACK\n\n (TO DUDLEY)\n No deal.\n Dudley nods." ], [ "DOUG\n Are you kidding me? Woody, you're going\n to have to talk to these guys again. Get\n them to leave this town alone--", "out here and tell Haley she's not going\n anywhere!\n Bob nods obediently and hurries out of the room.", "DUDLEY\n Okay, then. Thanks for hearing me out.\n Dudley starts for the door, but several Hells Angels move", "DOUG\n\n (TO BUCK)\n Um... They left.\n\n BUCK\n Huh?\n Buck turns and sees Earl and Charley have gone.", "bullied by you. Now give us back Dudley,\n and get out of this town.\n The Hells Angels start to laugh. Jack turns back to them", "DOUG\n We should go.\n\n BOB\n You think? They're gone, now.\n\n WOODY\n Yeah, we could stay another few--", "(DEFEATED)\n I know.\n The Hells Angels move back in on him. Dudley closes his\n eyes and rolls into a ball.", "Doug exits and looks around the corner of the building,\n making sure the Hells Angels are still sleeping, then\n starts walking towards a wooded park behind the town.", "silence. Slowly, the townspeople turn and quietly head\n back to their homes. Doug, Bob and Dudley lower their\n heads in disgrace. So much for being heroes.", "(FROM CROWD)\n That's right. You mess up our town,\n we'll do the same to you!", "DOUG\n Bob, we can't leave. They'll just stay\n here and keep terrorizing this town.\n\n BOB\n So what? They can call the National\n guard or something.", "DUDLEY\n You leave the town of Lucas, and my\n friends alone, and I do something for\n you. Something you can't live without.", "Earl storms off, leaving BUCK, who was standing on his\n left and hasn't heard or seen any of them leave. He\n stands there, looking at Doug and Dudley.", "storms out the door. Woody winces to himself as he\n watches Murdock go. This isn't good.\n After a moment, BUD comes running out from behind the", "Doug, Bob and Dudley look at each other. After a moment,\n they look over to the sidewalk and see:\n ALL THE TOWNSPEOPLE, staring at them in disappointed", "The Hells Angels roar away from the bar on their\n motorcycles. They get to the end of the driveway, and", "DOUG\n Well, you're going to have to, Bob!\n We're not going to screw over an entire\n town because you're afraid of women!\n Bob stands up, insulted.", "The Hells Angels park their bikes. We see all the\n townspeople have stopped enjoying themselves, and just\n stand there, scared. Jack gets off his bike and looks\n around.\n\n JACK", "(TO TOWN)\n And if they ain't there. We'll be back\n reeeal soon. Because I don't let any man\n get away from me.\n The gang snickers. Jack realizes;", "Jack starts his bike and roars out of the town. The\n others follow him, gunning their bikes and leaving skid\n marks and smoke in their trail. A kid yells at the Hells" ], [ "JACK (CONT'D)", "DUDLEY\n Hell yeah, brother.\n Dudley whips his jacket off and hands it to Jack, who", "JACK\n All right. Now you're going to die.\n Jack approaches Doug, who closes his eyes and waits for\n the end.", "JACK (CONT'D)\n What!? There was nothing wrong with that\n one! That was tough! Those guys are\n afraid of me, now. They know how much I\n want 'em!\n The gang laughs again.", "DUDLEY\n Ahhhhhhhhhhh!\n Dudley charges Jack, but his limited mobility results not", "JACK\n Well, well. One of you came to face the\n music, huh? That's brave. And stupid.\n The Hells Angels laugh. Dudley takes a deep breath and\n walks up to Jack.", "Jack smiles at Dudley and puts his foot through what's\n left of it. The Hells Angels stifle laughter. Dudley is\n starting to look a little nervous.", "JACK\n Anybody else the leader of this gang?\n Bob takes a deep breath, and bends down an grabs a long\n lead pipe. He starts towards Jack.", "Jack stands next to Dudley, who is duct-taped to a chair\n with so much tape that it looks like he's in a cocoon.\n Only his head is uncovered. Jack holds Dudley's\n cellphone.", "JACK (CONT'D)\n Guess you guys are wishing you'd\n listened, now, huh?\n Jack smiles as we hear:", "DUDLEY (CONT'D)\n Crap.\n\n JACK", "JACK (CONT'D)\n Shut up!!\n The gang stops laughing, off Jack's warning glare.\n Dudley looks up from the floor.", "DUDLEY (CONT'D)\n Ow.\n Jack cracks his knuckles and looks to OILCAN.", "in a tackle, but in him leaning on Jack. After a moment,\n Jack takes a step back and Dudley falls to the ground.", "Doug gives Woody a concerned look. Woody shrugs. Jack\n steps into the circle and throws off his jacket.", "JACK (CONT'D)\n All right, then. Nobody wants to tell me\n where they are? Fine. Maybe this'll jar\n your memory.", "DOUG (CONT'D)\n Yes!--\n But Doug is instantly punched in the stomach by Jack's", "CHARLEY\n And I believe that's his jacket.\n Jack begrudgingly takes off Dudley's \"Wild Hogs\" jacket\n and tosses it to him. Dudley proudly puts it on.", "Jack looks back at the Hells Angels and nods.", "JACK\n Good.\n (to Hells Angels)\n Saddle up, boys.\n The guys get on their bikes.\n\n JACK (CONT'D)" ], [ "MAGGIE (CONT'D)\n Well, I better get back inside. I've got\n to set some chairs up in the family room\n for the lunch rush. People gotta eat.", "MAGGIE\n Well, we can't seat many people in there,\n but at least we're back in business.\n\n DUDLEY\n Sorry those jerks are in your diner.", "CHARLEY\n Well, Maggie's a great woman.", "Maggie takes this in. After a moment, she smiles and\n kisses Dudley.", "MAGGIE\n Of course. I'm sorry. I'm so sorry.\n Maggie quickly puts it back on the man's table.\n\n DOUG\n Hey, it's okay. Really.", "MAGGIE\n You want to dance?\n Dudley goes to respond, then decides to just give an\n emphatic nod. Maggie smiles.", "MAGGIE\n No, I meant... They damage the diner a\n lot. They damage the whole town. I'm", "Maggie smiles. She has a radiant sweetness, even though\n she's scared to death.\n DUDLEY stares at her, captivated. He's in love.", "MAGGIE (CONT'D)\n where would you gentleman like to sit?\n\n DOUG\n Are there any booths open?\n All the people quickly jump out of their booths.", "BOB\n Wow. Everyone is so nice, here.\n The guys sit in one of the booths. Dudley hangs back,\n and struggles to talk to Maggie.\n\n DUDLEY", "MAGGIE\n Wow. You like macs too, huh? I've got a\n vintage Apple 2e. Restored it from\n scratch.\n Dudley's jaw drops.", "Maggie watches curiously as Dudley pulls himself along\n the ground by his elbows - then springs up to his feet\n and starts a move that resembles a sprinkler. Maggie", "MAGGIE\n Hi.\n Dudley is wide-eyed.\n\n DUDLEY\n Um... I, uh---", "MAGGIE\n Wait, he did this because of me. I have\n a thousand dollars in tip money I want to\n put in.", "but Maggie starts to cry. The guys suddenly look\n confused as she runs to the kitchen in tears. Bob looks\n back to the guys.", "MAGGIE\n You bikers probably tell all the girls\n that.\n This hits Dudley. He suddenly looks troubled.", "DUDLEY\n Crap.\n\n DISSOLVE TO:\n\n INT. BUD AND MAGGIE'S HOUSE - A FEW MINUTES LATER", "DUDLEY\n I wanted to say something funny to her,\n but I could only think of black jokes.\n Maggie, still very skittish, approaches the table.", "EXT. BUD AND MAGGIE'S HOUSE - FRONT PORCH - CONTINUOUS\n\n Maggie sits on the porch swing and takes a breath.", "MAGGIE\n I'll take care of them, Daddy.\n (to guys, extra polite)\n Good morning." ], [ "\"Wild Hogs\" writers first draft 7/06/05 40.\n\n EXT. BLANCHARD SPRINGS, OZARK NATIONAL FOREST - LATER", "(YELLING OUT)\n Alright, Wild Hogs. We know you're in\n town somewhere, 'cause you haven't", "\"Wild Hogs\" writers first draft 7/06/05 43.\n\n EXT. HIGHWAY U.S. 50 - LATE THAT AFTERNOON", "\"Wild Hogs\" writers first draft 7/06/05 66.\n\n EXT. BIKER BAR - SAME TIME", "into the street. The camera rotates around him and comes\n to rest on the back of his jacket, where we see a large\n patch that reads \"Wild Hogs.\" The camera ZOOMS IN ON", "them again, tell 'em the Wild Hogs will\n be right here in Lucas tonight.\n Woody puts his face into his hands.", "BOB\n Wild Hogs ride!\n The guys continue with enthusiastic cheers as we hear the", "CHARLEY (CONT'D)\n We're not going to live in fear of your\n gang anymore, Jack. If the Wild Hogs can", "being a \"Wild Hog\" meant something!\n Woody takes off his \"Wild Hogs\" jacket and throws it at\n their feet. He hops out of the fountain and storms off", "WOODY\n shit.\n (to Hells Angels)\n I meant full-figured.\n The Hells Angels close to within a few feet of the \"Wild\n Hogs,\" and raise their weapons to strike.", "about it. The camera pans around and we see they are all\n wearing \"Wild Hogs\" jackets. And on this, we:", "\"Wild Hogs\" writers first draft 7/06/05 101.\n\n INT. BUD AND MAGGIE'S HOUSE - SIMULTANEOUS", "DOUG\n (sotto, to the guys)\n Not another one of these assholes.\n Murdock hears this and whips around to see the Wild Hogs.", "\"Wild Hogs\" writers first draft 7/06/05 72.\n ANGLE ON: The Wild Hog's table. The guys sit with", "BOB\n He's right, Doug. Wild Hogs!\n Bob takes his cellphone and throws it in the storm drain.\n\n DOUG", "JACK (CONT'D)\n So you re \"Wild Hogs,\" huh? That's your\n gang?", "Ride free.\" That's the Wild Hog creed.", "around the park in the center - ready for the block\n party. As the news spreads that the Wild Hogs are\n friendly, the townspeople start to take to the streets\n again.", "\"Wild Hogs\" writers first draft 7/06/05 60.\n ANGLE ON: The WILD HOGS, watching from the table behind\n Murdock.", "Dudley cockily pulls on a \"Wild Hogs\" jacket, kick starts\n the motorcycle, presses a button to open the garage door,\n and rides the motorcycle out. However, as he gets" ], [ "Maggie smiles. She has a radiant sweetness, even though\n she's scared to death.\n DUDLEY stares at her, captivated. He's in love.", "It's now pouring rain. The guys ride along in misery,\n getting soaked. After a moment, the station wagon from", "DUDLEY\n This has been the best vacation of my\n life. I met you.\n Maggie blushes.", "BOB\n I will. And... I love you.\n Bob smiles at her and gets on his bike.\n ANGLE ON: DOUG and KELLY. Kelly looks at Doug.", "DUDLEY\n I'll wait here, too. You'll get better\n gas mileage.\n Dudley gets out and falls to the ground.", "Maggie takes this in. After a moment, she smiles and\n kisses Dudley.", "WOODY\n Okay, fine. But after fishing - we hit\n the open road and keep moving, okay?\n\n DOUG\n Open road, baby!", "(BEAT)\n Looks pretty comfortable, actually.\n We see the highway patrolman has started rubbing his\n thigh. Doug quickly jumps up, waking the others.", "CHARLEY\n So, why are you guys taking this road\n trip, anyway?\n\n DOUG\n Ahh, just to escape for a bit.", "EXT. HIGHWAY U.S. 50 - LATER THAT AFTERNOON\n\n The guys are cruising along as before, but now we see the\n sky has gotten very cloudy and overcast.", "touching him all night long. And I'll be\n enjoying it.\n The other bikers suddenly stifle laughter.", "Doug and Woody wince.\n ANGLE ON: DUDLEY, at the beer tent. He gets in line,\n and realizes he's behind MAGGIE. She smiles at him.", "HIGHWAY PATROLMAN\n You guys all right?\n\n DOUG\n Yeah. Yeah, just on a road trip.", "the storm drain, it goes flying into traffic and smashes\n against an oncoming pickup truck. We hear the truck\n screech to a stop after it passes them.", "WOODY\n What? No. No plan. It's the open road.\n Who knows where we'll be.", "END MUSIC CUE\n\n EXT. ROADSIDE US-50 - THAT EVENING", "they're finally who they were in college again.\n Fearless. They approach the diner and stand out on the\n street, like gunslingers in the Old West, calling their", "(QUICKLY)\n Okay, let's ride!\n The guys all hastily start their bikes and take off up\n the freeway ramp. We hear the truck driver screaming\n profanities as they guiltily ride away.", "The guys ride through the forested Ozark uplands, looking\n even hotter than before. Doug spots a waterfall pouring\n into a crystal clear spring, and points to it. The guys\n nod in agreement.", "Charley shuts it behind them. They lean back on the\n fence, trying to gather their bearings, except Bob - who\n is thrilled." ], [ "(YELLING OUT)\n Alright, Wild Hogs. We know you're in\n town somewhere, 'cause you haven't", "them again, tell 'em the Wild Hogs will\n be right here in Lucas tonight.\n Woody puts his face into his hands.", "into the street. The camera rotates around him and comes\n to rest on the back of his jacket, where we see a large\n patch that reads \"Wild Hogs.\" The camera ZOOMS IN ON", "BOB\n He's right, Doug. Wild Hogs!\n Bob takes his cellphone and throws it in the storm drain.\n\n DOUG", "being a \"Wild Hog\" meant something!\n Woody takes off his \"Wild Hogs\" jacket and throws it at\n their feet. He hops out of the fountain and storms off", "Jack starts his bike and roars out of the town. The\n others follow him, gunning their bikes and leaving skid\n marks and smoke in their trail. A kid yells at the Hells", "CHARLEY\n You guys aren't Hells Angels?\n\n DOUG\n No. We're Wild Hogs. That's our gang.", "around the park in the center - ready for the block\n party. As the news spreads that the Wild Hogs are\n friendly, the townspeople start to take to the streets\n again.", "DOUG\n (sotto, to the guys)\n Not another one of these assholes.\n Murdock hears this and whips around to see the Wild Hogs.", "JACK (CONT'D)\n So you re \"Wild Hogs,\" huh? That's your\n gang?", "WOODY\n shit.\n (to Hells Angels)\n I meant full-figured.\n The Hells Angels close to within a few feet of the \"Wild\n Hogs,\" and raise their weapons to strike.", "CHARLEY (CONT'D)\n We're not going to live in fear of your\n gang anymore, Jack. If the Wild Hogs can", "the Hells Angels.\n The color drains from the Wild Hog's faces.", "\"Wild Hogs\" writers first draft 7/06/05 40.\n\n EXT. BLANCHARD SPRINGS, OZARK NATIONAL FOREST - LATER", "about it. The camera pans around and we see they are all\n wearing \"Wild Hogs\" jackets. And on this, we:", "\"Wild Hogs\" writers first draft 7/06/05 43.\n\n EXT. HIGHWAY U.S. 50 - LATE THAT AFTERNOON", "JACK\n Come on, now. You shouldn't be\n protecting them. These \"Wild Hogs,\" not\n only passed us when we specifically told", "\"Wild Hogs\" writers first draft 7/06/05 66.\n\n EXT. BIKER BAR - SAME TIME", "JACK\n Well, well. The \"Wild Hogs.\" I'm glad\n to see you're finally showing us a little\n respect.", "JACK\n Give me the crowbar.\n Oilcan nods and hands it to Jack. Jack smiles at the\n four fallen Wild Hogs." ], [ "The guys get a good distance away from the bar and Woody\n waves for them to stop. They do and Woody looks back to\n the bar.", "WOODY\n We can still outrun them. They're fat.\n Woody turns around to see Hells Angles have now closed in\n behind them, blocking their escape. Jack smiles.", "The bull turns back to charge at Woody again, and Bob\n jumps over the fence.", "WOODY (CONT'D)\n Run, Doug! Go!\n Doug climbs to his feet and sees the bull charging Woody.", "WOODY\n\n (TO HIMSELF)\n Come after us now, assholes.\n Woody goes along to each bike, smiling with a weird\n recklessness as he slices through each gas line.", "desperately for somewhere to hide - but the Hells Angels\n are too close. There's no time. Woody spots a port-o-\n potty from the block party and starts corralling Doug,", "WOODY (CONT'D)\n Whhhheeeeeeew!\n Woody gets to the fence and hurls himself over. The guys\n all applaud.", "WOODY\n Yup. I tried to be polite. I tried to\n reason. I told them Dudley was dying.\n\n DUDLEY\n What?", "The guys look at him, surprised and somewhat impressed.\n Woody takes a breath and climbs over the fence. He\n approaches the Bull very quietly and cautiously. He gets", "Woody rides up to the bar, and looks back to make sure\n he's out of Doug, Bob and Dudley's sight. He sees that", "Woody realizes he's in trouble and starts to run again.\n The bull quickly catches him and rams him into the air.\n Woody lands hard, with a grunt.", "DOUG\n He's waiting for you to say something\n else, then he's going to kick you.\n Dudley gets a deflated look and backs off of Woody.\n\n DUDLEY", "WOODY\n Man, did you see the look on Bob's face\n when he got up? Didn't dodge him that\n time!\n Woody and Doug laugh. Bob looks pissed.", "WOODY (CONT'D)\n Go! Go! Go!\n Woody pushes his puzzled friends into the port-o-potty,", "The guys ignore him. Woody looks back down the highway\n uneasily, then heads inside the motel office.", "WOODY\n Doug, wait!\n It's too late. Doug slaps the bull hard, and turns to\n run.", "DOUG\n Hah! How's that feel?\n Woody gives Doug a long look, then slowly smiles.\n\n WOODY\n It felt good. It felt damn good.", "Woody takes out a cellphone. Doug grabs it and throws it\n in the storm drain.", "PAUL (CONT'D)\n\n (LAUGHING)\n See you guys.\n Paul exits. Woody shakes his head.", "Upon hearing this, BOB, DUDLEY and DOUG all look at\n WOODY, who shrugs sheepishly. Bob is enraged." ], [ "JACK (CONT'D)\n shit.\n The flames quickly follow the line of leaked gas like a\n fuse, back towards the bar.", "flame has reached the parking area and ignited all the\n puddles of gas. They all watch in horror as the fire\n ravenously engulfs the old wooden porch of the bar, then", "Suddenly, the cigarette falls out of Jacks mouth, and\n onto the ground. A puddle of gas from the sliced line\n catches on fire.", "MURDOCK has arrived at the bar, which is just a burned\n shack at this point. The Hell's Angels are gathered", "The Hells Angels roar away from the bar on their\n motorcycles. They get to the end of the driveway, and", "one of the Dooble brothers tried to throw\n tear gas, but the bottle exploded and\n blew off his ear.", "The Hells Angels have returned, and set up shop in the\n diner, but are also flowing out onto the street. Jack\n stumbles into the middle of the road, with a bottle of\n tequila in his hand.", "DOUG\n Live!? We're going to die, Woody! You\n burned down their bar! We are dead men!", "fire. The liquid hits the tent and it explodes into\n flames. The guys shield themselves.", "DOUG (CONT'D)\n Gas! That's the spare gas tank, Dudley!\n Dudley doesn't know what to say. The fire quickly", "EXT. BIKER BAR - SAME TIME\n\n JACK, and the other bikers stand by the smoldering pile\n of wood that was once their bar. OILCAN approaches Jack.", "DOUG (CONT'D)\n It should be okay. It's fire retardant.\n The guys try and extinguish the flame as Dudley comes", "desperately for somewhere to hide - but the Hells Angels\n are too close. There's no time. Woody spots a port-o-\n potty from the block party and starts corralling Doug,", "Jack takes a garbage can and tosses it into the diner\n window. The crowd gasps, as the Hells Angels laugh.\n CHARLEY steps out of the crowd.", "The guys get a good distance away from the bar and Woody\n waves for them to stop. They do and Woody looks back to\n the bar.", "A MOMENT LATER. Dudley and Bob are up and wiggling their\n sleeping limbs, as Woody looks up at the bar.", "(MUMBLES)\n I can have a light.\n Doug continues into the bar, but now with less swagger.", "INT. BIKER BAR - SAME TIME\n\n Jack is playing darts with the other bikers. He goes to\n throw a dart and hears engines roar past the bar outside.", "The bar is full of bikers, but not the kind we saw\n before. These guys are greasy, tattooed and menacing.", "behind him. The guys don't notice - but we see the\n marshmallow land on the tent and continue to burn. Bob\n continues to huff on the air mattress. He stops and" ], [ "Bob swats Murdock's beer out of his hand. It spills all\n over him. Murdock is too filled with rage to speak.", "BOB\n Because I want to kick him in the face.\n Doug and Woody laugh again. Bob just steams. They spot\n DUDLEY, and head over to him.", "BOB (CONT'D)\n Now get.\n Murdock just stares daggers at him.", "BOB (CONT'D)\n Get!\n Bob kicks the stool out from under Murdock. He almost", "Doug nods and goes to kick Jack, but Jack grabs the foot\n and pushes him backwards. Doug falls back to the dirt.\n Jack stands up and dusts himself off.", "MURDOCK\n Excuse me?\n Murdock puts his beer down, and stares angrily at Doug.", "BOB\n It got in my hair! Gross!\n The guys desperately try to rinse off the juice - then,\n drenched from head to toe, turn their glare to Woody.", "MURDOCK\n\n (TO BUD)\n Get me a beer, old man. And if it's not\n good, I'm going to smash it across your\n face.", "The Hells Angles nod and pick up various weapons:\n Crowbars, tire irons, bats... They start moving towards\n Doug, Woody and Bob. Bob looks to Doug.", "DUDLEY\n Hell yeah, brother.\n Dudley whips his jacket off and hands it to Jack, who", "BOB\n You son of a bitch!\n Bob lunges at Woody, but the sudden shifting of weight is\n too much for the port-o-potty...", "MURDOCK\n What'd you say?\n\n DOUG\n Oh, I was actually referring to some guys\n we met at a bar about two hundred miles\n east of here. You're probably not", "alongside Doug. They nod silently to each other and tap\n fists like the toughest guys in the world. We see Bob is\n also wearing a \"Wild Hogs\" jacket.", "WOODY\n Man, did you see the look on Bob's face\n when he got up? Didn't dodge him that\n time!\n Woody and Doug laugh. Bob looks pissed.", "Upon hearing this, BOB, DUDLEY and DOUG all look at\n WOODY, who shrugs sheepishly. Bob is enraged.", "DOUG\n (sotto, to the guys)\n Not another one of these assholes.\n Murdock hears this and whips around to see the Wild Hogs.", "bounces harmlessly off the lenses. Doug cringes and\n waits for the punch, which comes like a freight train\n into his stomach. Doug doubles over again as Jack lines", "DOUG (CONT'D)\n Damn.\n Jack punches Doug square in the face again. Doug\n crumples to the ground in pain. Jack turns back to the\n Hells Angels.", "storms out the door. Woody winces to himself as he\n watches Murdock go. This isn't good.\n After a moment, BUD comes running out from behind the", "I always do... Well, not this time!\n (turns to Murdock)\n Listen, you piece of shit. You think you\n can just walk around and bully perfectly" ], [ "JACK (CONT'D)\n Guess you guys are wishing you'd\n listened, now, huh?\n Jack smiles as we hear:", "Charley shuts it behind them. They lean back on the\n fence, trying to gather their bearings, except Bob - who\n is thrilled.", "(LAUGHS)\n I can only say that because I'm on his\n right side. Which as you can see, is\n blown off.\n Earl laughs again, as BUCK extends his hand - oblivious.", "DOUG\n Hah! How's that feel?\n Woody gives Doug a long look, then slowly smiles.\n\n WOODY\n It felt good. It felt damn good.", "Upon hearing this, BOB, DUDLEY and DOUG all look at\n WOODY, who shrugs sheepishly. Bob is enraged.", "he is, and kneels next to the line of Hells Angels\n motorcycles. He takes out an army knife, and slices\n through one of the motorcycle's gas line. Gas starts", "DUDLEY\n Okay, then. Thanks for hearing me out.\n Dudley starts for the door, but several Hells Angels move", "believe this?\" look to the other guys - who are just as\n thrilled as him. They're eating it up.", "EARL\n Yup. Even torn-open head, here.\n He nods at Buck, on his left.", "Doug walks over to the stereo and changes the station.\n \"Cand Sho \" h y-50 Cent starts playing. Doug nods along\n with the beat, as the guests all now stare at him.", "(QUICKLY)\n Okay, let's ride!\n The guys all hastily start their bikes and take off up\n the freeway ramp. We hear the truck driver screaming\n profanities as they guiltily ride away.", "thing I have left. There's nothing more\n in my life but you guys. So, I lied\n about the Hells Angels. I lied because I", "DOUG\n (knowingly, to group)\n Nope. The Hells Angels have him.\n Doug gives a look to the other guys. They mouth \"Shit:\"", "like me. She wouldn't even stick around\n if she knew how to use a can opener.\n The guys all look at Dudley.", "Woody lowers his head. The guys take this in for a\n minute. Woody looks at them, waiting for their sympathy.\n Finally, Doug speaks.", "There's a moment of silence as Karen absorbs this. The\n guys all look at Bob proudly. After a few seconds,\n Karen's face softens.", "they're finally who they were in college again.\n Fearless. They approach the diner and stand out on the\n street, like gunslingers in the Old West, calling their", "The guys shake their heads and look back into the fire.\n After a moment, Doug smiles.", "this town is. And once they know we're\n afraid, they can do whatever they want.\n That's how these guys exist. That's how", "DOUG (CONT'D)\n Yes, sir. They called it the dragon\n wagon. You're lucky to be in here" ], [ "DUDLEY\n Hell yeah, brother.\n Dudley whips his jacket off and hands it to Jack, who", "JACK (CONT'D)", "DOUG (CONT'D)\n Damn.\n Jack punches Doug square in the face again. Doug\n crumples to the ground in pain. Jack turns back to the\n Hells Angels.", "Jack smiles at Dudley and puts his foot through what's\n left of it. The Hells Angels stifle laughter. Dudley is\n starting to look a little nervous.", "Jack stands next to Dudley, who is duct-taped to a chair\n with so much tape that it looks like he's in a cocoon.\n Only his head is uncovered. Jack holds Dudley's\n cellphone.", "DUDLEY\n Ahhhhhhhhhhh!\n Dudley charges Jack, but his limited mobility results not", "JACK (CONT'D)\n Shut up!!\n The gang stops laughing, off Jack's warning glare.\n Dudley looks up from the floor.", "JACK\n All right. Now you're going to die.\n Jack approaches Doug, who closes his eyes and waits for\n the end.", "Jack walks over to the computer and looks at Dudley for a\n moment. He then picks the computer up and smashes it\n down on the ground. It breaks into a hundred pieces.", "DOUG (CONT'D)\n Yes!--\n But Doug is instantly punched in the stomach by Jack's", "JACK (CONT'D)\n Shut up!! I didn't mean-- Just get on\n your damn bikes! We're riding to Lucas!", "JACK (CONT'D)\n All right, then. Nobody wants to tell me\n where they are? Fine. Maybe this'll jar\n your memory.", "JACK (CONT'D)\n What!? There was nothing wrong with that\n one! That was tough! Those guys are\n afraid of me, now. They know how much I\n want 'em!\n The gang laughs again.", "JACK (CONT'D)\n shit.\n The flames quickly follow the line of leaked gas like a\n fuse, back towards the bar.", "JACK\n\n (TO DOUG)\n Hope you're happy. You suburban posers\n are a disease. You need to learn some\n damn respect for real bikers.\n Doug smiles.", "Jack signals to one of the Hells Angels. He grabs\n Dudley's tape and spins him around to untape him.", "JACK\n Come on, Dud. Let's go see how you look\n on it.\n Jack smiles and leads Dudley outside. Doug, Bob and\n Woody share an uncertain look.", "DUDLEY (CONT'D)\n Crap.\n\n JACK", "(TO JACK)\n All right. Let's do this--\n Doug doesn't even finish his sentence as Jack lands a", "JACK\n\n (TO DUDLEY)\n No deal.\n Dudley nods." ], [ "rusty sidecar is now attached to Woody's bike. DUDLEY\n sits in it looking miserable and cold (having lost his\n jacket and now in his sleeveless shirt).", "Woody starts up his bike. Doug and Bob look at each\n other and shrug. Dudley hurries out of the sidecar.", "DUDLEY\n Nooo. I'm just minding my own business.\n I don't want to cause any trouble.\n Dudley turns to Woody and stares at him. Woody looks\n confused.", "DUDLEY (CONT'D)\n Leg's asleep.\n Woody shakes his head and starts back to the bar.\n\n EXT. BIKER BAR - SAME TIME", "motorcycle. Next to him, is MAGGIE, sitting in the rusty\n sidecar now attached to Dudley's bike. She's wearing", "WOODY\n Yup. And I think they'll give us\n Dudley's bike on the way back, so let's", "as they park the bikes among a crowd of other bikers.\n Dudley climbs off the back of Woody's bike and pats him\n on the shoulder.", "DOUG, BOB and WOODY ride along. We see DUDLEY is riding\n bitch on Woody's bike, and Woody doesn't seem thrilled", "WOODY\n Yup. I tried to be polite. I tried to\n reason. I told them Dudley was dying.\n\n DUDLEY\n What?", "DUDLEY\n Let's ride.\n They start their motorcycles. The engines roar to life.\n\n DISSOLVE TO:", "WOODY\n I think so. Dudley? What do you think?\n The camera PULLS OUT to reveal DUDLEY, sitting on his", "DOUG, BOB and WOODY ride towards Dudley's house, but find\n DUDLEY sitting in his driveway with his arms around his", "DUDLEY\n No, my sidecar's just attached to your\n bike. I'd prefer to turn back, but I\n could only roll so far...", "and lands on it's side - with Dudley in it. Dudley looks\n out at the floor, helpless.", "Dudley cockily pulls on a \"Wild Hogs\" jacket, kick starts\n the motorcycle, presses a button to open the garage door,\n and rides the motorcycle out. However, as he gets", "Woody rides up to the bar, and looks back to make sure\n he's out of Doug, Bob and Dudley's sight. He sees that", "DUDLEY\n Yeah, well... He once bit me on the\n sack.\n Dudley walks off towards the beer tent. Woody looks to\n the other guys with a puzzled look.", "DUDLEY\n I'm a biker, dude! I got a tat!\n Dudley yanks his jacket down to his elbows and we see he", "WOODY\n\n (TO DUDLEY)\n What? What's wrong with you?\n\n DUDLEY\n I got a tat.", "Dudley nods. Woody grits his teeth as they enter the\n town. It's a quiet, one stop-light town - with an old" ] ]

[ "What state do the Wild Hog's come from?", "What does Jack call the Wild Hogs upon their first encounter?", "Which character cuts the fuel lines on the Del Fuego's bikes?", "What is the name of the biker gang giving the main characters a problem?", "Who is the founder of the Del Fuegos?", "Who informs Jack that the Wild Hogs are in New Mexico?", "Which character gets tied to a tree?", "Why did Blade not care about the bar being burned down?", "In which state does the adventure of the Wild Hogs conclude?", "What is Doug's occupation?", "What does Dudley do for a living?", "What is the occupation of Bobby?", "What does Woody do as a job?", "Where does Woody convince his friend to ride to?", "What causes Woody to become bankrupt?", "Who does Dudley fall in love with?", "What is Dudley tied to after confronting jack?", "Who tells the Del Fuegos to leave town?", "Who does Blade say Jack takes after?", "What type of business did Maggie own?", "Where did the Wild Hogs live and begin their journey from?", "Who fell in love on the road trip?", "What was the name of the town that the Wild Hogs ended up in after running out of gas?", "How did Woody prevent the Del Fuegos from chasing him?", "What caused the Del Fuegos bar to explode?", "Why did Red & Murdiock not fight with Bobby after Bobby threw beer, mustard and ketchup on their clothes?", "Why did the Del fuegos listen to Damien Blade?", "How were Jack and Damien related?", "Why did Dudley end up in a side car on Woody's bike?" ]

[ [ "Ohio", "Cinncinati" ], [ "Posers", "posers" ], [ "Woody", "Woody" ], [ "Del Fuegos", "Del Fuegos" ], [ "Damien Blade", "Damien Blade" ], [ "Red & Murdoch", "Red and Murdock" ], [ "Dudley", "Dudley" ], [ "It was an insurance scam", "it was an insurance scam" ], [ "California", "California." ], [ "A dentist", "Dentist" ], [ "Computer programing", "Computer programmer." ], [ "A plumber", "plumber" ], [ "A lawyer", "He's a lawyer" ], [ "California", "California" ], [ "The devorse of he's wife", "His wifeleaves him" ], [ "Maggie", "Maggie" ], [ "A tree", "a tree" ], [ "Blade", "Blade,the founder of the Del Fuegos." ], [ "His mother", "his mother" ], [ "A diner.", "a bar" ], [ "A Cincinnati suburb.", "Cincinnati " ], [ "Dudley Frank.", "Dudley" ], [ "Madrid, New Mexico.", "Madrid" ], [ "Woody cut the fuel lines on their motorcycles.", "he cut their fuel lines" ], [ "Jack drops a lit cigarette in the gas from the cut fuel lines.", "a lit cigarette hitting fuel " ], [ "Jack told Red & Murdock not to hurt the Hogs until he got there.", "Red and Murdiock gave them two upper cuts, which left them unable to respond." ], [ "Blade founded the bike group.", "He's the founder, and Jack's father" ], [ "Damien was Jack's father.", "Father and son." ], [ "The Del Fuego's did a bogus deal that cheated Dudley by forcing him to trade his new bike for an old broken bike that didn't run.", "The Del Fuegos took his bike" ] ]

[ [ "Steve:\tWE'RE GETTING OUT. IN THE CHOPPER.\n\n\tAnother technician steps over to take the camera from Fran.\n\tStephen talks more quietly in the other man's presence.", "Stephen is gone in a flash. Fran nervously looks back at the\n\tcameraman. The argument still rages between Foster and Berman.", "A mix of subtle sounds begin to fade in. As they get louder, we\n\tcan discern what sounds like a busy office area. It is actually\n\ta frantic television studio with the hum of panic in a national\n\temergency.", "Fran focuses on the monitors. She is incredulous... stunned by\n\tthe madness which surrounds her. She realises the hopelessness\n\tof the situation as she zeroes in on the televised conversation.", "They are all bathed in the blue glow from the television which\n\tStephen tries to tune in. Its power cable is spliced into the\n\tleads of a bare light fixture overhead. Fran cannot be seen at\n\tfirst.", "Fran is desperate. Steve rushes by her with Peter, who crashes\n\ton ahead through the door onto the firestairs.\n\n\tFran:\tWHAT'S HAPPENING?", "hangars. Stephen is checking out the cockpit of an old Cessna\n\tinside. Immediately, Stephen runs out and grabs Fran's hand. As", "507\tThey run through the hardware department where Stephen snatches\n\tup several propane torches. Fran stuffs extra bottles of gas\n\tinto her back pack.", "14\t Fran moves toward another control room. An armed officer stops\n\ther. A young man rushing through with copy intercedes.\n\n\tMan:\t HEY, SHE'S ALRIGHT.", "There's a long silence. The radio sputters static. Voices are\n\theard, but they aren't speaking into the microphone. They are\n\tobviously conferring among themselves. Steve starts to speak,\n\tPeter cuts him off.", "611\tOn the TV, the commotion still rages. Stephen and Fran stare at\n\tthe tube, hardly believing what they see. The scientist is\n\tshouting above the din. He is nervous. He wipes his brow with\n\this sleeve...", "The man clicks off his camera. Fran moves toward the studio.\n\n17\t On the monitors, we see the rescue stations blink off over shots\n\tof the two men who still argue on the air.", "3\tWe see the television studio. Reporters buzz about madly.\n\tEverybody looks dishevelled and exhausted. Technicians man\n\tmonitors, and we see people on the little screens, arguing\n\temotionally.", "in a store to grab whatever they can.259\tStephen is in the Maintenance office. He examines the maps and\telectrical equipment, then rummages through a desk.260\tAt the open end of the corridor leading to the second storey", "Fran stands ready at the roll gate. As Stephen finishes with the\n\tfinal lock, the woman pushes against the cage and it starts up.", "Fran screams. They have no weapons with them.\n\n\tSteve:\tROGER...ROGER...", "Peter and Roger disappear through the skylight. Stephen stands\n\tstill. He looks down at the floor. Fran moves close to his side.", "581\tWe see a montage: Fran, Stephen and Peter walk slowly through\n\tthe conquered building. They drift in and out of stores picking\n\tup various items. They use shopping carts.", "As Stephen falls, Fran comes up short. The act startles her into\n\tawareness. Peter faces her as the creatures come up behind him.\n\n\tPeter:\tMOVE, WOMAN!", "Francine unbuckles her safety belt and jumps out of her side of\n\tthe machine. Steve runs, ducking under the blades, around to the" ], [ "helps him. The door opens and Peter eases his friend into the\n\tseat. Roger immediately goes to work under the dash.", "The two men stare at each other for a moment. Roger is startled\n\tsomewhat out of his emotional rush.\n\n\tPeter:\t(softer)\n\t\t\tALRIGHT, NOW ARE YOU STRAIGHT?", "We see now what Peter is staring at. On the floor, twenty feet\n\taway lies the corpse of Roger. It's face is covered with a\n\tblanket. It lies very still.", "After a short time Roger relaxes somewhat.\n\n\tPeter:\t(to Steve) GO ON...I'LL STAY WITH HIM.\n\n\tSteve leaves the area.", "one of them as Roger comes up behind him, gun ready.\tPeter's hand turns the doorknob. It is unlocked, and the big man\n\tgives Roger a familiar nod. Roger stands several feet back, his", "Roger:\tHIS NAME'S PETER. HE'S ALRIGHT.\n\n\tThe three are already moving toward the helicopter.", "The man's eyes are terrified. He looks this way and that at the\n\twalls, the ceiling, at Peter...He can't focus...\n\n\tRoger:\tPETER? PETER?", "439\tThere is no response from the other truck. Peter is about to\n\topen his door and step out when suddenly Roger sits up again.", "364\tAs the other men come up behind, Peter opens the door quietly\n\tand slips into the hall. He starts to walk quickly toward the\n\tdoor to the exterior corridor. Roger follows as Stephen moves\n\tbackwards toward the fire stairs.", "Peter has walked right past the group. He is moving quickly\n\ttoward the still-unknown door at the other end of the room.\n\tAgain, Roger follows.", "Roger is greatly concerned. He looks at one of the other men, a\n\tyoung, smoothed faced rookie. The boy doesn't know now to react.\n\tHe is obviously nervous.", "Roger:\tYEAH.\n\n\tPeter lets him go and returns to the wheel. He guns the engine\n\tand roars into a big arcing turn in the parking lot.", "From the movement beneath, the blanket starts to creep down off\n\tRoger's face. Peter stares with fascination and disbelief.", "188\tRoger checks his weaponry and quickly moves toward the door\n\twhere he begins to remove the barricade of cartons. Peter still\n\tsits, checking his own guns.", "Suddenly the dead Roger's foot seems to move under the blanket.\n\tPeter's eyes pick up the movement immediately. His hands\n\ttighten on his weapon.", "Peter and Roger disappear through the skylight. Stephen stands\n\tstill. He looks down at the floor. Fran moves close to his side.", "Peter pulls up to a screeching halt at the gate. He turns the\n\tcart in a full 180 so that Roger is facing out toward the mall.", "602\tRoger catches his breath and looks up at Peter. He licks his\n\tlips and tries to speak coherently.", "Quite calmly. Peter raises his rifle and aims it at the door\n\tabout head high. The rifle roars in the little room, and a\n\tsplintery hole appears in the old wooden door.", "It slams against a creature which is grabbing him and drives the\n\tthing staggering back. Then with a desperate driving motion, \n\tRoger climbs through the window of Peter's cab." ], [ "The three move off down the aisles, then duck out of sight\n\taround a corner. The Zombies clutch at the metal gate, moaning", "As we see more of the room, we find our refugees sitting near\n\tthe reconstructed pyramid on the floor. Peter seems to be asleep", "Peter and Roger disappear through the skylight. Stephen stands\n\tstill. He looks down at the floor. Fran moves close to his side.", "He has joined the cowboys. He is like a child, almost exultant\n\twith the joy of their victory...\n\tThe three men shout through the cage at the creatures, which are\talready gathering at the gate.", "They try the first two doors, which are locked. The third is\n\twide open.\n195\tRoger ducks quickly into the room with his rifle raised. It is", "The men move stealthily along the aisles. They look up at the\n\tceiling and see a series of large grillwork panels. Peter shines", "renewed. They moan and push harder at the gate.266\tThey Troopers leave the barrow, disappearing back to the aisles.\tThey run onto the interior escalator, bounding down faster than", "Fran moves into the store and Peter pulls the cart behind him.\n\tThen Steve, Peter and Fran pull the gate shut long before any of\n\tthe advancing creatures reach the area.", "He brings the flame up and flashes it at the Zombies. They back\n\taway enough for him to crawl to an open space. Then he scrambles\n\tto his feet and charges down the concourse toward the car.", "The rear lines retreat into the wider vestibule, and as the mass\n\tof struggling bodies spreads out, shots begin to fire. Some", "364\tAs the other men come up behind, Peter opens the door quietly\n\tand slips into the hall. He starts to walk quickly toward the\n\tdoor to the exterior corridor. Roger follows as Stephen moves\n\tbackwards toward the fire stairs.", "And here and there throughout the large area lie the remains of\n\tcorpses. They have been eaten away. Most of them are still\n\tmoving, their heads uninjured.", "struggle over to the car. They smash the windows with their\n\thands. It is a nightmarish scene as the men huddle in the", "The old man starts up the stairs. Roger moves to help him, but\n\tthe big Black man stops him. The Priest weaves up through the\n\tgas mist, coughing.", "Some men, although armed, surrender willingly. Others retaliate\n\tagainst the invading force, and little skirmishes develop on\n\tevery floor of the complex structure.", "now on top of him, and the bloody wound runs. Roger is frantic.\n\tHe frees himself with great heaves of his body and he pushes the", "322\tAt the entrance arch to the store, Roger fires at another\n\tcreature. It falls. Other Zombies are approaching, but Steve and\n\tPeter dive into the arch and the three men manage to lower the\n\tgate without a problem.", "a grip on his rifles, opens the door and lets the group through.\n\tThen he runs out himself, deserting the losing cause.", "outside try to crawl under the second trailer. The men shut them\n\tout easily, locking the door and planting alarms. They stand to\n\tlook down the concourse.", "He steps aside and Roger climbs in. He too drops cat-like to the\n\tfloor.179\tThe two men instantly sling their rifles and move to the food" ], [ "There are several creatures right in the archway, now they\n\tclutch with their hands. One blocks the downward progress of the\tgate. Roger fires point blank and the Zombie flies back. The", "be seen the entrances to several shops. All but one have heavy\n\tmetal cage gates down and locked into position.\n\tOne or two Zombies are seen wandering about. They cannot enter", "322\tAt the entrance arch to the store, Roger fires at another\n\tcreature. It falls. Other Zombies are approaching, but Steve and\n\tPeter dive into the arch and the three men manage to lower the\n\tgate without a problem.", "The woman holds up her torch so that the bright flame faces the\n\tghouls. Stephen crouches and puts a key in the right hand lock.\n\tThe Zombies converge on him.", "as the trailer blocks off the entrance. This time there are\n\tstill creatures alive in the immediate area. They clutch at the\n\tcab of the truck and leap at the doors.", "The Zombies converge on the area as they did before, clutching\n\tand pushing at the metal cage, which holds them out securely.\n\n\tThe men breathe heavily as they back away from the gate.", "168\tBelow, the Zombies which are in sight wander aimlessly over the\n\tplaza. Some try the gates but cannot budge them. One wanders out", "ineffectively. They roll their barrow very close to the gate.\n\tWhen the Zombies catch sight of the humans, their efforts are", "by several regularly hinged doors, all made of glass and\n\tsurrounded by large windows. A few of the Zombies manage to\tnegotiate the hinged doors and enter the building. Others bounce", "543\tThe big trailer blocks the entrance effectively. There are some\n\tcreatures inside the doors. Under the van, several Zombies are", "The two men back into the aisles of the store. The creatures\n\toutside still push and claw at the gate. The one with Roger's\n\trifle uses it as a bludgeon, but it has no effect.", "He brings the flame up and flashes it at the Zombies. They back\n\taway enough for him to crawl to an open space. Then he scrambles\n\tto his feet and charges down the concourse toward the car.", "269\tAt the gate, several Zombies push at the metal grids. The\n\tTroopers back away, but stay in sight of the creatures.", "creatures inside are pushing the doors out, so the Zombies under\n\tthe trucks cannot push them in. The doors swing both in and out,\n\tso it is very clear that some access could be had by the", "407\tThe trailer of the truck has totally blocked off the mall\n\tentrance. Several Zombies trapped inside try to push the glass\n\tdoors open. The doors move, but cannot be opened wide enough\n\tfor the creatures to get out.", "the pack of Zombies. One or two fall. The others try to move\n\tin but are afraid of the bright flames. One gets close to Steve\n\tbut the man blasts his torch directly into its face. Its hair", "Fran moves into the store and Peter pulls the cart behind him.\n\tThen Steve, Peter and Fran pull the gate shut long before any of\n\tthe advancing creatures reach the area.", "The three move off down the aisles, then duck out of sight\n\taround a corner. The Zombies clutch at the metal gate, moaning", "331\tThe Zombies crash against the first floor gate. It holds. The\n\tmen crouch in the shadows of the gate.", "711\tThe last wave of raiders is at the first floor entrance. The\n\tZombies are mobbing around the bikes outside. The men shoot and" ], [ "Peter reaches out with his pistol and fires a point blank shot\n\tat one of the clutching ghouls. It flies back and Roger is able", "435\tRoger, in his adrenalised anger, sits up with his gun and levels\n\toff on the creature himself. He fires. The shell crashes through\n\tthe already shattered glass and squarely into the creatures\n\thead.", "Roger when he fires, killing the lead ghoul. More Zombies move\n\taround Roger's cab, moments away from him.", "A sudden crash. Roger spins. The Zombie at the driver door has\n\tsmashed through the cab window with a brick. Roger, still\n\tshaking, dives down to the floor for his weapon.", "There are only a few creatures on the balcony. The dead things\n\tturn in confusion at the sound of the attacking commandos.\n\tRoger, his hands free to shoot, fires his weapon several times\n\tat some of the creatures who are closest.", "Just then, Wooley wrenches free and pushes Roger across the\n\thallway. The Trooper carefully aims his weapon and fires one\n\tshot through Wooley's head. The big man falls back violently.", "The creatures on the concourse are approaching the cart. A\n\tpained Roger levels off several shots, but he is very shaky from\n\this extreme pain. He manages to down one of the Zombies.", "460\tThis shot rips into the Zombie holding Roger's leg. It lets go\n\tand falls, rolling across the pavement. The woman fires again,", "Peter intended to clear the obstructing corpse.\tWith his rifle butt, Roger manages to push the dead Zombie clear\n\texcept for one of its arms. From outside, a creature's hand", "fired from hand guns. A bullet smashes through the skull of the\n\tyoung boy next to Roger. He falls against Roger with a pleading\n\texpression on his face.", "The big Black man walks calmly into the room. Roger watches him.\n\tHe walks up to the writhing creatures one at a time, and fires\n\tcarefully aimed shots into their heads with his hand gun. Tears\n\troll down his cheeks.", "Another bullet smashes against the dead S.W.A.T. man's back.\n\tJust as Roger frees himself, a bullet catches him squarely in", "A sudden, loud gunshot makes Roger duck and spin around. He\n\tlooks into the apartment. The young Trooper has shot himself\n\tthrough the head.", "with all his might, throws her against the wall. She advances\n\tagain. Roger raises his gun, She is just about to reach him. He\n\tfires. The bullet drops her.", "240\tRoger fires again.\n\n241\tOne of the nearby Zombies falls in a heap.\n\n242\tAt the sound of the rifle, Fran gets desperate.", "creatures outside. Grabbing his rifle, Roger brings the butt\n\tstraight down on the clutching Zombie's skull. The Zombie goes", "There are several creatures right in the archway, now they\n\tclutch with their hands. One blocks the downward progress of the\tgate. Roger fires point blank and the Zombie flies back. The", "The Trooper struggles to free himself, and Roger darts into the\n\troom. Although the Zombie is weak, she manages to hold on to the\n\tTrooper.", "man's arm. Roger tears away, but blood appears at the wound.\n\tThen Roger squares off a solid punch right to the Zombie's jaw.", "221\tThe Troopers step over the corpse. The second Zombie, the\n\tarm less female, is walking toward them. This time Roger fires" ], [ "51\t The troopers break into an apartment on the floor. An old couple\n\tkneels in prayer at a small alter, while their children and", "The rear lines retreat into the wider vestibule, and as the mass\n\tof struggling bodies spreads out, shots begin to fire. Some", "struggle over to the car. They smash the windows with their\n\thands. It is a nightmarish scene as the men huddle in the", "As we see more of the room, we find our refugees sitting near\n\tthe reconstructed pyramid on the floor. Peter seems to be asleep", "The old man starts up the stairs. Roger moves to help him, but\n\tthe big Black man stops him. The Priest weaves up through the\n\tgas mist, coughing.", "Some men, although armed, surrender willingly. Others retaliate\n\tagainst the invading force, and little skirmishes develop on\n\tevery floor of the complex structure.", "They are wide eyed and terrifying. In life, they were mostly\n\tBlacks and Puerto Ricans from the neighbouring buildings. They\n\tare all ages, from the very old to the very young.", "He has joined the cowboys. He is like a child, almost exultant\n\twith the joy of their victory...\n\tThe three men shout through the cage at the creatures, which are\talready gathering at the gate.", "guerrilla fighters, with their weapons strapped on. They have\n\ttaken the Temple. The music hits a crescendo as the people look\n\tover their spoils. Even the wounded Roger seems triumphant as he", "The girl tries to clear her head as the young man moves on to\n\twhere others sleep on the floor. He wakes them up one at a time.", "doors where depositors have stored their valuables. At one end\n\tof the room there are stacks and stacks of paper bills. The men\n\tapproach the piles of money, stooping down.", "Fran moves into the store and Peter pulls the cart behind him.\n\tThen Steve, Peter and Fran pull the gate shut long before any of\n\tthe advancing creatures reach the area.", "687\tThe other bikers spill into the Dept. Store, raiding the\n\tcounters and raping the displays. They throw things into sacks", "The men move stealthily along the aisles. They look up at the\n\tceiling and see a series of large grillwork panels. Peter shines", "renewed. They moan and push harder at the gate.266\tThey Troopers leave the barrow, disappearing back to the aisles.\tThey run onto the interior escalator, bounding down faster than", "The doors slam against Steve and open again. Steve lumbers into\n\tthe store down the aisle. Other creatures drift away.", "581\tWe see a montage: Fran, Stephen and Peter walk slowly through\n\tthe conquered building. They drift in and out of stores picking\n\tup various items. They use shopping carts.", "517\tNow Peter sees an opening and he makes a break with the cart.\n\tRoger holds on to the sides. They crash through the scattered", "And here and there throughout the large area lie the remains of\n\tcorpses. They have been eaten away. Most of them are still\n\tmoving, their heads uninjured.", "123\tPeter kicks open the door to the chart house. The room is dusty\n\tand dilapidated. A few small chairs surround an old wooden" ], [ "The door opens against Stephen's weight. He manages to slam it\n\tshut despite the pushing creatures. He throws the key ring down\n\tand grabs his gun.", "He is shouting at Stephen who is just rushing up to the\n\tplatform. He and the Trooper scramble into opposite sides of the", "then raises his rifle and aims it a Stephen. Steve tries to\n\tstand, but trips and falls on his back in the dust. In an\n\tinstant, Peter is looming over him with the barrel of his rifle", "308\tAt first Stephen freezes, then he starts backing toward the\n\tfirestair, his rifle poised.", "672\tThe main band of bikers hear the gunfire and pull down a side\n\tconcourse to regroup. They make their turn close to the\n\tDepartment Store and Steve backs into he shadows.", "271\tIn the maintenance office, Stephen still rummages. He finds a\n\tloaded hand gun and stuffs it in his belt. He moves to the large", "The third staggers into the room. Stephen stands fast now. He\n\tholds his rifle out in front of him. The creature walks toward", "boards of the structure. Stephen roots around among the greasy\n\ttools which clutter the area. He finds an enormous sledge\n\thammer. He runs out of the shed.", "Stephen hops out of the cockpit and shouts over the engine\n\tnoise.\n\n\tSteve:\tI'M GONNA SEE WHAT'S LEFT IN THE HANGARS.", "The big Trooper bends over snatching up Stephen's rifle. He\n\tsnaps off the safety and slams a shell into the chamber. He", "Peter is trying to unsling his rifle. Stephen conquers his fear\n\tof the height, and lets himself fall to the floor. He crumples", "Peter stares into the creatures eyes. Then suddenly, out in the\n\tsunlight, a few hundred feet behind the Zombie, Stephen appears\n\twith his rifle. Peter sees the man over the creature's shoulder.", "The woman takes over and Stephen trots away toward the guard\n\tshed. The propeller blades still spin. They make an eerie,", "Zombies clutch as Stephen tries to close the door on Zombie 13's\n\tarm. Stephen then runs back down the interior corridor.", "93\t It seems to take forever for the Police Car to pull down the\n\tdock. Stephen takes a few steps forward, squinting to see, but\n\the is threatened by the \"Policeman's\" gun barrels.", "698\tThe shells bang and clatter in the shaft and ricochet off the\n\twalls and gears. A shell nicks Stephen's arm, but he is silent.", "Peter looks at Stephen as a street-wise-tough would look at a\n\thopeless city-slick-sissy. Then the big man brings his rifle", "Stephen thinks about protesting but he complies by slowly\n\tsetting his rifle down on the cartons. Then he fishes in his", "726\tPeter is dropping out of the washroom duct. He hears the pistol\n\tshots and realises Steve is not dead. He thinks about climbing", "Officer 3, the Skipper, pushes Steve with his gun barrel. Steve\n\tspins out through the open doorway. He looks up the dock and\n\tsees the vehicle which is just turning onto the pier which is\n\talmost a mile long." ], [ "The walls are dank and grey. There is a dripping sound. All\n\taround lie remnants of human civilisation. Baby buggies and", "A mix of subtle sounds begin to fade in. As they get louder, we\n\tcan discern what sounds like a busy office area. It is actually\n\ta frantic television studio with the hum of panic in a national\n\temergency.", "3\tWe see the television studio. Reporters buzz about madly.\n\tEverybody looks dishevelled and exhausted. Technicians man\n\tmonitors, and we see people on the little screens, arguing\n\temotionally.", "Roger clicks off the radio. They listen. They hear slight sounds\n\tcoming from the fire stairs. The end of the room with the\n\tbarricade of cartons looks surreal in the blue glow of the TV\n\tscreen which still shines.", "The Troopers are shocked. The Priest struggles to his feet.", "He has joined the cowboys. He is like a child, almost exultant\n\twith the joy of their victory...\n\tThe three men shout through the cage at the creatures, which are\talready gathering at the gate.", "too, possess sophisticated weapons, the barrage sets up a great\n\tnoise. Several creatures fall. The little van pulls up behind\n\tthe bikes. The men still whoop and shout.", "open suddenly. The stairway is still empty.\tThe Troopers move slowly out onto the landing. They look down\n\tinto the darkness below. Then they move slowly and silently down", "struggle over to the car. They smash the windows with their\n\thands. It is a nightmarish scene as the men huddle in the", "And here and there throughout the large area lie the remains of\n\tcorpses. They have been eaten away. Most of them are still\n\tmoving, their heads uninjured.", "33\t Technicians abandon their posts. A few others jump in to take\n\ttheir places, but pandemonium reigns. A cameraman whips off his", "Peter breathes heavily. He stares at the small corpses.\n\tInstinctively, he begins loading his weapon, without even\n\tlooking at the action, as he backs wearily out toward the door\n\tof the chart house.", "624\tThe three sit around the dinner table, just finishing their\n\tsupper. The TV set is on, but only grey snow fills the screen\n\tand the speaker hisses as it receives no signal.", "open, as though abandoned hurriedly. Now one of the rear doors\n\tmove. A figure appears carrying a large packing carton. The\n\tfigure is uniformed, with two rifles strapped to its back. It", "Some of the creatures are without arms and legs. Some have been\n\teaten away about the neck and shoulder. They moan with a\n\tgurgling, gutteral sound as they try to move.", "We see an enormous quantity of food cartons and water drums, it\n\tis very quiet. The space is barren except for the stacks of\n\tCivil Defence supplies.", "There's a long silence. The radio sputters static. Voices are\n\theard, but they aren't speaking into the microphone. They are\n\tobviously conferring among themselves. Steve starts to speak,\n\tPeter cuts him off.", "72\t At the guard house, Stephen rushes in to find the dead radio\n\toperator. A signal is coming over the receiver in Morse Code.", "Roger:\tAND NOTHING? (referring to the TV)\n\n\tOn the screen we see the Civil Defence logo, and realise that\n\tthe high pitched electronic signal is coming from the TV set.", "He brings the flame up and flashes it at the Zombies. They back\n\taway enough for him to crawl to an open space. Then he scrambles\n\tto his feet and charges down the concourse toward the car." ], [ "Peter and Roger disappear through the skylight. Stephen stands\n\tstill. He looks down at the floor. Fran moves close to his side.", "the steps. Fran appears on the upper landing. She stands in the\n\tdoorway clutching the rifle.\tPeter stops for a moment, looking back up at the frightened", "As Stephen falls, Fran comes up short. The act startles her into\n\tawareness. Peter faces her as the creatures come up behind him.\n\n\tPeter:\tMOVE, WOMAN!", "BLAM! The loud roar of Peter's gun from the next room. Fran\n\tstartles and falls into Stephen's arms.", "Stephen looks up at the tall man, shivering. Then Peter lowers\n\this weapon and extends his hand, helping Stephen up onto his\n\tfeet.", "Fran and Stephen peer down into the darkness. Peter pulls a\n\tflashlight from his utility belt. He has stayed in full uniform\n\tall the while, where Roger has stripped off all but his\n\tammunition belt and pistol holster.", "Peter is trying to unsling his rifle. Stephen conquers his fear\n\tof the height, and lets himself fall to the floor. He crumples", "364\tAs the other men come up behind, Peter opens the door quietly\n\tand slips into the hall. He starts to walk quickly toward the\n\tdoor to the exterior corridor. Roger follows as Stephen moves\n\tbackwards toward the fire stairs.", "Peter speaks in a low, unemotional tone. Stephen is transfixed.", "trying to soothe him with a wet cloth on his forehead. Now she\n\tstops, leaving the cloth on the shivering head. She moves out\n\tto Stephen and Peter.", "Fran is desperate. Steve rushes by her with Peter, who crashes\n\ton ahead through the door onto the firestairs.\n\n\tFran:\tWHAT'S HAPPENING?", "Peter stares into the creatures eyes. Then suddenly, out in the\n\tsunlight, a few hundred feet behind the Zombie, Stephen appears\n\twith his rifle. Peter sees the man over the creature's shoulder.", "Fran moves into the store and Peter pulls the cart behind him.\n\tThen Steve, Peter and Fran pull the gate shut long before any of\n\tthe advancing creatures reach the area.", "126\tOutside, Fran and Stephen snap to attention at the sound of the\n\trifle. Fran stands at the entrance to one of the little wooden", "Quite calmly. Peter raises his rifle and aims it at the door\n\tabout head high. The rifle roars in the little room, and a\n\tsplintery hole appears in the old wooden door.", "Peter looks at Stephen as a street-wise-tough would look at a\n\thopeless city-slick-sissy. Then the big man brings his rifle", "then raises his rifle and aims it a Stephen. Steve tries to\n\tstand, but trips and falls on his back in the dust. In an\n\tinstant, Peter is looming over him with the barrel of his rifle", "Stephen is asleep. Fran sits next to his curled form, her hand\n\tin his hair. Roger leans against the pyramid and Peter sits in", "Peter fires two shots, lower right and lower left of the first\n\tforming a triangle.\n\n129\tThe two creatures advance slowly on Fran and Steve.\n\n\tSteve:\tJUST RUN.", "one of them as Roger comes up behind him, gun ready.\tPeter's hand turns the doorknob. It is unlocked, and the big man\n\tgives Roger a familiar nod. Roger stands several feet back, his" ], [ "A mix of subtle sounds begin to fade in. As they get louder, we\n\tcan discern what sounds like a busy office area. It is actually\n\ta frantic television studio with the hum of panic in a national\n\temergency.", "They are wide eyed and terrifying. In life, they were mostly\n\tBlacks and Puerto Ricans from the neighbouring buildings. They\n\tare all ages, from the very old to the very young.", "Then, with a great crash, the closet door flies open into the\n\troom. Two small children burst out. One has no left arm; the", "We see now what Peter is staring at. On the floor, twenty feet\n\taway lies the corpse of Roger. It's face is covered with a\n\tblanket. It lies very still.", "The big Black man walks calmly into the room. Roger watches him.\n\tHe walks up to the writhing creatures one at a time, and fires\n\tcarefully aimed shots into their heads with his hand gun. Tears\n\troll down his cheeks.", "should be, has been torn open and is bloody. A stump kicks\n\taround the blood where a foot has been eaten off. The Black man\n\tfires into the thing's head.", "Foster wipes his sweat with a dirty hanker chief. He pulls his\n\ttie away from his tight collar, and pops the shirt button open.\n\tHe is desperate now, shivering with anger and frustration.", "about. Two on the heap, although they cannot move about, are\n\teating at parts of other bodies. Roger shoots them. They never\n\tlook up. They don't seem to notice him at all.", "There's a long silence. The radio sputters static. Voices are\n\theard, but they aren't speaking into the microphone. They are\n\tobviously conferring among themselves. Steve starts to speak,\n\tPeter cuts him off.", "And here and there throughout the large area lie the remains of\n\tcorpses. They have been eaten away. Most of them are still\n\tmoving, their heads uninjured.", "36\t It is dusk, and the city of Philadelphia is surprisingly quiet.\n\tWe see several large buildings. They are part of a low-income", "YOU KNOW, I THINK FOSTER'S RIGHT. I THINK\n\t\t\tWE'RE LOSIN' THIS WAR.", "3\tWe see the television studio. Reporters buzz about madly.\n\tEverybody looks dishevelled and exhausted. Technicians man\n\tmonitors, and we see people on the little screens, arguing\n\temotionally.", "Fran focuses on the monitors. She is incredulous... stunned by\n\tthe madness which surrounds her. She realises the hopelessness\n\tof the situation as she zeroes in on the televised conversation.", "Suddenly, we are aware of a third person on the room in the\n\tlarge chair at the desk. Roger startles and grabs his gun.", "The walls are dank and grey. There is a dripping sound. All\n\taround lie remnants of human civilisation. Baby buggies and", "The other bodies lie bleeding on the bobbing docks, another\n\tofficer and a civilian. A bell buoy rings in the distance and we\n\tbegin to hear the sound of an approaching helicopter.", "stop. He breaks through a cloud of gas and Wooley fires his\n\tautomatic. The black man crashes to the floor. Wooley is crazed.", "Roger stoops next to the old man, who is struggling to keep his\n\tbreath. He is weary. He seems to be near death. He clutches at\n\this chest.", "Peter just stares. They are in the President's office. Some\n\tdays earlier, the President, shot himself in the head." ], [ "corridor doors are closed and locked. The brass nameplate on the\n\tinterior door reads C.J. Porter - President.199\tRoger moves out to the corridor where he joins Peter. They move", "Peter just stares. They are in the President's office. Some\n\tdays earlier, the President, shot himself in the head.", "Peter pulls up to a screeching halt at the gate. He turns the\n\tcart in a full 180 so that Roger is facing out toward the mall.", "The men move stealthily along the aisles. They look up at the\n\tceiling and see a series of large grillwork panels. Peter shines", "obviously the executive headquarters.\tThe rooms interconnect, and while Peter walks from door to door\n\tin the corridor, Roger moves through the inner doors, meeting", "415\tIn the meantime, Peter's truck pulls away from the cab Roger is\n\tin. The big vehicle rolls into the large paved area behind the\n\twarehouse where Peter can turn it around easily.", "Steve stands up and moves to the set. He clicks it back on.\n\tPeter watches the two sheepishly. It is a domestic scene. The", "As Peter pulls his vehicle in a wide arc, Roger drives his right\n\tup to the side of the building and roars toward the entrance", "Peter has walked right past the group. He is moving quickly\n\ttoward the still-unknown door at the other end of the room.\n\tAgain, Roger follows.", "647\tIn the mall, Peter drops from the grill in the exterior corridor.\n\tHe charges out and into the Maintenance corridor, where he\n\tbreaks for the mall proper. He is followed by Stephen.", "helps him. The door opens and Peter eases his friend into the\n\tseat. Roger immediately goes to work under the dash.", "Then he pulls out. He stops the big vehicle with his cab just\n\tabreast of the cab Roger is working in.", "We see now what Peter is staring at. On the floor, twenty feet\n\taway lies the corpse of Roger. It's face is covered with a\n\tblanket. It lies very still.", "Peter:\tI SEEN IT. COME ON!\tThe men are in a large ductwork which seems to run along the\n\tentire length of the mall. They move as quietly as they can.", "Peter and Roger disappear through the skylight. Stephen stands\n\tstill. He looks down at the floor. Fran moves close to his side.", "fully equipped for a staff of secretaries and accountants.196\tThe next room has a closed door, but it is unlocked. Peter\tswings the door open and silently jumps into the room. This is", "Roger:\tYEAH.\n\n\tPeter lets him go and returns to the wheel. He guns the engine\n\tand roars into a big arcing turn in the parking lot.", "653\tInside, the men hear the truck starting. Steve slams down the\n\tPharmacy gate. Peter is already running to the Department", "cabinets. One is open. It contains all sorts of tools, manual\n\tand electric. There are circuit testers, walkie talkie units and\n\tthere are several enormous rings containing hundreds of keys,", "Fran moves into the store and Peter pulls the cart behind him.\n\tThen Steve, Peter and Fran pull the gate shut long before any of\n\tthe advancing creatures reach the area." ], [ "The men move stealthily along the aisles. They look up at the\n\tceiling and see a series of large grillwork panels. Peter shines", "while others move to different stores and shoot off roll gate\n\tlocks. They raid the arsenal in the Sporting Goods store.", "545\tSteve rummages in his back pack. Produces two portable battery\n\toperated burglar alarms. Peter activates the units, stands them", "There's a long silence. The radio sputters static. Voices are\n\theard, but they aren't speaking into the microphone. They are\n\tobviously conferring among themselves. Steve starts to speak,\n\tPeter cuts him off.", "653\tInside, the men hear the truck starting. Steve slams down the\n\tPharmacy gate. Peter is already running to the Department", "in a store to grab whatever they can.259\tStephen is in the Maintenance office. He examines the maps and\telectrical equipment, then rummages through a desk.260\tAt the open end of the corridor leading to the second storey", "507\tThey run through the hardware department where Stephen snatches\n\tup several propane torches. Fran stuffs extra bottles of gas\n\tinto her back pack.", "Peter finds elaborate holsters and ammunition belts. He pulls\n\tseveral other rifles from the rack. We recognise the firepower\n\tin the arsenal that the two men accumulate.", "They each pick up packets of bills and flip through the edges...\n\n\tPeter stuffs several packets into his knapsack. Steve looks at\n\thim quizzically.", "Officer 3, the Skipper, pushes Steve with his gun barrel. Steve\n\tspins out through the open doorway. He looks up the dock and\n\tsees the vehicle which is just turning onto the pier which is\n\talmost a mile long.", "Steve:\tHOLY SHIT!\n\n\tPeter:\tTHEY'LL GET IN. THEY'LL MOVE THE TRUCKS.", "Roger clicks off the radio. They listen. They hear slight sounds\n\tcoming from the fire stairs. The end of the room with the\n\tbarricade of cartons looks surreal in the blue glow of the TV\n\tscreen which still shines.", "He is shouting at Stephen who is just rushing up to the\n\tplatform. He and the Trooper scramble into opposite sides of the", "doors where depositors have stored their valuables. At one end\n\tof the room there are stacks and stacks of paper bills. The men\n\tapproach the piles of money, stooping down.", "outside try to crawl under the second trailer. The men shut them\n\tout easily, locking the door and planting alarms. They stand to\n\tlook down the concourse.", "415\tIn the meantime, Peter's truck pulls away from the cab Roger is\n\tin. The big vehicle rolls into the large paved area behind the\n\twarehouse where Peter can turn it around easily.", "boards of the structure. Stephen roots around among the greasy\n\ttools which clutter the area. He finds an enormous sledge\n\thammer. He runs out of the shed.", "As Peter pulls his vehicle in a wide arc, Roger drives his right\n\tup to the side of the building and roars toward the entrance", "Steve stands up and moves to the set. He clicks it back on.\n\tPeter watches the two sheepishly. It is a domestic scene. The", "Then he pulls out. He stops the big vehicle with his cab just\n\tabreast of the cab Roger is working in." ], [ "A handful of Black and Puerto Rican youngsters charge about the\n\trooftop. Another S.W.A.T. patrol appears from behind a large\n\televator housing. The young civilians retreat. Several are mowed\n\tdown.", "Suddenly, a young Black man charges out of one of the\n\tapartments. A woman appears at the door, screaming for him to", "They are wide eyed and terrifying. In life, they were mostly\n\tBlacks and Puerto Ricans from the neighbouring buildings. They\n\tare all ages, from the very old to the very young.", "The electronically amplified voice echoes through the concrete\n\tcaverns between the buildings of the project. There are only a\n\tfew windows which glow with lights from inside. At the sound of", "Some men, although armed, surrender willingly. Others retaliate\n\tagainst the invading force, and little skirmishes develop on\n\tevery floor of the complex structure.", "47\t Inside the building, other S.W.A.T. teams along with units of\n\tthe National Guard are crashing through hallways and breaking\n\tinto apartment units. People are herded into the halls where\n\tthey are held at gun point.", "36\t It is dusk, and the city of Philadelphia is surprisingly quiet.\n\tWe see several large buildings. They are part of a low-income", "Breaking into the various empty offices, the raider comes to the\n\tfake wall panel and assumes it goes nowhere. Then he hears the\n\tfaint barking of the dog. He checks the panel again by running", "648\tOutside, the Raiders' van revs and roars towards the mall. The\n\tbikers stay at the other side of the lot, engines idling. Some\n\tof them whoop and holler like American Indians.", "658\tOne of the raiders hears the gates rumbling. He looks up and\n\tsees Peter running by the railing upstairs. He fires with his\n\tmachine gun.", "struggle over to the car. They smash the windows with their\n\thands. It is a nightmarish scene as the men huddle in the", "housing project, and their lack of grace is evident. They stand\n\tlike tombstones as the first stars appear in the navy blue sky.", "713\tHe shoots one raider out of the saddle. Two others get out.\n\n714\tRegrouping in the lot, the band of twenty is now seven or eight.", "The men move stealthily along the aisles. They look up at the\n\tceiling and see a series of large grillwork panels. Peter shines", "while others move to different stores and shoot off roll gate\n\tlocks. They raid the arsenal in the Sporting Goods store.", "He kicks in the door of another apartment and fires randomly\n\tinto the room.", "Roger charges for his weapon, snatches it up, and runs for the\n\tcover of an incinerator housing. He startles a young civilian\n\twho was hiding there, trying to load his gun. The boy makes a\n\tbreak...", "668\tJust as the bikers are reaching the building, the raider inside\n\trushes the doors. He holds them open as the big fleet of\n\trumbling cycles comes screaming into the building.", "Suddenly a sound in the corridor and the raider turns. There\n\tare three ghouls coming. He fires and knocks off the ghouls one\n\tat a time and runs onto the balcony.", "The mob of creatures is impenetrable at first. The raiders\n\tleader signals the convoy to drop back across the parking lot.\n\tSome raiders have trouble keeping balance as Zombies claw them." ], [ "The three move off down the aisles, then duck out of sight\n\taround a corner. The Zombies clutch at the metal gate, moaning", "The Zombies converge on the area as they did before, clutching\n\tand pushing at the metal cage, which holds them out securely.\n\n\tThe men breathe heavily as they back away from the gate.", "There are several creatures right in the archway, now they\n\tclutch with their hands. One blocks the downward progress of the\tgate. Roger fires point blank and the Zombie flies back. The", "He brings the flame up and flashes it at the Zombies. They back\n\taway enough for him to crawl to an open space. Then he scrambles\n\tto his feet and charges down the concourse toward the car.", "creatures inside are pushing the doors out, so the Zombies under\n\tthe trucks cannot push them in. The doors swing both in and out,\n\tso it is very clear that some access could be had by the", "by several regularly hinged doors, all made of glass and\n\tsurrounded by large windows. A few of the Zombies manage to\tnegotiate the hinged doors and enter the building. Others bounce", "And here and there throughout the large area lie the remains of\n\tcorpses. They have been eaten away. Most of them are still\n\tmoving, their heads uninjured.", "be seen the entrances to several shops. All but one have heavy\n\tmetal cage gates down and locked into position.\n\tOne or two Zombies are seen wandering about. They cannot enter", "543\tThe big trailer blocks the entrance effectively. There are some\n\tcreatures inside the doors. Under the van, several Zombies are", "322\tAt the entrance arch to the store, Roger fires at another\n\tcreature. It falls. Other Zombies are approaching, but Steve and\n\tPeter dive into the arch and the three men manage to lower the\n\tgate without a problem.", "331\tThe Zombies crash against the first floor gate. It holds. The\n\tmen crouch in the shadows of the gate.", "Zombies clutch as Stephen tries to close the door on Zombie 13's\n\tarm. Stephen then runs back down the interior corridor.", "the Zombies. The creatures are about thirty feet", "cabinet. The Zombie fumbles with the cabinet at its feet, but\n\tdoesn't fall. Steve tries to hit the creature's head with the", "ducks back into the room. The closest Zombie is reaching out\n\twith clutching hands. Peter raises his gun and fires two shots", "clutching at the grid, but they are unable to budge it.\n\tThere are ten or twelve Zombies trying to get into the\n\tDepartment Store and several others are making their way along", "168\tBelow, the Zombies which are in sight wander aimlessly over the\n\tplaza. Some try the gates but cannot budge them. One wanders out", "better look and he sees a small group of Zombies wandering out\n\tof the big garage directly toward Roger's truck.", "720\tIn the parking lot and main concourse the Zombies move freely.\n\tThey fight over the remains of the corpses. They eat ravenously,\n\tthe sounds of their feast the only thing in the area.", "The mob of creatures is impenetrable at first. The raiders\n\tleader signals the convoy to drop back across the parking lot.\n\tSome raiders have trouble keeping balance as Zombies claw them." ], [ "Fran stares at the young man. She is shaking. She doesn't speak.\n\n\tTony:\tTHE SHIT'S REALLY HITTING THE FAN.", "Fran's stomach is big now, her pregnancy evident. She wipes her\n\tbrow like an exhausted housewife, and shuffles back into the", "The cameraman, without taking his eye from the viewfinder,\n\tspeaks to Francine quietly and slowly.", "Francine unbuckles her safety belt and jumps out of her side of\n\tthe machine. Steve runs, ducking under the blades, around to the", "Fran, already startled by the running figure, is now doubly\n\tshocked by the calm voice behind her. She spins and the fuel", "Fran is about to say something in anger, but before she can, one\n\tof the technicians, having overheard Givens, gets up from the\n\tcontrol panel and starts to walk away.", "Fran stiffens at the talk. She doesn't believe what she is\thearing. She knows instantly that the men will try to raid the", "In the corridor, there are power tools lying about and a vast\n\tarray of other hardware in the gardening cart. Fran appears from\n\tout of the washrooms. She is carrying an old can of paint which\n\thas obviously been used.", "383\tFran ducks back onto her blanket. She disgustedly lights another\n\tcigarette. Steve sits next to her again.\n\n\tSteve:\tFRANNIE...", "Fran focuses on the monitors. She is incredulous... stunned by\n\tthe madness which surrounds her. She realises the hopelessness\n\tof the situation as she zeroes in on the televised conversation.", "Fran moves quickly for the spinning camera. She aims it back at\n\tthe sweating Foster, and she stares through the viewfinder not\n\tbelieving what she is seeing.", "The man doesn't move. Fran reaches up, taking his hand. She\n\tclutches it tightly, indicating that she is not angry.", "Fran:\tLEAVE ME ALONE...IT'S ALRIGHT...IT'S MY PROBLEM.\n\n\tSteve:\tFRANNIE...", "Fran:\tJESUS!\n\n\tMan:\t SHE'S ALRIGHT.\n\n\tFran:\tI HAD IT...I WAS ASLEEP OVER THERE...", "381\tWe see Fran's face. She is listening. There is no answer\n\taudible. A tear rolls down the woman's cheek. The radio drones.", "She leans in to him, making a final plea.\n\n\tFran:\tSTEPHEN, LET'S JUST TAKE WHAT WE NEED AND KEEP\n\t\t\tGOING.", "Fran turns her head. Another young man sits next to her on the\n\tfloor. He is one of the ones Tony awakened.\n\n\tFran:\tNO YOU'RE NOT.", "the steps. Fran appears on the upper landing. She stands in the\n\tdoorway clutching the rifle.\tPeter stops for a moment, looking back up at the frightened", "He stops and turns to look at her. Her eyes are pleading for\n\tunderstanding, but he is incapable of it at the moment. Fran\n\tjust shrugs off whatever she was going to say, and she sighs\n\twith exasperation.", "346\tAt the top, Fran makes it into the storage area and slams the\n\tdoor. For a moment, she just backs away in terror. Then she" ], [ "As we see more of the room, we find our refugees sitting near\n\tthe reconstructed pyramid on the floor. Peter seems to be asleep", "He steps aside and Roger climbs in. He too drops cat-like to the\n\tfloor.179\tThe two men instantly sling their rifles and move to the food", "561\tThe men sit huddled. The large storage area is filled with\n\tmounds of supplies brought up from the mall stores, but the\n\tstuff all sits around in disarray.", "They try the first two doors, which are locked. The third is\n\twide open.\n195\tRoger ducks quickly into the room with his rifle raised. It is", "After a time, Steve appears. He is surprised to find the woman\n\tawake. She sits on a new blanket from the store. Another is\n\trolled up as a pillow. She wipes away her tears with her\n\tcigarette still in her hand.", "struggle over to the car. They smash the windows with their\n\thands. It is a nightmarish scene as the men huddle in the", "The walls are dank and grey. There is a dripping sound. All\n\taround lie remnants of human civilisation. Baby buggies and", "boards of the structure. Stephen roots around among the greasy\n\ttools which clutter the area. He finds an enormous sledge\n\thammer. He runs out of the shed.", "The three move off down the aisles, then duck out of sight\n\taround a corner. The Zombies clutch at the metal gate, moaning", "too, possess sophisticated weapons, the barrage sets up a great\n\tnoise. Several creatures fall. The little van pulls up behind\n\tthe bikes. The men still whoop and shout.", "Fran moves into the store and Peter pulls the cart behind him.\n\tThen Steve, Peter and Fran pull the gate shut long before any of\n\tthe advancing creatures reach the area.", "Their \"loot\" is laid around them on the floor. Roger, as he\n\teats, is leafing through the maintenance manual. There is a", "And here and there throughout the large area lie the remains of\n\tcorpses. They have been eaten away. Most of them are still\n\tmoving, their heads uninjured.", "The men move stealthily along the aisles. They look up at the\n\tceiling and see a series of large grillwork panels. Peter shines", "cartons as by pre-arranged plan. They carry the big boxes\n\tquickly, one at a time, to the spot under the open skylight.\tIn a moment, they have built a pyramid out of the cartons. It", "They are all bathed in the blue glow from the television which\n\tStephen tries to tune in. Its power cable is spliced into the\n\tleads of a bare light fixture overhead. Fran cannot be seen at\n\tfirst.", "Roger disposes of several other creatures. he comes to a place\n\twhere several are piled together. Some lie still, others writhe", "588\tNow the group walk along the upper balcony. They look down.\n\tThey still have their weapons and kits, Peter is wearing a wide\n\tbrimmed hat and Fran sports a new mink coat.", "the rear of the corridor, more lumber is wedged against walls\n\tmaking a frame. Stephen is slamming large nails into the\n\tframework for reinforcement. On the frame's face a masonite", "He brings the flame up and flashes it at the Zombies. They back\n\taway enough for him to crawl to an open space. Then he scrambles\n\tto his feet and charges down the concourse toward the car." ], [ "of the clutching Zombies is able to get a solid hold on Roger's\n\tleft leg. The creature opens its mouth and bites at the calf.", "The Zombie clutches at the woman. It bites at her neck...her\n\tarm. She screams with terror. She tries to pull away, but the", "Fran stares into the dead, staring eyes of the lead Zombie. She\n\tis almost hypnotised. At the last instant, she runs and just", "The men fight back, wrestling and trying to back away. In the\n\tfront line, Zombies bite at the flesh of the humans. Teeth tear\n\tinto arms and hands. Some men are trampled in the crush.", "221\tThe Troopers step over the corpse. The second Zombie, the\n\tarm less female, is walking toward them. This time Roger fires", "A Zombie bites Steve's arm, another bites his neck. The man\n\tscrambles to unholster his gun. Although he is bleeding\n\tprofusely, he finally pulls his gun and fires...once...twice...", "insanely. The Zombie pulls another piece of flesh off her arm.", "He brings the flame up and flashes it at the Zombies. They back\n\taway enough for him to crawl to an open space. Then he scrambles\n\tto his feet and charges down the concourse toward the car.", "There are several creatures right in the archway, now they\n\tclutch with their hands. One blocks the downward progress of the\tgate. Roger fires point blank and the Zombie flies back. The", "the pack of Zombies. One or two fall. The others try to move\n\tin but are afraid of the bright flames. One gets close to Steve\n\tbut the man blasts his torch directly into its face. Its hair", "The leader rolls out. Others follow. Peter fires and drops a\n\traider, his bikes flying into the approaching Zombies.", "Suddenly, he's grabbed from behind by a Zombie and almost falls\n\tout the window. He struggles to hold himself and keep a grip on", "460\tThis shot rips into the Zombie holding Roger's leg. It lets go\n\tand falls, rolling across the pavement. The woman fires again,", "Peter reaches out with his pistol and fires a point blank shot\n\tat one of the clutching ghouls. It flies back and Roger is able", "about to bite the man's arm. The big Black grabs the small\n\tZombie and flings it physically back. The other creature pounces", "woman in the van revs the engine again. Zombies claw at her\n\twindow. She squeals back to the main biker group.", "A young Black Zombie, pulling itself along the floor with one\n\tarm, draws close to the Black Trooper. The big man aims his", "410\tAs Roger opens his door and scrambles into the other truck, one\n\tof the Zombies grabs hold. Roger just manages to kick the\n\tcreature off as the big truck pulls out and roars across the\n\tlot.", "The woman pushes through the crowd. The Zombies advances. Before\n\tthe Trooper can stop her, the woman throws her arms around the\n\tcreature.", "There are only a few creatures on the balcony. The dead things\n\tturn in confusion at the sound of the attacking commandos.\n\tRoger, his hands free to shoot, fires his weapon several times\n\tat some of the creatures who are closest." ], [ "The men at the mall mouth see the department store and start for\n\tit. They run from the corridor onto the balcony.222\tThe battle to win the mall has begun. The creatures which wander", "One creature, having crawled under a trailer, does manage to\n\tpush open a mall door. The thing crawls into the building", "656\tOne gunman slams into the mall doors to find they are locked.\n\tHe levels his machine gun on the locks and rips open the", "386\tAt the mall entrances, some creatures drift out into the night.\n\tOthers still enter the enormous building. There are not as many\n\tas there were in the afternoon, but there are certainly enough\n\tto be threatening.", "492\tSuddenly a Zombie charges across the room. The gate to the mall\n\tbalcony is open on this store. Another creature, attracted by\n\tthe commotion, starts through the open entrance arch.", "647\tIn the mall, Peter drops from the grill in the exterior corridor.\n\tHe charges out and into the Maintenance corridor, where he\n\tbreaks for the mall proper. He is followed by Stephen.", "541\tThe Zombies at the entrance already started back into the mall\n\tattracted by the commotion. The car zooms down the concourse\n\teasily breaking their ranks.", "is nothing.\tThe far end of the hall, about a hundred yards away, opens out\n\tonto the second story of the mall proper.194\tThe men look at one another and slowly move down the corridor.", "quickly, repelled by its coldness. She leans over and picks at\n\tanother corpse, then she stands and drifts towards the mall.", "They look at each other and move forward, each clinging to\n\topposite walls in the corridor.202\tAs they reach the mall proper they slowly and carefully peer\n\taround their respective corners.", "157\tWe see the facade of an enormous structure. It is a huge,\n\tsuburban shopping mall. The outer walls are all concrete, and", "651\tOn the floor on the mall, Peter and Steve dash about slamming\n\troll gates down on the open stores. They run desperately through\n\tthe empty concourses. They hear the din from outside.", "The doors slam against Steve and open again. Steve lumbers into\n\tthe store down the aisle. Other creatures drift away.", "405\tThe vehicles pull into the little grade which loads into the\n\tmall's parking lot. They roar right toward the building.", "yet enter the mall, their focus on the raiders now. From other\n\tentrances Zombies start converging on the parking lot.", "654\tThe huge trailer rolls away from the mall entrance. A shout of\n\tvictory goes up from the raiders. The Zombies at the door do not", "The two men back into the aisles of the store. The creatures\n\toutside still push and claw at the gate. The one with Roger's\n\trifle uses it as a bludgeon, but it has no effect.", "385\tWe see the mall balcony now. Zombies wander past the stores.\n\tSome move down the stationary stairs onto the main concourse.\n\tBelow.", "444\tFran watches with anxiety. She sees the two trucks pull up over\n\tthe rise with the helicopter following. We hear spirited music\n\tas the convoy approaches the mall building.", "537\tThe car shoots out onto the mall floor. Some of the Zombies\n\tcling for a moment, but they fall away quickly, scrambling to\n\tregain their footing and follow." ], [ "Peter and Roger disappear through the skylight. Stephen stands\n\tstill. He looks down at the floor. Fran moves close to his side.", "Roger:\tHOLD IT...\n\n\tThe boy freezes for a moment, then, thinking, breaks into a run\n\tacross the roof.", "now on top of him, and the bloody wound runs. Roger is frantic.\n\tHe frees himself with great heaves of his body and he pushes the", "46\t On the roof, Roger struggles under the dead weight of the young\n\tman. He tries to free himself and his weapons. Shots ring out.", "He disappears through the skylight. Fran stares down at the\n\tweapon in her hands, then she steps over and clicks off the\n\ttelevision.", "Roger is peering down through a wire-hatched skylight. There are\n\tseveral laid out over this particular area of the roof. He moves\n\tto another while Peter looks down into the first. Fran and\n\tStephen jog up.", "411\tThe helicopter flies straight up and directly over the roof of\n\tthe big shopping centre, where Fran has been watching the\n\taction. She now runs to the other side of the roof, the wind\n\tfrom the chopper whipping her hair.", "It slams against a creature which is grabbing him and drives the\n\tthing staggering back. Then with a desperate driving motion, \n\tRoger climbs through the window of Peter's cab.", "364\tAs the other men come up behind, Peter opens the door quietly\n\tand slips into the hall. He starts to walk quickly toward the\n\tdoor to the exterior corridor. Roger follows as Stephen moves\n\tbackwards toward the fire stairs.", "749\tSeveral zombies manage to scramble up the skylight to the roof.\n\n\tFran stares, transfixed. The blades roar up to full speed.", "390\tFran sees that the barricade of cartons is still in place at\n\tthe fire stairs door. She looks up. The skylight above the\n\tpyramid is open. She realises that the men are on the roof.", "cabs, landing on his feet. He is facing the two creatures\n\twhich are very close. He reaches up and with on hand on each of\n\tthe open window frames, he swings his legs up hard. His kick", "He brings the flame up and flashes it at the Zombies. They back\n\taway enough for him to crawl to an open space. Then he scrambles\n\tto his feet and charges down the concourse toward the car.", "with all his might, throws her against the wall. She advances\n\tagain. Roger raises his gun, She is just about to reach him. He\n\tfires. The bullet drops her.", "Peter is trying to unsling his rifle. Stephen conquers his fear\n\tof the height, and lets himself fall to the floor. He crumples", "a grip on his rifles, opens the door and lets the group through.\n\tThen he runs out himself, deserting the losing cause.", "162\tOn the roof, even as the blades of the helicopter still spin,\n\tthe humans are out and moving to the edge of the building. They\n\tlook down at the creatures which dot the parking lot.", "Roger is still emotionally crazed. He leans out of his window in\n\ta very vulnerable position. He is whooping like a child again as\n\the tries to level off another shot.", "483\tWe see it fall from her point of view on the roof. Others walk\n\tby the corpse without taking notice.\n\n484\tThe helicopter escorts the big truck back to the warehouse.", "Just then, Wooley wrenches free and pushes Roger across the\n\thallway. The Trooper carefully aims his weapon and fires one\n\tshot through Wooley's head. The big man falls back violently." ], [ "3\tWe see the television studio. Reporters buzz about madly.\n\tEverybody looks dishevelled and exhausted. Technicians man\n\tmonitors, and we see people on the little screens, arguing\n\temotionally.", "29\t In the big room, the tension is thicker than ever. A few of the\n\tnewsmen still earnestly try to perform their various functions,\n\tbut most of the crew are reduced to emotional polarisation over\n\tthe broadcast which still rages.", "TV Man 1: WELL I DON'T BELIEVE IN GHOSTS, DOCTOR.", "cameramen are all screaming at him, swearing and ridiculing. We\n\tnotice Police guards, armed, at the studio doors. They control\n\tthe traffic in and out of the big room.", "A mix of subtle sounds begin to fade in. As they get louder, we\n\tcan discern what sounds like a busy office area. It is actually\n\ta frantic television studio with the hum of panic in a national\n\temergency.", "The man clicks off his camera. Fran moves toward the studio.\n\n17\t On the monitors, we see the rescue stations blink off over shots\n\tof the two men who still argue on the air.", "611\tOn the TV, the commotion still rages. Stephen and Fran stare at\n\tthe tube, hardly believing what they see. The scientist is\n\tshouting above the din. He is nervous. He wipes his brow with\n\this sleeve...", "In the background the two Troopers bring their load of supplies\n\tinto the big room and deposit them near the TV. Then they go\n\tdownstairs for another load.", "the room. The men are gone. The television is playing. On the\n\ttube we see a dishevelled man sitting in an emergency news room\n\treading the report.", "Fran focuses on the monitors. She is incredulous... stunned by\n\tthe madness which surrounds her. She realises the hopelessness\n\tof the situation as she zeroes in on the televised conversation.", "There is a commotion in the TV studio. We hear noises and\n\tshouting, as we did J.A.S. earlier.\n\n607\tSteve:\tJESUS CHRIST.", "One of the other S.W.A.T. team members is a big man, with a\n\trough and vicious looking face. He is WOOLEY, a hardened\n\tveteran, and a red neck of the first order.", "We begin to hear voices over the busy hum of the studio. They\n\thave an electronic tinniness, as broadcast over a monitor. Fran\n\tlooks about. She is still shaken from her dream.", "Technicians: (all at once)\n\t\t\tWATCH CAMERA TWO...WHO THE HELL'S ON CAMERA", "Steve:\tWE'RE GETTING OUT. IN THE CHOPPER.\n\n\tAnother technician steps over to take the camera from Fran.\n\tStephen talks more quietly in the other man's presence.", "Suddenly, we are aware of a third person on the room in the\n\tlarge chair at the desk. Roger startles and grabs his gun.", "TV Man 1: (con't)\n\t\t\tALL WE GET IS WHAT YOU PEOPLE TELL US.\n\t\t\tAND IT'S HARD ENOUGH TO BELIEVE...", "TV Man 1: I'M NOT SO SURE WHAT TO BELIEVE DOCTOR!\n\n9\tSuddenly we cut into the studio, and we see the argument as it\n\tis being shot.", "606\tOn the television, two men are talking, a commentator and an\n\tofficial of the Government. The Scientist is in a suit, but his", "Cameraman: GO AHEAD. WE'LL BE OFF THE AIR BY MIDNIGHT\n\t\t\tANYWAY. EMERGENCY NETWORKS ARE TAKING OVER." ], [ "36\t It is dusk, and the city of Philadelphia is surprisingly quiet.\n\tWe see several large buildings. They are part of a low-income", "The men move stealthily along the aisles. They look up at the\n\tceiling and see a series of large grillwork panels. Peter shines", "They are all bathed in the blue glow from the television which\n\tStephen tries to tune in. Its power cable is spliced into the\n\tleads of a bare light fixture overhead. Fran cannot be seen at\n\tfirst.", "They are wide eyed and terrifying. In life, they were mostly\n\tBlacks and Puerto Ricans from the neighbouring buildings. They\n\tare all ages, from the very old to the very young.", "Peter just stares. They are in the President's office. Some\n\tdays earlier, the President, shot himself in the head.", "A mix of subtle sounds begin to fade in. As they get louder, we\n\tcan discern what sounds like a busy office area. It is actually\n\ta frantic television studio with the hum of panic in a national\n\temergency.", "about. Two on the heap, although they cannot move about, are\n\teating at parts of other bodies. Roger shoots them. They never\n\tlook up. They don't seem to notice him at all.", "Roger is peering down through a wire-hatched skylight. There are\n\tseveral laid out over this particular area of the roof. He moves\n\tto another while Peter looks down into the first. Fran and\n\tStephen jog up.", "And here and there throughout the large area lie the remains of\n\tcorpses. They have been eaten away. Most of them are still\n\tmoving, their heads uninjured.", "The other bodies lie bleeding on the bobbing docks, another\n\tofficer and a civilian. A bell buoy rings in the distance and we\n\tbegin to hear the sound of an approaching helicopter.", "648\tOutside, the Raiders' van revs and roars towards the mall. The\n\tbikers stay at the other side of the lot, engines idling. Some\n\tof them whoop and holler like American Indians.", "After a time, Steve appears. He is surprised to find the woman\n\tawake. She sits on a new blanket from the store. Another is\n\trolled up as a pillow. She wipes away her tears with her\n\tcigarette still in her hand.", "A handful of Black and Puerto Rican youngsters charge about the\n\trooftop. Another S.W.A.T. patrol appears from behind a large\n\televator housing. The young civilians retreat. Several are mowed\n\tdown.", "is nothing.\tThe far end of the hall, about a hundred yards away, opens out\n\tonto the second story of the mall proper.194\tThe men look at one another and slowly move down the corridor.", "cabinets. One is open. It contains all sorts of tools, manual\n\tand electric. There are circuit testers, walkie talkie units and\n\tthere are several enormous rings containing hundreds of keys,", "Officer 3, the Skipper, pushes Steve with his gun barrel. Steve\n\tspins out through the open doorway. He looks up the dock and\n\tsees the vehicle which is just turning onto the pier which is\n\talmost a mile long.", "Suddenly, a young Black man charges out of one of the\n\tapartments. A woman appears at the door, screaming for him to", "open, as though abandoned hurriedly. Now one of the rear doors\n\tmove. A figure appears carrying a large packing carton. The\n\tfigure is uniformed, with two rifles strapped to its back. It", "There's a long silence. The radio sputters static. Voices are\n\theard, but they aren't speaking into the microphone. They are\n\tobviously conferring among themselves. Steve starts to speak,\n\tPeter cuts him off.", "Then, with a great crash, the closet door flies open into the\n\troom. Two small children burst out. One has no left arm; the" ], [ "Fran's stomach is big now, her pregnancy evident. She wipes her\n\tbrow like an exhausted housewife, and shuffles back into the", "Francine unbuckles her safety belt and jumps out of her side of\n\tthe machine. Steve runs, ducking under the blades, around to the", "Fran stares at the young man. She is shaking. She doesn't speak.\n\n\tTony:\tTHE SHIT'S REALLY HITTING THE FAN.", "Fran stiffens at the talk. She doesn't believe what she is\thearing. She knows instantly that the men will try to raid the", "Fran is about to say something in anger, but before she can, one\n\tof the technicians, having overheard Givens, gets up from the\n\tcontrol panel and starts to walk away.", "Fran looks up. A young woman is offering her coffee in a paper\n\tcup. She is next in line for the overcoat and a few hours sleep.\n\tFran takes the coffee and struggles to her feet.", "Fran just stares up at the big man, with desperation in her\n\teyes. She has stopped arguing seeing that the Troopers'\n\tdecision is made.", "He stops and turns to look at her. Her eyes are pleading for\n\tunderstanding, but he is incapable of it at the moment. Fran\n\tjust shrugs off whatever she was going to say, and she sighs\n\twith exasperation.", "383\tFran ducks back onto her blanket. She disgustedly lights another\n\tcigarette. Steve sits next to her again.\n\n\tSteve:\tFRANNIE...", "The man doesn't move. Fran reaches up, taking his hand. She\n\tclutches it tightly, indicating that she is not angry.", "Fran, already startled by the running figure, is now doubly\n\tshocked by the calm voice behind her. She spins and the fuel", "600\tFran is withdrawing a hypodermic from Roger's good arm. The man\n\tstill thrashes wildly. Steve is struggling to hold him. Peter\n\trushes in and helps. Fran drifts out of the room.", "In the corridor, there are power tools lying about and a vast\n\tarray of other hardware in the gardening cart. Fran appears from\n\tout of the washrooms. She is carrying an old can of paint which\n\thas obviously been used.", "Fran:\tJESUS!\n\n\tMan:\t SHE'S ALRIGHT.\n\n\tFran:\tI HAD IT...I WAS ASLEEP OVER THERE...", "151\tFran's retching causes her to choke and cough. Steve tries to\n\tcomfort her, not knowing what to say and shaking himself.\n\n152\tPeter advances with long strides.", "2\tShe lurches forwards into the arms of a strong young man. She is\n\tFrancine, twenty three years old and very attractive, although", "Fran:\tLEAVE ME ALONE...IT'S ALRIGHT...IT'S MY PROBLEM.\n\n\tSteve:\tFRANNIE...", "The cameraman, without taking his eye from the viewfinder,\n\tspeaks to Francine quietly and slowly.", "Fran screams through her choking...\n\n\tFran:\tNO...MY GOD...DON'T... WHAT ARE YOU DOING?", "He disappears through the skylight. Fran stares down at the\n\tweapon in her hands, then she steps over and clicks off the\n\ttelevision." ], [ "There is a long silence. The engine drones, but the helicopter\n\tstill sits on the ground. The men look at each other. Peter\n\ttakes a long slug of water.", "Through the open sides of the helicopter bubble, she notices a\n\tPolice van. It has been there all along, it's doors flung wide", "411\tThe helicopter flies straight up and directly over the roof of\n\tthe big shopping centre, where Fran has been watching the\n\taction. She now runs to the other side of the roof, the wind\n\tfrom the chopper whipping her hair.", "418\tPeter has now backed up into a position which enables him to\n\tpull out. He looks up to see the helicopter heading straight\n\tfor him.", "461\tThe helicopter passes overhead. The music is still stirring.\n\n462\tIn Peter's truck, just rolling out the lot, Roger realises:", "still runs. The wound is fresh. Steve does not see this as he\n\ttugs the hose over the corpse and moves to the helicopter with\n\tFran following.", "106\tThe Policeman rushes off with his two cohorts. As they untie one\n\tof the launches from the dock, the J.A.S. helicopter whines", "414\tFrom the helicopter overhead, Stephen spots something moving\n\taround the warehouse. He jockeys the chopper slightly for a", "A third Zombie lumbers toward the helicopter. Roger's back is\n\tto the creature and he is unaware of the impending danger.", "134\tStephen and Fran have reached the chopper. Steve let's go of the\n\twoman's hand and he drops his bloody sledge to the ground. He", "156\tWe see a wide shot of the little airfield. The J.A.S. chopper\n\tsits on the ground for a moment, it's props spinning. The, with", "397\tThe sudden, loud noise of the chopper engine as it hovers.\n\tOnly Stephen is on board at the controls.", "747\tOn the roof, Fran desperately starts the helicopter engine.", "100\tThe policemen start to unload crates and cartons from their Van.\n\tThe big Black Trooper pulls a few supplies from out of the squad\n\tcar and carries them toward the helicopter.", "483\tWe see it fall from her point of view on the roof. Others walk\n\tby the corpse without taking notice.\n\n484\tThe helicopter escorts the big truck back to the warehouse.", "80\t Officer 1 has moved around Fran and he reaches into the\n\thelicopter bubble pulling out Steve's rifle.", "they turn the corner to run up the grade to the helicopter, they\n\tare confronted with two Zombies, staggering slowly towards them\n\tthrough the dust cloud from the chopper.", "Roger helps Fran climb aboard. Steve wanders around the front of\n\tthe cockpit bubble and climbs into the Pilot's seat. Roger", "120\tAs the group scrambles out of the helicopter, Stephen\n\timmediately checks the fuel pumps.\n\n\tSteve:\tSHIT, MAN, DAMN NEAR EMPTY.", "444\tFran watches with anxiety. She sees the two trucks pull up over\n\tthe rise with the helicopter following. We hear spirited music\n\tas the convoy approaches the mall building." ], [ "There is a long silence. The engine drones, but the helicopter\n\tstill sits on the ground. The men look at each other. Peter\n\ttakes a long slug of water.", "120\tAs the group scrambles out of the helicopter, Stephen\n\timmediately checks the fuel pumps.\n\n\tSteve:\tSHIT, MAN, DAMN NEAR EMPTY.", "411\tThe helicopter flies straight up and directly over the roof of\n\tthe big shopping centre, where Fran has been watching the\n\taction. She now runs to the other side of the roof, the wind\n\tfrom the chopper whipping her hair.", "156\tWe see a wide shot of the little airfield. The J.A.S. chopper\n\tsits on the ground for a moment, it's props spinning. The, with", "The other bodies lie bleeding on the bobbing docks, another\n\tofficer and a civilian. A bell buoy rings in the distance and we\n\tbegin to hear the sound of an approaching helicopter.", "418\tPeter has now backed up into a position which enables him to\n\tpull out. He looks up to see the helicopter heading straight\n\tfor him.", "397\tThe sudden, loud noise of the chopper engine as it hovers.\n\tOnly Stephen is on board at the controls.", "still runs. The wound is fresh. Steve does not see this as he\n\ttugs the hose over the corpse and moves to the helicopter with\n\tFran following.", "159\tWe hear the sound of the helicopter engine fading in, then we\n\tsee the little machine as it approaches and eases down onto the\n\troof of the building.", "461\tThe helicopter passes overhead. The music is still stirring.\n\n462\tIn Peter's truck, just rolling out the lot, Roger realises:", "they turn the corner to run up the grade to the helicopter, they\n\tare confronted with two Zombies, staggering slowly towards them\n\tthrough the dust cloud from the chopper.", "A third Zombie lumbers toward the helicopter. Roger's back is\n\tto the creature and he is unaware of the impending danger.", "483\tWe see it fall from her point of view on the roof. Others walk\n\tby the corpse without taking notice.\n\n484\tThe helicopter escorts the big truck back to the warehouse.", "Through the open sides of the helicopter bubble, she notices a\n\tPolice van. It has been there all along, it's doors flung wide", "134\tStephen and Fran have reached the chopper. Steve let's go of the\n\twoman's hand and he drops his bloody sledge to the ground. He", "106\tThe Policeman rushes off with his two cohorts. As they untie one\n\tof the launches from the dock, the J.A.S. helicopter whines", "The blades of the J.A.S. Traffic Copter whine as they gear down\n\tfor a landing. The whirlybird settles like a hummingbird on the\n\tgently bobbing heliport.", "The woman reacts efficiently. She handles the controls better as\n\tThe chopper's runners are just about on the roofs surface.", "423\tThe helicopter tries to buzz the clutching ghouls, but they do\n\tnot even flinch. The wind from the propeller blades whip at the", "162\tOn the roof, even as the blades of the helicopter still spin,\n\tthe humans are out and moving to the edge of the building. They\n\tlook down at the creatures which dot the parking lot." ], [ "The riot troops are stunned. They cannot react quickly enough,\n\tand the squeeze is so tight in the little hall that it is\n\timpossible to shoot accurately, or without the bullets injuring\n\tother troopers.", "The door opens against Stephen's weight. He manages to slam it\n\tshut despite the pushing creatures. He throws the key ring down\n\tand grabs his gun.", "353\tBefore the woman can bring another carton over, she sees the\n\tdoor move. She throws herself against it, but can't plant her", "There are several creatures right in the archway, now they\n\tclutch with their hands. One blocks the downward progress of the\tgate. Roger fires point blank and the Zombie flies back. The", "Fran moves into the store and Peter pulls the cart behind him.\n\tThen Steve, Peter and Fran pull the gate shut long before any of\n\tthe advancing creatures reach the area.", "556\tFrom inside the concourse, the mob is muffled. Even the\n\trevolving door is locked now. It seems the most vulnerable, but", "They try the first two doors, which are locked. The third is\n\twide open.\n195\tRoger ducks quickly into the room with his rifle raised. It is", "The Zombies converge on the area as they did before, clutching\n\tand pushing at the metal cage, which holds them out securely.\n\n\tThe men breathe heavily as they back away from the gate.", "543\tThe big trailer blocks the entrance effectively. There are some\n\tcreatures inside the doors. Under the van, several Zombies are", "outside try to crawl under the second trailer. The men shut them\n\tout easily, locking the door and planting alarms. They stand to\n\tlook down the concourse.", "against the base of the now locked doors. As he crouches near\n\tthe glass, creatures outside go into a frenzy clawing at the\n\tglass doors. They cannot get in.", "Convinced they've not been seen, he closes the door.", "Peter has walked right past the group. He is moving quickly\n\ttoward the still-unknown door at the other end of the room.\n\tAgain, Roger follows.", "378\tNow, the enormous barricade of food cartons is stacked against\n\tthe door again. It is quiet except for the little noises of", "186\tA great barricade of food cartons has been stacked against the\n\tstairway door.", "creatures inside are pushing the doors out, so the Zombies under\n\tthe trucks cannot push them in. The doors swing both in and out,\n\tso it is very clear that some access could be had by the", "364\tAs the other men come up behind, Peter opens the door quietly\n\tand slips into the hall. He starts to walk quickly toward the\n\tdoor to the exterior corridor. Roger follows as Stephen moves\n\tbackwards toward the fire stairs.", "The two men back into the aisles of the store. The creatures\n\toutside still push and claw at the gate. The one with Roger's\n\trifle uses it as a bludgeon, but it has no effect.", "creature pounds on the door to the interior corridor. It had\n\tbeen the one which was pounding at the door upstairs.", "With a great, tearing sound, the door flies open before the men\n\tremove the last boards. The boards fly and the door almost rips" ], [ "Fran stares into the dead, staring eyes of the lead Zombie. She\n\tis almost hypnotised. At the last instant, she runs and just", "One Zombie turns slowly and starts up the grade after Fran. The\n\tother continues to advance on Stephen.", "The Zombie clutches at the woman. It bites at her neck...her\n\tarm. She screams with terror. She tries to pull away, but the", "He brings the flame up and flashes it at the Zombies. They back\n\taway enough for him to crawl to an open space. Then he scrambles\n\tto his feet and charges down the concourse toward the car.", "142\tBehind him, in the brightly sunlit doorway, we see the Zombie\n\twho first appeared at the window. The creature staggers forward.", "221\tThe Troopers step over the corpse. The second Zombie, the\n\tarm less female, is walking toward them. This time Roger fires", "the pack of Zombies. One or two fall. The others try to move\n\tin but are afraid of the bright flames. One gets close to Steve\n\tbut the man blasts his torch directly into its face. Its hair", "Suddenly, the blank face of the Zombie turns red as the top of\n\tits head seems to disintegrate into a bloody pulp. The creature", "insanely. The Zombie pulls another piece of flesh off her arm.", "She stands straight up, driving her head into the spinning\n\tblades.\n\n\tA headless form falls to the roof. The Zombies advance.", "The leader rolls out. Others follow. Peter fires and drops a\n\traider, his bikes flying into the approaching Zombies.", "A sudden crash. Roger spins. The Zombie at the driver door has\n\tsmashed through the cab window with a brick. Roger, still\n\tshaking, dives down to the floor for his weapon.", "of the clutching Zombies is able to get a solid hold on Roger's\n\tleft leg. The creature opens its mouth and bites at the calf.", "A Zombie bites Steve's arm, another bites his neck. The man\n\tscrambles to unholster his gun. Although he is bleeding\n\tprofusely, he finally pulls his gun and fires...once...twice...", "Peter stares into the creatures eyes. Then suddenly, out in the\n\tsunlight, a few hundred feet behind the Zombie, Stephen appears\n\twith his rifle. Peter sees the man over the creature's shoulder.", "208\tAs the men leave the balcony, the camera pans. Several yards\n\taway a Zombie staggers out of one of the open stores. It is", "The woman pushes through the crowd. The Zombies advances. Before\n\tthe Trooper can stop her, the woman throws her arms around the\n\tcreature.", "The Trooper struggles to free himself, and Roger darts into the\n\troom. Although the Zombie is weak, she manages to hold on to the\n\tTrooper.", "Suddenly, he's grabbed from behind by a Zombie and almost falls\n\tout the window. He struggles to hold himself and keep a grip on", "squarely in the creatures face. The Zombie comes after him again\n\tand from his crawling position, Steve brings the hammer as an\n\tuppercut to the creature's jaw. The creature falls back enough" ], [ "beat their way to the cycles. One man is brought down, but three\n\tmanage to mount their cycles. The big bikes roar out.", "650\tThe Zombies in the parking lot are approaching the ranks of\n\tmotorcycles from a good distance. The raiders open fire. They,", "too, possess sophisticated weapons, the barrage sets up a great\n\tnoise. Several creatures fall. The little van pulls up behind\n\tthe bikes. The men still whoop and shout.", "The leader rolls out. Others follow. Peter fires and drops a\n\traider, his bikes flying into the approaching Zombies.", "648\tOutside, the Raiders' van revs and roars towards the mall. The\n\tbikers stay at the other side of the lot, engines idling. Some\n\tof them whoop and holler like American Indians.", "663\tPeter, at the balcony railing, levels his super-gun on the\n\tbikers.\n\n664\tOne accurate shot fires and a raider falls with a giant wound in\n\this chest.", "Now Peter raises his gun. As the children try to scramble to\n\ttheir feet the man fires several shots in rapid succession.\n\tFirst one creature falls; then the other.", "668\tJust as the bikers are reaching the building, the raider inside\n\trushes the doors. He holds them open as the big fleet of\n\trumbling cycles comes screaming into the building.", "672\tThe main band of bikers hear the gunfire and pull down a side\n\tconcourse to regroup. They make their turn close to the\n\tDepartment Store and Steve backs into he shadows.", "Before he reaches the gun, he is cut off by the looming figure\n\tof one of the Black youths, pistol in hand. Roger freezes. The", "The big Trooper bends over snatching up Stephen's rifle. He\n\tsnaps off the safety and slams a shell into the chamber. He", "fired from hand guns. A bullet smashes through the skull of the\n\tyoung boy next to Roger. He falls against Roger with a pleading\n\texpression on his face.", "710\tThe bikers toss a last bit of booty in the van and the woman\n\tdriver gets ready to pull out. She lowers her window and fires\n\tpoint blank at the heads of the clutching creatures.", "There are only a few creatures on the balcony. The dead things\n\tturn in confusion at the sound of the attacking commandos.\n\tRoger, his hands free to shoot, fires his weapon several times\n\tat some of the creatures who are closest.", "The rear lines retreat into the wider vestibule, and as the mass\n\tof struggling bodies spreads out, shots begin to fire. Some", "708\tBelow, the raiders are starting to regroup. The bikes begin to\n\tpeel out of the mall entrance one at a time.", "Peter reaches out with his pistol and fires a point blank shot\n\tat one of the clutching ghouls. It flies back and Roger is able", "432\tPeter sees the opportunity and fires. The gun roars loudly.", "643\tOutside, the convoy makes a pass at one of the trucks. In the\n\tdarkness the Zombies clutch at the fast bikes. The raiders\n\tfire their guns, dropping several of the creatures.", "Some men, although armed, surrender willingly. Others retaliate\n\tagainst the invading force, and little skirmishes develop on\n\tevery floor of the complex structure." ], [ "The other bodies lie bleeding on the bobbing docks, another\n\tofficer and a civilian. A bell buoy rings in the distance and we\n\tbegin to hear the sound of an approaching helicopter.", "still runs. The wound is fresh. Steve does not see this as he\n\ttugs the hose over the corpse and moves to the helicopter with\n\tFran following.", "There is a long silence. The engine drones, but the helicopter\n\tstill sits on the ground. The men look at each other. Peter\n\ttakes a long slug of water.", "106\tThe Policeman rushes off with his two cohorts. As they untie one\n\tof the launches from the dock, the J.A.S. helicopter whines", "411\tThe helicopter flies straight up and directly over the roof of\n\tthe big shopping centre, where Fran has been watching the\n\taction. She now runs to the other side of the roof, the wind\n\tfrom the chopper whipping her hair.", "418\tPeter has now backed up into a position which enables him to\n\tpull out. He looks up to see the helicopter heading straight\n\tfor him.", "461\tThe helicopter passes overhead. The music is still stirring.\n\n462\tIn Peter's truck, just rolling out the lot, Roger realises:", "483\tWe see it fall from her point of view on the roof. Others walk\n\tby the corpse without taking notice.\n\n484\tThe helicopter escorts the big truck back to the warehouse.", "A third Zombie lumbers toward the helicopter. Roger's back is\n\tto the creature and he is unaware of the impending danger.", "397\tThe sudden, loud noise of the chopper engine as it hovers.\n\tOnly Stephen is on board at the controls.", "they turn the corner to run up the grade to the helicopter, they\n\tare confronted with two Zombies, staggering slowly towards them\n\tthrough the dust cloud from the chopper.", "Roger helps Fran climb aboard. Steve wanders around the front of\n\tthe cockpit bubble and climbs into the Pilot's seat. Roger", "Through the open sides of the helicopter bubble, she notices a\n\tPolice van. It has been there all along, it's doors flung wide", "134\tStephen and Fran have reached the chopper. Steve let's go of the\n\twoman's hand and he drops his bloody sledge to the ground. He", "120\tAs the group scrambles out of the helicopter, Stephen\n\timmediately checks the fuel pumps.\n\n\tSteve:\tSHIT, MAN, DAMN NEAR EMPTY.", "The woman takes over and Stephen trots away toward the guard\n\tshed. The propeller blades still spin. They make an eerie,", "Without breaking stride, Stephen grabs Fran's hand and the two\n\trun toward the helicopter. The other Zombie at the hangar has\n\tturned around and is walking up the grade.", "The old man starts up the stairs. Roger moves to help him, but\n\tthe big Black man stops him. The Priest weaves up through the\n\tgas mist, coughing.", "747\tOn the roof, Fran desperately starts the helicopter engine.", "414\tFrom the helicopter overhead, Stephen spots something moving\n\taround the warehouse. He jockeys the chopper slightly for a" ], [ "FOUR OF US, OK?", "The other bodies lie bleeding on the bobbing docks, another\n\tofficer and a civilian. A bell buoy rings in the distance and we\n\tbegin to hear the sound of an approaching helicopter.", "about. Two on the heap, although they cannot move about, are\n\teating at parts of other bodies. Roger shoots them. They never\n\tlook up. They don't seem to notice him at all.", "Peter breathes heavily. He stares at the small corpses.\n\tInstinctively, he begins loading his weapon, without even\n\tlooking at the action, as he backs wearily out toward the door\n\tof the chart house.", "Peter is trying to unsling his rifle. Stephen conquers his fear\n\tof the height, and lets himself fall to the floor. He crumples", "The nails creak loudly as they are pulled free. The men are\n\tsilent, not knowing what to expect.\n\n\tThere are three boards left...then two...", "And here and there throughout the large area lie the remains of\n\tcorpses. They have been eaten away. Most of them are still\n\tmoving, their heads uninjured.", "Another bullet smashes against the dead S.W.A.T. man's back.\n\tJust as Roger frees himself, a bullet catches him squarely in", "Now Peter raises his gun. As the children try to scramble to\n\ttheir feet the man fires several shots in rapid succession.\n\tFirst one creature falls; then the other.", "Then, with a great crash, the closet door flies open into the\n\troom. Two small children burst out. One has no left arm; the", "443\tThe front of the cab smashes into two of them. One is crushed\n\tunder the wheels, the other flies back from the impact.", "Peter continues to fire, his eyes wide with desperation and\n\tdisgust. Finally his weapon clicks. It is out of ammunition.", "Fran stares into the dead, staring eyes of the lead Zombie. She\n\tis almost hypnotised. At the last instant, she runs and just", "A sudden, loud gunshot makes Roger duck and spin around. He\n\tlooks into the apartment. The young Trooper has shot himself\n\tthrough the head.", "He brings the flame up and flashes it at the Zombies. They back\n\taway enough for him to crawl to an open space. Then he scrambles\n\tto his feet and charges down the concourse toward the car.", "The third staggers into the room. Stephen stands fast now. He\n\tholds his rifle out in front of him. The creature walks toward", "Just then, Wooley wrenches free and pushes Roger across the\n\thallway. The Trooper carefully aims his weapon and fires one\n\tshot through Wooley's head. The big man falls back violently.", "500\tWith a swell in the music, the band of all four humans charges\n\tout of the Maintenance corridor and makes a break for the", "The creature staggers on for a few more steps, its head a bloody\n\tpulp, then it falls to its knees and finally flops face down in\n\tthe dust.", "escalator, but before it reaches the bottom, it stops rolling.\n\tThe steps carry it back up toward the second floor again. It is\n\tstill very much alive. The two creatures on the balcony struggle" ] ]

[ "What were news station employees Stephen Andrews and Francine Parker planning to steal and why?", "What happens after Roger tells Peter of his friend's plans?", "Where do the escapees find sanctuary?", "What do the group block the entrances to their sanctuary with to prevent zombies from entering?", "Who shoots Roger when he is infected during a zombie altercation?", "What group breaks into the sanctuary and starts to make it their own?", "How does Stephen try to escape the gun battle with the biker gang?", "What apprises the team that civilization has collapsed?", "When Stephen enters Francine and Peter's hideout what does Peter do?", "What is plaguing the United States?", "Where do Andrews and Parker work?", "What are Andrews and Parker planning on stealing from the station?", "Who raids a housing project?", "Where is a group of zombies being sheltered?", "What secret does Francine reveal?", "Where does the group set up a makeshift home?", "Which of the people in the group is bitten by a zombie first?", "What breaks into the mall?", "Who escapes from the roof at the end?", "What are the names of the two staff members from WGON Television?", "Where are the characters located in the United States?", "Who offers to abort Francine's unborn child?", "Where do the Characters get the helicopter from?", "Where does the group land the helicopter?", "Why did the group block all the door?", "Who is the first person in the group to become a Zombie and how?", "Who starts a gun battle with the Motorcyclists?", "Who goes to the helicopter first?", "How many of the four main characters survive in this story?" ]

[ [ "They wanted to steal the stations helicopter to escape the zombies.", "stations helicopter to get away from zombies" ], [ "They meet a group of zombies in a basement and face a gruesome task", "They Escape" ], [ "At a shopping mall", "A shopping mall." ], [ "They use trucks", "vehicles" ], [ "Peter shoots Roger", "Peter" ], [ "A motorcycle group breaks in.", "Bikers" ], [ "By hiding in an elevator shaft", "Through an elevator shaft." ], [ "the absence of broadcasts", "radio stops" ], [ "He kills him allowing Francine to escape.", "kills him" ], [ "A zombie outbreak", "zombies" ], [ "The WGON television station", "radio station" ], [ "A helicopter", "A helicopter." ], [ "Roger DiMarco", "Peter and Roger" ], [ "In a basement", "In the basement." ], [ "That she is pregnant", "she pregnant" ], [ "In a shopping mall", "in a mall" ], [ "Roger", "Roger." ], [ "A gang of motorcyclists", "Zombie Stephen." ], [ "Francine and Peter", "Peter and Francine" ], [ "Stephen Andrews and Francine Parker", "Stephen Andrews and Francine Parker." ], [ "Philadelphia", "Philadelphia" ], [ "Peter", "Peter" ], [ "WGON Studio", "News Station" ], [ "A Shopping Mall", "shopping mall" ], [ "To prevent all the zombies outside from getting in.", "to keep zombies out" ], [ "Roger, when he was being reckless during the blockade building time.", "Roger as he was bitten by a zombie" ], [ "Stephen", "Stephen." ], [ "Francine", "francine" ], [ "Two", "Half." ] ]

[ [ "JUNO\n Not really. I'm sixteen. I'm old \n enough to tell when people are acting \n like total a-holes!", "GERTA\n So, Juno. First off, how far along \n are you?\n\n JUNO\n I'm a junior.", "JUNO\n (aghast)\n But you're old!\n\n MARK\n I... How do you think of me, Juno? \n Why are you here?", "JUNO\n Oh. Uh, my stepmom took me to the \n doctor yesterday and they said I was \n twelve weeks.\n\n Vanessa enters with the refreshments on a tray.", "Mark suddenly sees Juno for what she is -- a teenage girl.\n\n MARK\n I'm such an idiot. I can't believe \n what an idiot I am.", "JUNO\n You don't know anything about me!\n\n BREN\n I know enough.", "Juno nods.\n\n LEAH\n No way! She's pretty.\n\n JUNO\n You sound shocked or something.", "Paulie is on the floor surrounded by old quizzes, studying \n like the tortured brainiac he is. Mrs. Bleeker opens the \n bedroom door. Juno appears. Paulie jumps, startled.", "Juno has her pipe with her.\n\n JUNO\n The Penny Saver sucks.\n\n LEAH\n Yeah, but it sucks for free.", "Juno heads into the foyer and up the stairs. We see a posed \n photo of Mark and Vanessa in the stairwell. Their house is \n beautiful, but frigid. Juno rubs her arms, shivering.", "Juno enters.\n\n JUNO\n Hi Dad.\n\n MAC\n Hey, big puffy version of Junebug. \n Where have you been?", "It's obvious from Juno's tears and flushed face that she's \n lying. Vanessa instantly goes pale with fear, but she tries \n her hardest to seem serene and \"together\" in front of Juno.", "JUNO\n Prom is for wenises, anyway. Once \n you're old enough to go, it's not \n cool anymore.", "JUNO\n (explains)\n It's kicking.\n\n Vanessa nods in understanding then begins summoning the \n courage for an unusual request.", "Juno sees him and bursts into sudden, ragged sobs. Mac glances \n at her, alarmed. Paulie moves toward the bed. Mac clears his \n throat, gets up and leaves the room.", "JUNO\n See? Nothing to worry about.\n\n Vanessa chuckles tightly, clearly embarrassed by her show of \n emotion.", "JUNO\n Yeah. For sure. I like you guys.\n\n Juno looks at Mark.", "VANESSA\n Juno? What's going on?\n\n JUNO\n Nothing.", "Juno is lying on her back on the bed, staring at the ceiling. \n She's more pregnant than we've ever seen her. She revs a", "JUNO MacGUFF stands on a placid street in a nondescript \n subdivision, facing the curb. It's FALL. Juno is sixteen" ], [ "Mark suddenly sees Juno for what she is -- a teenage girl.\n\n MARK\n I'm such an idiot. I can't believe \n what an idiot I am.", "BLEEKER\n You know it's okay.\n\n JUNO\n Also, I think I'm in love with you.", "She and Bleeker exchange glances as they play. They smile \n ambiguously. Juno leans over and kisses Bleeker on the cheek.", "A wave of REALIZATION crosses Juno's face.\n\n JUNO\n I sort of already have.", "JUNO (V.O.)\n There he was.\n\n Juno looks at the baby in awe, then her eyes begin to \n flutter... and she passes out.", "JUNO\n Yeah. For sure. I like you guys.\n\n Juno looks at Mark.", "JUNO\n I think it's because my heart starts \n pounding when I see you.\n\n BLEEKER\n Mine too.", "Juno nods.\n\n LEAH\n No way! She's pretty.\n\n JUNO\n You sound shocked or something.", "Juno sees him and bursts into sudden, ragged sobs. Mac glances \n at her, alarmed. Paulie moves toward the bed. Mac clears his \n throat, gets up and leaves the room.", "It's obvious from Juno's tears and flushed face that she's \n lying. Vanessa instantly goes pale with fear, but she tries \n her hardest to seem serene and \"together\" in front of Juno.", "JUNO\n Yeah, but didn't you love Vanessa \n when you married her? If you love", "JUNO\n Basically, I'm completely smitten \n with you, and I don't care if I'm", "Paulie climbs onto the hospital bed and carefully puts his \n arm around Juno. She leans into him, letting herself go for \n the first time in months.", "We see the object of his gaze is Juno's black and white \n YEARBOOK PHOTO. Next to it, we see a sloppy, handwritten", "MAC\n You mean like couples?\n\n JUNO\n Yeah, like people in love.", "JUNO\n You are always trying to keep it \n real. I'm in love with how you feel. \n I don't see what anyone can see, in \n anyone else but you.", "Juno rests her head on Mark's chest. They dance in silence \n for a few moments, then stop moving. Mark pulls Juno as close \n as he possibly can, given her expanding girth.", "JUNO\n Dad, it's not about that. I just \n need to know that it's possible for \n two people to stay happy together \n forever. Or at least for a few years.", "JUNO\n Shit, yeah. Close it up.\n\n Vanessa is clearly ecstatic.", "JUNO\n Oh man, I can just picture you slow \n dancing like a dork!\n\n She mockingly places her hands on Mark's waist and moves \n back and forth stiffly." ], [ "MARK\n (passionate singing)\n I WANT TO BE THE...\n (notices Vanessa)\n Oh, sorry honey...", "MARK\n You're something else.\n\n A door suddenly slams upstairs. Vanessa's home.", "MARK LORING appears next to Vanessa. He's a boyishly \n attractive guy in his mid-thirties.", "MARK\n I don't know. There's just things I \n still want to do.\n\n VANESSA\n Like what? Be a rock star?", "VANESSA\n No, it's fine. Thanks for making the \n call, I guess.\n\n Mark nods and sits down.", "MARK\n Wow. That shirt is working hard.\n\n JUNO\n (furtive)\n Is Vanessa here?", "VANESSA\n We're actually, finally doing this?\n\n MARK\n Looks like it, yeah.", "INT. LORING HOUSE - DINING ROOM - NIGHT\n\n Vanessa takes a sip and continues to let the days events \n sink in. After a beat, Mark comes down the stairs to join \n her.", "VANESSA\n (to her guests)\n Will you excuse me?\n\n INT. LORING HOUSE - MARK'S SPECIAL ROOM - DAY", "MARK\n I'm leaving Vanessa.\n\n JUNO\n (quiet at first)\n What?", "Mark and Vanessa stand silently in the nursery. The walls \n are primed slate gray. A single ANTIQUE ROCKING CHAIR sits", "MARK\n Well, sort of. Vanessa likes Madison \n for a girl.", "VANESSA\n You're doing an amazing and selfless \n thing for us.\n\n MARK\n Vanessa has wanted a baby since we \n got married.", "Juno glances at Mark and again at Vanessa. Vanessa looks \n embarrassed.\n\n MARK\n Cold feet.", "VANESSA\n Can you see it?\n\n Mark stares at the wall, looking lost.\n\n INT. RIDGEDALE MALL - DAY", "VANESSA\n What are you saying?\n\n A long hideous beat.\n\n MARK\n It just feels a little like bad \n timing.", "MARK\n Don't mock me.\n\n Vanessa sighs. It's done.", "Juno looks totally betrayed. She doesn't respond. Vanessa \n looks at Juno's expression and knows Mark is lying.\n\n VANESSA\n What did you do?", "JUNO (V.O.)\n They were Mark and Vanessa Loring, \n and they were beautiful even in black \n and white.", "MARK\n (ignores the comment)\n Ever since, it's just been like a \n ticking clock.\n\n This stops Vanessa. Juno looks offended." ], [ "JUNO\n Yeah. For sure. I like you guys.\n\n Juno looks at Mark.", "MARK\n Here's to dovetailing interests.\n\n He raises his mug in a toast and Juno clinks it awkwardly.", "MARK\n I actually know this one.\n\n JUNO\n You do?", "MARK\n That suits you.\n\n JUNO\n Uh, thanks.", "MARK\n Technically, that would be kickin' \n it Old Testament.\n\n Mark and Juno lock eyes.", "MARK\n (joking)\n Oh, is he bald and amorphous?\n\n JUNO\n No, he's the dad.", "INT. LORING HOUSE - UPSTAIRS HALLWAY - DAY\n\n Juno opens the bathroom door and instantly BUMPS into Mark.", "MARK\n Come on, I have something for you.\n\n He gestures for Juno to follow him into the house.", "MARK\n What are you?\n\n JUNO\n I don't know.", "Mark suddenly sees Juno for what she is -- a teenage girl.\n\n MARK\n I'm such an idiot. I can't believe \n what an idiot I am.", "Juno rests her head on Mark's chest. They dance in silence \n for a few moments, then stop moving. Mark pulls Juno as close \n as he possibly can, given her expanding girth.", "MARK\n Nope. We're safe.\n\n He and Juno smile conspiratorially.\n\n JUNO\n Cool.", "Mark opens the door. Juno stands there, looking radiantly \n knocked-up. She holds a stack of CDs. Mark breaks into a \n grin.", "Mark puts his hands on what remains of Juno's waist. She \n drapes her arms around his neck self-consciously.\n\n JUNO\n Oh, okay. Like this.", "Juno backs away.\n\n JUNO\n (growing)\n No.\n\n MARK\n No?", "JUNO\n (aghast)\n But you're old!\n\n MARK\n I... How do you think of me, Juno? \n Why are you here?", "Juno turns to leave, then shoots one furious look back at \n Mark.", "Juno looks totally betrayed. She doesn't respond. Vanessa \n looks at Juno's expression and knows Mark is lying.\n\n VANESSA\n What did you do?", "JUNO AND MARK\n (singing together and \n connecting)\n Yeah, they really want you... they \n really want you... and I do to.\n (both blush)", "She holds her WRIST up to Mark's twitching nostrils.\n\n JUNO\n Smell those sparkling topnotes!\n\n Mark inhales." ], [ "JUNO\n This is the baby. Your baby.\n\n Vanessa drops the shopping bags, sick with relief.\n\n VANESSA\n Oh my God...", "It's obvious from Juno's tears and flushed face that she's \n lying. Vanessa instantly goes pale with fear, but she tries \n her hardest to seem serene and \"together\" in front of Juno.", "JUNO\n See? Nothing to worry about.\n\n Vanessa chuckles tightly, clearly embarrassed by her show of \n emotion.", "The elevator door opens, revealing... Vanessa.\n\n VANESSA\n Juno?\n\n Juno tries her best to look enthused.", "VANESSA\n No, no, I don't think that, Juno. \n It's just that, we went through a \n situation before where it didn't \n work out.", "JUNO\n (explains)\n It's kicking.\n\n Vanessa nods in understanding then begins summoning the \n courage for an unusual request.", "Vanessa kneels down next to the swell of Juno's belly.", "JUNO\n Shit, yeah. Close it up.\n\n Vanessa is clearly ecstatic.", "Vanessa JUMPS and makes a strangled sound.\n\n VANESSA\n Juno! God, you startled me. What are \n you doing here? What's wrong?", "Juno intercepts her breathlessly, clutching the ULTRASOUND \n photo. Mark trails behind her.\n\n JUNO\n Hi Vanessa!", "Juno heads into the foyer and up the stairs. We see a posed \n photo of Mark and Vanessa in the stairwell. Their house is \n beautiful, but frigid. Juno rubs her arms, shivering.", "Juno ain't buying it.\n\n VANESSA\n (to Mark)\n Why don't we let Juno go home and we \n can discuss this later on, okay?", "JUNO\n (hushed)\n That's her. That's Vanessa Loring.\n\n LEAH\n Of the Penny Saver Lorings?", "Leah gives a look to Juno as if she's about to barf.\n\n VANESSA\n Can you hear me sweet angel?", "VANESSA\n Juno? What's going on?\n\n JUNO\n Nothing.", "Vanessa is admiring the belly, when Juno grimaces.\n\n JUNO\n Dude, it's moshing all over.\n\n Vanessa looks confused.", "Juno looks totally betrayed. She doesn't respond. Vanessa \n looks at Juno's expression and knows Mark is lying.\n\n VANESSA\n What did you do?", "Vanessa awkwardly leads them into her home.\n\n VANESSA\n Can I take your coats?\n\n JUNO\n Sure.", "Juno reaches the top of the stairs and scrambles toward the \n front door, only to be intercepted by Vanessa, who's returning", "INT. LORING HOUSE - ENTRY WAY - DAY\n\n Vanessa and Mark walk Juno out. Juno peers at some shopping \n bags from various kids stores." ], [ "MARK\n I'm leaving Vanessa.\n\n JUNO\n (quiet at first)\n What?", "VANESSA\n What are you saying?\n\n A long hideous beat.\n\n MARK\n It just feels a little like bad \n timing.", "Juno looks totally betrayed. She doesn't respond. Vanessa \n looks at Juno's expression and knows Mark is lying.\n\n VANESSA\n What did you do?", "MARK\n That's not the point. We're just not \n in love anymore.", "MARK\n I don't know. There's just things I \n still want to do.\n\n VANESSA\n Like what? Be a rock star?", "MARK\n (passionate singing)\n I WANT TO BE THE...\n (notices Vanessa)\n Oh, sorry honey...", "MARK\n I didn't do anything... I just... \n I've just been thinking.\n\n VANESSA\n (you've been thinking?)\n What?", "Mark opens the door. There's a folded piece of paper sitting \n on the doormat. He squints and sees Juno pulling away in the \n van.", "MARK\n Don't mock me.\n\n Vanessa sighs. It's done.", "MARK\n (ignores the comment)\n Ever since, it's just been like a \n ticking clock.\n\n This stops Vanessa. Juno looks offended.", "INT. LORING HOUSE - DINING ROOM - NIGHT\n\n Vanessa takes a sip and continues to let the days events \n sink in. After a beat, Mark comes down the stairs to join \n her.", "MARK\n It's just not working out, but I'm \n getting my own place in the city...", "VANESSA\n You're doing an amazing and selfless \n thing for us.\n\n MARK\n Vanessa has wanted a baby since we \n got married.", "Vanessa looks defeated.\n\n MARK\n I never said I'd be a great father.", "VANESSA\n We're actually, finally doing this?\n\n MARK\n Looks like it, yeah.", "Juno glances at Mark and again at Vanessa. Vanessa looks \n embarrassed.\n\n MARK\n Cold feet.", "MARK\n You're something else.\n\n A door suddenly slams upstairs. Vanessa's home.", "Juno and Mac exit. Mark shuts the door. All is silent in the \n foyer. Mark, Vanessa and Gerta stand motionless. Gerta pumps \n her fist triumphantly, trying to create a mood of celebration.", "VANESSA\n No, it's fine. Thanks for making the \n call, I guess.\n\n Mark nods and sits down.", "Mark seems visibly embarrassed by Vanessa's manic demeanor.\n\n JUNO\n I'm going to say I'm 104% sure." ], [ "Juno sees him and bursts into sudden, ragged sobs. Mac glances \n at her, alarmed. Paulie moves toward the bed. Mac clears his \n throat, gets up and leaves the room.", "Paulie is on the floor surrounded by old quizzes, studying \n like the tortured brainiac he is. Mrs. Bleeker opens the \n bedroom door. Juno appears. Paulie jumps, startled.", "JUNO\n Oh. It's, well, it's Paulie Bleeker.\n\n Bren and Mac burst into shocked laughter.", "Paulie climbs onto the hospital bed and carefully puts his \n arm around Juno. She leans into him, letting herself go for \n the first time in months.", "JUNO\n What?\n\n MAC\n Paulie Bleeker? I didn't know he had \n it in him!", "It's obvious from Juno's tears and flushed face that she's \n lying. Vanessa instantly goes pale with fear, but she tries \n her hardest to seem serene and \"together\" in front of Juno.", "Juno, Leah and Bren become immediately defensive.", "Juno turns to leave, then shoots one furious look back at \n Mark.", "JUNO\n (indignant)\n No, it's not. Paulie is virile, by \n the way. He was very good in... chair.", "Bleeker's mom escorts Juno wordlessly up the stairs and down \n the hallway to Paulie's bedroom. Juno discreetly tries to", "Mark suddenly sees Juno for what she is -- a teenage girl.\n\n MARK\n I'm such an idiot. I can't believe \n what an idiot I am.", "Juno glares at Leah.\n\n VANESSA\n (confused)\n No...", "Juno looks totally betrayed. She doesn't respond. Vanessa \n looks at Juno's expression and knows Mark is lying.\n\n VANESSA\n What did you do?", "INT. LORING HOUSE - UPSTAIRS HALLWAY - DAY\n\n Juno opens the bathroom door and instantly BUMPS into Mark.", "We see Leah holding Juno's FOOT, which is shaking. Leah's \n shirt is soaked. She rolls her eyes and mouths \"Fuck you\" at", "The automatic doors of the store part to reveal Juno's flushed \n serious face. She carelessly flings the empty juice container", "BLEEKER'S MOM answers, visibly annoyed. Her eyes drift down \n to Juno's middle.", "JUNO\n I'll handle this. I'm really good at \n diffusing mom-type rage.\n\n Juno jumps up and rushes out.", "BREN\n (interrupting)\n I didn't even know you were sexually \n active!\n\n Juno cringes upon hearing her most-hated term.", "They stare at her quizzically. Bleeker spots Juno approaching \n and jogs up to the chainlink fence." ], [ "Mark opens the door. There's a folded piece of paper sitting \n on the doormat. He squints and sees Juno pulling away in the \n van.", "Juno heads into the foyer and up the stairs. We see a posed \n photo of Mark and Vanessa in the stairwell. Their house is \n beautiful, but frigid. Juno rubs her arms, shivering.", "MARK\n I'm leaving Vanessa.\n\n JUNO\n (quiet at first)\n What?", "We hear the front door closing. Vanessa and Mark look over \n and notice that Juno has escaped the conflict.\n\n EXT. LORING HOUSE - AFTERNOON", "Juno reaches the top of the stairs and scrambles toward the \n front door, only to be intercepted by Vanessa, who's returning", "Vanessa JUMPS and makes a strangled sound.\n\n VANESSA\n Juno! God, you startled me. What are \n you doing here? What's wrong?", "VANESSA\n Yeah. Yeah, it kind of does.\n\n MARK\n Juno was nice enough to bring this \n by for us.", "JUNO\n See? Nothing to worry about.\n\n Vanessa chuckles tightly, clearly embarrassed by her show of \n emotion.", "Vanessa looks pain-stricken as Mark helps Juno with her bag.\n\n EXT. MACGUFF HOUSE - NIGHT\n\n Juno kicks the snow off her shoes before she enters.", "Vanessa awkwardly leads them into her home.\n\n VANESSA\n Can I take your coats?\n\n JUNO\n Sure.", "The receptionist cranes her neck and sees the front door \n drift shut. Juno's figure recedes into the distance as she \n tears off down the street, running as fast as she can.", "Juno and Mac exit. Mark shuts the door. All is silent in the \n foyer. Mark, Vanessa and Gerta stand motionless. Gerta pumps \n her fist triumphantly, trying to create a mood of celebration.", "JUNO\n This is the baby. Your baby.\n\n Vanessa drops the shopping bags, sick with relief.\n\n VANESSA\n Oh my God...", "JUNO\n (hushed)\n That's her. That's Vanessa Loring.\n\n LEAH\n Of the Penny Saver Lorings?", "VANESSA appears in the doorway. Juno immediately puts down \n the guitar. Mark doesn't notice her immediately.", "Juno ain't buying it.\n\n VANESSA\n (to Mark)\n Why don't we let Juno go home and we \n can discuss this later on, okay?", "It's obvious from Juno's tears and flushed face that she's \n lying. Vanessa instantly goes pale with fear, but she tries \n her hardest to seem serene and \"together\" in front of Juno.", "She waves and heads for the door.\n\n MARK\n (to Juno)\n Hey, don't forget your bag.", "Leah gives a look to Juno as if she's about to barf.\n\n VANESSA\n Can you hear me sweet angel?", "VANESSA\n (abruptly)\n Right. Well, Juno, your parents must \n be wondering where you are. You might \n want to head home." ], [ "Mark suddenly sees Juno for what she is -- a teenage girl.\n\n MARK\n I'm such an idiot. I can't believe \n what an idiot I am.", "He nods toward her belly.\n\n MAC\n Obviously.\n\n Juno laughs and hugs her father, planting a smooch on his \n cheek.", "JUNO (V.O.)\n There he was.\n\n Juno looks at the baby in awe, then her eyes begin to \n flutter... and she passes out.", "It's obvious from Juno's tears and flushed face that she's \n lying. Vanessa instantly goes pale with fear, but she tries \n her hardest to seem serene and \"together\" in front of Juno.", "A wave of REALIZATION crosses Juno's face.\n\n JUNO\n I sort of already have.", "Juno sees him and bursts into sudden, ragged sobs. Mac glances \n at her, alarmed. Paulie moves toward the bed. Mac clears his \n throat, gets up and leaves the room.", "JUNO\n Sure, Dad.\n\n Mac nods, satisfied, then contemplates the situation dismally.", "JUNO\n Dad, it's not about that. I just \n need to know that it's possible for \n two people to stay happy together \n forever. Or at least for a few years.", "Juno heads into the foyer and up the stairs. We see a posed \n photo of Mark and Vanessa in the stairwell. Their house is \n beautiful, but frigid. Juno rubs her arms, shivering.", "Juno nods.\n\n LEAH\n No way! She's pretty.\n\n JUNO\n You sound shocked or something.", "JUNO\n See? Nothing to worry about.\n\n Vanessa chuckles tightly, clearly embarrassed by her show of \n emotion.", "JUNO\n Dad!\n\n INTERCUT WITH:\n\n INT. MACGUFF HOUSE - MAC'S WORK DESK - SAME", "Paulie climbs onto the hospital bed and carefully puts his \n arm around Juno. She leans into him, letting herself go for \n the first time in months.", "JUNO\n Yeah. For sure. I like you guys.\n\n Juno looks at Mark.", "Juno, her father MAC, her stepmother BREN, and LIBERTY BELL \n sit at a very typical kitchen table, eating dinner. MAC \n shovels food while chatting about his day.", "JUNO (V.O.)\n But he figured it out anyway.\n\n Bleek takes off RUNNING toward the parking lot without \n stopping to explain. His mother stands up, confused.", "Juno gives her the FINGER, not breaking the clinch with \n Bleeker.\n\n INT. MACGUFF HOUSE - JUNO'S BEDROOM - MORNING", "Paulie is on the floor surrounded by old quizzes, studying \n like the tortured brainiac he is. Mrs. Bleeker opens the \n bedroom door. Juno appears. Paulie jumps, startled.", "Juno runs up to her car sobbing. She struggles with the keys, \n but finally makes it into the Previa and drives off.\n\n EXT. HIGHWAY - AFTERNOON", "JUNO\n Shit, yeah. Close it up.\n\n Vanessa is clearly ecstatic." ], [ "The receptionist cranes her neck and sees the front door \n drift shut. Juno's figure recedes into the distance as she \n tears off down the street, running as fast as she can.", "Juno sees him and bursts into sudden, ragged sobs. Mac glances \n at her, alarmed. Paulie moves toward the bed. Mac clears his \n throat, gets up and leaves the room.", "Then she looks over and notices the FINGERNAILS of a nearby \n teen, who looks as nervous as she does. The girl bites her \n thumbnail and spits it onto the floor.", "It's a sparkling summer afternoon. Juno wheels her bicycle \n out of the detached garage. She waves goodbye to Bren, who", "Bleeker retrieves a book from his open locker. Juno marches \n up to him, belly leading the way.", "She grabs a dilapidated physics textbook. A few pages slip \n out. STEVE RENDAZO (the same asshole who harassed her as she \n walked to the drugstore) passes by in the hallway.", "Bleeker is startled to discover that Juno is outside waiting \n for him. She has somehow arranged the living room set on the \n front lawn, and is seated in the armchair, chewing a pipe \n officiously.", "years old, an artfully bedraggled burnout kid. She winces \n and shields her eyes from the glare of the sun. The object", "We see the object of his gaze is Juno's black and white \n YEARBOOK PHOTO. Next to it, we see a sloppy, handwritten", "Juno trudges toward the front entrance of the clinic. There \n is a lone ABORTION PROTESTER, a teenager of Asian descent", "The nursery is perfectly decorated in Vanessa's immaculate \n taste. Nothing looks as though it's been touched. We see the \n antique ROCKING CHAIR sitting empty.", "him. Vijay is a solemn, skinny boy, much like Bleeker.", "MARK\n (joking)\n Oh, is he bald and amorphous?\n\n JUNO\n No, he's the dad.", "Juno marching down various street, pumping her arms like a \n jogger and chugging intermittently from the huge carton of \n juice. We watch her breathlessly navigate suburbia, clearly \n on a mission.", "A new SONG has begun. Mark closes his eyes in ecstasy and \n walks toward the stereo. Juno follows him toward the source \n of the music, looking perplexed by how happy he is.", "Paulie is on the floor surrounded by old quizzes, studying \n like the tortured brainiac he is. Mrs. Bleeker opens the \n bedroom door. Juno appears. Paulie jumps, startled.", "In the dim, reeking public bathroom, Juno hovers over the \n commode with her boxer shorts around her ankles. She clumsily \n tries to use the pregnancy test.", "Bren stitches a needlepoint pillow of a dog.\n\n JUNO (V.O.)\n She's obsessed with dogs...", "She swigs from an absurdly oversized carton of juice and \n wipes her mouth with the back of her hand.\n\n BEGIN ANIMATED TITLE SEQUENCE:", "He holds up a deck of Playing cards as if to initiate a game, \n but Juno gently pushes his hand away. Their eyes meet. His \n expression is helpless, hers is utterly drained." ], [ "years old, an artfully bedraggled burnout kid. She winces \n and shields her eyes from the glare of the sun. The object", "JUNO\n Not really. I'm sixteen. I'm old \n enough to tell when people are acting \n like total a-holes!", "JUNO\n (aghast)\n But you're old!\n\n MARK\n I... How do you think of me, Juno? \n Why are you here?", "Then she looks over and notices the FINGERNAILS of a nearby \n teen, who looks as nervous as she does. The girl bites her \n thumbnail and spits it onto the floor.", "Juno sees him and bursts into sudden, ragged sobs. Mac glances \n at her, alarmed. Paulie moves toward the bed. Mac clears his \n throat, gets up and leaves the room.", "The receptionist cranes her neck and sees the front door \n drift shut. Juno's figure recedes into the distance as she \n tears off down the street, running as fast as she can.", "Mark suddenly sees Juno for what she is -- a teenage girl.\n\n MARK\n I'm such an idiot. I can't believe \n what an idiot I am.", "Paulie is on the floor surrounded by old quizzes, studying \n like the tortured brainiac he is. Mrs. Bleeker opens the \n bedroom door. Juno appears. Paulie jumps, startled.", "She grabs a dilapidated physics textbook. A few pages slip \n out. STEVE RENDAZO (the same asshole who harassed her as she \n walked to the drugstore) passes by in the hallway.", "It's a sparkling summer afternoon. Juno wheels her bicycle \n out of the detached garage. She waves goodbye to Bren, who", "We see the object of his gaze is Juno's black and white \n YEARBOOK PHOTO. Next to it, we see a sloppy, handwritten", "produces a brush and begins brushing her hair in the rearview \n mirror, examining herself self-consciously. She puts on some \n Dr. Pepper Lip Smacker and backs out of the driveway.", "LEAH\n I just thought she'd look really old \n in real life.\n\n The women gather near a play area, sip Frapps and loudly \n discuss their outfits for an upcoming party.", "just has cold feet. That's how boys \n are. The books all say the same thing. \n A woman becomes a mother when she", "MARK\n God, you're so young.", "The nursery is perfectly decorated in Vanessa's immaculate \n taste. Nothing looks as though it's been touched. We see the \n antique ROCKING CHAIR sitting empty.", "Juno trudges toward the front entrance of the clinic. There \n is a lone ABORTION PROTESTER, a teenager of Asian descent", "She hops off the hood and scurries into the Previa where she \n finds a crumpled up Jiffy Lube receipt. She unfolds it and \n pulls out a pen, ready to write something... a note?", "LEAH\n I wouldn't be so sure about that. He \n did it with you. He's a man now.", "JUNO\n Prom is for wenises, anyway. Once \n you're old enough to go, it's not \n cool anymore." ], [ "LEAH\n Only the one in my pants.\n\n JUNO\n (in low tones)\n Dude, I'm pregnant.", "BLEEKER\n (shrugs)\n I don't know...\n\n JUNO\n I'm pregnant.", "Juno is lying on her back on the bed, staring at the ceiling. \n She's more pregnant than we've ever seen her. She revs a", "VIJAY\n Did you hear Juno MacGuff is pregnant?\n\n BLEEKER\n Yup.", "In the dim, reeking public bathroom, Juno hovers over the \n commode with her boxer shorts around her ankles. She clumsily \n tries to use the pregnancy test.", "Juno rests her head on Mark's chest. They dance in silence \n for a few moments, then stop moving. Mark pulls Juno as close \n as he possibly can, given her expanding girth.", "Bleeker glances at Juno's midsection, embarrassed.\n\n BLEEKER\n So, it looks like you're getting \n pregnant-er these days.", "JUNO\n I drank like ten tons of Sunny \n Delight. Anyway, yeah. I'm pregnant. \n And you're shockingly cavalier.", "Juno buckles over the steering wheel, crying, unwinding for \n the first time since she became pregnant.\n\n After a beat, she begins to gather herself.", "Mark opens the door. Juno stands there, looking radiantly \n knocked-up. She holds a stack of CDs. Mark breaks into a \n grin.", "He shows the COMIC to Juno. It's called \"Most Fruitful Yuki.\" \n It depicts a pregnant JAPANESE GIRL kicking ass and taking \n names.", "He nods toward her belly.\n\n MAC\n Obviously.\n\n Juno laughs and hugs her father, planting a smooch on his \n cheek.", "LEAH\n But then you'll get huge. Your chest \n is going to milktate. And you have \n to tell everyone you're pregnant.", "gets pregnant. A man becomes a father \n when he sees his baby. He's going to \n get there. He'll get there.", "JUNO\n Nah, it was a premeditated act. The \n sex, I mean, not getting pregnant.", "TOUGH GIRL\n Three times? Oh girl, you are way \n pregnant. It's easy to tell. Is your \n nipples real brown?", "Juno sees him and bursts into sudden, ragged sobs. Mac glances \n at her, alarmed. Paulie moves toward the bed. Mac clears his \n throat, gets up and leaves the room.", "Mark looks jolted, as if it's the first time he considered \n that her baby might have a father. He stands up and holds \n the photo up to the light critically.", "Vanessa looks like she's giving up hope. Then suddenly,\n\n VANESSA\n Oh my God -- It moved! I felt it!", "LEAH\n Best to just tell them, man. Rip off \n the Band-Aid and let it bleed.\n\n JUNO\n I'm pregnant." ], [ "JUNO\n Well, no... I'm not going to sell \n the baby. I just want it to grow up", "JUNO (V.O.)\n There he was.\n\n Juno looks at the baby in awe, then her eyes begin to \n flutter... and she passes out.", "JUNO (V.O.)\n And then, out of nowhere, there it \n was...\n\n The doctor reveals JUNO'S BABY BOY above the sheet.", "JUNO\n But I'm going to give it up for \n adoption. I already found the perfect \n people.\n\n Leah presents the Penny Saver photos of the Lornings.", "JUNO\n No, I heard you. I just can't give \n the baby to people who describe \n themselves as \"wholesome.\" I'm looking \n for something a little edgier.", "JUNO\n I thought I might, you know, nip it \n in the bud before it gets worse. \n Because I heard in health class that \n pregnancy often results in an infant.", "He nods toward her belly.\n\n MAC\n Obviously.\n\n Juno laughs and hugs her father, planting a smooch on his \n cheek.", "JUNO\n This is the baby. Your baby.\n\n Vanessa drops the shopping bags, sick with relief.\n\n VANESSA\n Oh my God...", "JUNO\n You should have gone to China. I \n heard they give away babies like \n free iPods. They shoot 'em out of \n those T-shirt guns at sports events.", "JUNO\n Yeah. Um, I hooked up a whole private \n adoption thing. These married people \n in Saint Cloud are going to be the \n parents.", "INT. JUNO'S BEDROOM - DAY\n\n Juno lays in bed checking out the ULTRASOUND PRINT OUT.", "JUNO (V.O.)\n Bleeker decided he didn't want to \n see the baby. Neither did I, really. \n He didn't feel like ours.", "JUNO (V.O.)\n I decided to not call Bleeker to \n tell him that I was having the baby.", "Mark opens the door. Juno stands there, looking radiantly \n knocked-up. She holds a stack of CDs. Mark breaks into a \n grin.", "JUNO\n No, they're the people who are \n adopting the baby.\n\n ULTRASOUND TECH\n Oh. Well, thank goodness for that.", "Juno heads into the foyer and up the stairs. We see a posed \n photo of Mark and Vanessa in the stairwell. Their house is \n beautiful, but frigid. Juno rubs her arms, shivering.", "JUNO\n (explains)\n It's kicking.\n\n Vanessa nods in understanding then begins summoning the \n courage for an unusual request.", "JUNO\n Once! And she didn't die, if you \n recall!\n\n BREN\n Honey, had you considered, you know, \n the alternative?", "SU-CHIN\n (calling out)\n Juno! Your baby probably has a beating \n heart, you know. It can feel pain. \n And it has fingernails.", "Juno trudges toward the front entrance of the clinic. There \n is a lone ABORTION PROTESTER, a teenager of Asian descent" ], [ "JUNO\n But I'm going to give it up for \n adoption. I already found the perfect \n people.\n\n Leah presents the Penny Saver photos of the Lornings.", "LEAH\n Hey, Juno. Juno! Look at this one.\n\n She points to the paper and motions for Juno to look. Juno \n scans the ad silently.", "Juno has her pipe with her.\n\n JUNO\n The Penny Saver sucks.\n\n LEAH\n Yeah, but it sucks for free.", "Juno nods.\n\n LEAH\n No way! She's pretty.\n\n JUNO\n You sound shocked or something.", "Juno and Leah are walking through the mall, looking bored. \n Juno is wearing one of Mac's giant hockey jerseys in lieu of", "EXT. PARK BENCH - DAY\n\n Juno and Leah are sitting at a bench in a park. They slurp \n giant blue slushies and sift through a pile of Penny Savers.", "EXT. LEAH'S HOUSE - DAY\n\n Leah's front door swings open to reveal a breathless Juno \n standing sheepishly on the porch. Leah sighs.", "JUNO\n (hushed)\n That's her. That's Vanessa Loring.\n\n LEAH\n Of the Penny Saver Lorings?", "Juno heads into the foyer and up the stairs. We see a posed \n photo of Mark and Vanessa in the stairwell. Their house is \n beautiful, but frigid. Juno rubs her arms, shivering.", "LEAH\n Is this for real? Like for real, for \n real?\n\n JUNO\n Unfortunately, yes.", "JUNO\n Yeah. Um, I hooked up a whole private \n adoption thing. These married people \n in Saint Cloud are going to be the \n parents.", "Juno drags Leah behind a pillar and peers out from behind \n it. They're watching a group of well-heeled women and their", "Leah fires a be quiet glance at Juno.\n\n MAC\n Did you say you were thinking about \n adoption?", "Paulie is on the floor surrounded by old quizzes, studying \n like the tortured brainiac he is. Mrs. Bleeker opens the \n bedroom door. Juno appears. Paulie jumps, startled.", "LEAH\n We found them in the Penny Saver by \n the exotic birds section.\n\n Bren looks understandably alarmed. Juno hastily attempts to \n make the situation sound more legitimate.", "LEAH\n When did you decide you were going \n to do Bleeker?\n\n JUNO\n Like, a year ago, in Spanish class.", "Juno watches intently, but Leah just snickers.\n\n LEAH\n She's gonna steal that kid for her \n collection.", "JUNO\n God, why is everyone always staring \n at me?\n\n LEAH\n Well, you are kind of... convex.", "LEAH\n Best to just tell them, man. Rip off \n the Band-Aid and let it bleed.\n\n JUNO\n I'm pregnant.", "Juno examines a large ad in the newspaper that depicts a \n distraught TEEN GIRL clutching her head in a moment of staged" ], [ "JUNO\n But I'm going to give it up for \n adoption. I already found the perfect \n people.\n\n Leah presents the Penny Saver photos of the Lornings.", "JUNO (V.O.)\n There he was.\n\n Juno looks at the baby in awe, then her eyes begin to \n flutter... and she passes out.", "JUNO\n Yeah. Um, I hooked up a whole private \n adoption thing. These married people \n in Saint Cloud are going to be the \n parents.", "JUNO\n No, they're the people who are \n adopting the baby.\n\n ULTRASOUND TECH\n Oh. Well, thank goodness for that.", "JUNO\n No, I heard you. I just can't give \n the baby to people who describe \n themselves as \"wholesome.\" I'm looking \n for something a little edgier.", "Juno heads into the foyer and up the stairs. We see a posed \n photo of Mark and Vanessa in the stairwell. Their house is \n beautiful, but frigid. Juno rubs her arms, shivering.", "JUNO (V.O.)\n And then, out of nowhere, there it \n was...\n\n The doctor reveals JUNO'S BABY BOY above the sheet.", "JUNO (V.O.)\n I think he was always hers.\n\n INT. LORING HOUSE - NURSERY - DAY", "JUNO\n Yeah. For sure. I like you guys.\n\n Juno looks at Mark.", "He nods toward her belly.\n\n MAC\n Obviously.\n\n Juno laughs and hugs her father, planting a smooch on his \n cheek.", "JUNO\n This is the baby. Your baby.\n\n Vanessa drops the shopping bags, sick with relief.\n\n VANESSA\n Oh my God...", "JUNO (V.O.)\n She thinks I'm using a fake name. \n Like Gene Simmons or Mother Teresa.\n\n The receptionist hands Juno the clipboard and a pen.", "JUNO (V.O.)\n Bleeker decided he didn't want to \n see the baby. Neither did I, really. \n He didn't feel like ours.", "She waves and heads for the door.\n\n MARK\n (to Juno)\n Hey, don't forget your bag.", "LEAH\n Hey, Juno. Juno! Look at this one.\n\n She points to the paper and motions for Juno to look. Juno \n scans the ad silently.", "JUNO\n You should have gone to China. I \n heard they give away babies like \n free iPods. They shoot 'em out of \n those T-shirt guns at sports events.", "JUNO\n How do you know I'm so poisonous? \n Like, what if the adoptive parents \n turn out to be evil molesters?", "Mark opens the door. Juno stands there, looking radiantly \n knocked-up. She holds a stack of CDs. Mark breaks into a \n grin.", "JUNO\n Oh man, I can just picture you slow \n dancing like a dork!\n\n She mockingly places her hands on Mark's waist and moves \n back and forth stiffly.", "JUNO\n (interrupting)\n I want you guys to adopt the Buglet. \n I wanted everything to be perfect." ], [ "JUNO\n Yeah. For sure. I like you guys.\n\n Juno looks at Mark.", "MARK\n Here's to dovetailing interests.\n\n He raises his mug in a toast and Juno clinks it awkwardly.", "Juno rests her head on Mark's chest. They dance in silence \n for a few moments, then stop moving. Mark pulls Juno as close \n as he possibly can, given her expanding girth.", "INT. LORING HOUSE - UPSTAIRS HALLWAY - DAY\n\n Juno opens the bathroom door and instantly BUMPS into Mark.", "Mark puts his hands on what remains of Juno's waist. She \n drapes her arms around his neck self-consciously.\n\n JUNO\n Oh, okay. Like this.", "MARK\n That suits you.\n\n JUNO\n Uh, thanks.", "JUNO AND MARK\n (singing together and \n connecting)\n Yeah, they really want you... they \n really want you... and I do to.\n (both blush)", "Mark opens the door. Juno stands there, looking radiantly \n knocked-up. She holds a stack of CDs. Mark breaks into a \n grin.", "Mark suddenly sees Juno for what she is -- a teenage girl.\n\n MARK\n I'm such an idiot. I can't believe \n what an idiot I am.", "MARK\n Nope. We're safe.\n\n He and Juno smile conspiratorially.\n\n JUNO\n Cool.", "MARK\n I actually know this one.\n\n JUNO\n You do?", "JUNO AND MARK\n (quietly singing \n together)\n \"Yeah, they really want you... they \n really want you... they really do.\"\n\n Building together.", "MARK\n Technically, that would be kickin' \n it Old Testament.\n\n Mark and Juno lock eyes.", "She holds her WRIST up to Mark's twitching nostrils.\n\n JUNO\n Smell those sparkling topnotes!\n\n Mark inhales.", "Juno heads into the foyer and up the stairs. We see a posed \n photo of Mark and Vanessa in the stairwell. Their house is \n beautiful, but frigid. Juno rubs her arms, shivering.", "JUNO\n So, I've been spending a lot of time \n listening to that weird CD you made \n me.\n\n Mark instantly smiles.", "MARK\n Come on, I have something for you.\n\n He gestures for Juno to follow him into the house.", "Mark and Juno tool around on the guitars unplugged. They \n play little riffs. He teaches her a couple chords.\n\n INT. LORING HOUSE - LIVING ROOM - SAME", "MARK\n Commercials.\n\n JUNO\n Oh.", "INT. LORING HOUSE - KITCHEN - AFTERNOON\n\n Mark leads Juno into the kitchen, where he pours two drinks. \n The STEREO blares in the background." ], [ "Mark drops his head, dejected. Then, the phone rings.\n\n MARK\n (picks up)\n Hello?\n\n INTERCUT WITH:", "MARK\n I don't know. There's just things I \n still want to do.\n\n VANESSA\n Like what? Be a rock star?", "MARK\n Hi. I'm Mark Loring. I'm the husband.\n\n INT. LORING HOUSE - LIVING ROOM - DAY", "MARK\n You're something else.\n\n A door suddenly slams upstairs. Vanessa's home.", "Mark opens the door. There's a folded piece of paper sitting \n on the doormat. He squints and sees Juno pulling away in the \n van.", "Mark looks jolted, as if it's the first time he considered \n that her baby might have a father. He stands up and holds \n the photo up to the light critically.", "MARK\n Here's to dovetailing interests.\n\n He raises his mug in a toast and Juno clinks it awkwardly.", "Mark is seated at the computer, surfing a horror movie \n website. He has the blank expression of a bored obsessive. \n The doorbell rings.\n\n INT. LORING HOUSE - ENTRY - DAY", "MARK\n (passionate singing)\n I WANT TO BE THE...\n (notices Vanessa)\n Oh, sorry honey...", "Juno rests her head on Mark's chest. They dance in silence \n for a few moments, then stop moving. Mark pulls Juno as close \n as he possibly can, given her expanding girth.", "MARK\n Wait... aww, crap!\n\n INT. LORING HOUSE - KITCHEN - AFTERNOON", "MARK\n I actually know this one.\n\n JUNO\n You do?", "MARK\n (joking)\n Oh, is he bald and amorphous?\n\n JUNO\n No, he's the dad.", "Mark and Juno tool around on the guitars unplugged. They \n play little riffs. He teaches her a couple chords.\n\n INT. LORING HOUSE - LIVING ROOM - SAME", "MARK LORING appears next to Vanessa. He's a boyishly \n attractive guy in his mid-thirties.", "MARK\n Come on, I have something for you.\n\n He gestures for Juno to follow him into the house.", "MARK\n I know you did.\n\n There's a LOUD KNOCK on the front door.\n\n EXT. LORING HOUSE - ENTRY - NIGHT", "VANESSA\n No, it's fine. Thanks for making the \n call, I guess.\n\n Mark nods and sits down.", "MARK\n Commercials.\n\n JUNO\n Oh.", "MARK\n Oh. That's, uh, my room. Vanessa \n lets me have a room for all my old \n stuff." ], [ "MARK\n I'm leaving Vanessa.\n\n JUNO\n (quiet at first)\n What?", "Juno and Mac exit. Mark shuts the door. All is silent in the \n foyer. Mark, Vanessa and Gerta stand motionless. Gerta pumps \n her fist triumphantly, trying to create a mood of celebration.", "Juno turns to leave, then shoots one furious look back at \n Mark.", "Mark opens the door. There's a folded piece of paper sitting \n on the doormat. He squints and sees Juno pulling away in the \n van.", "VANESSA\n What are you saying?\n\n A long hideous beat.\n\n MARK\n It just feels a little like bad \n timing.", "MARK\n (passionate singing)\n I WANT TO BE THE...\n (notices Vanessa)\n Oh, sorry honey...", "Juno looks totally betrayed. She doesn't respond. Vanessa \n looks at Juno's expression and knows Mark is lying.\n\n VANESSA\n What did you do?", "MARK\n I don't know. There's just things I \n still want to do.\n\n VANESSA\n Like what? Be a rock star?", "MARK\n Don't mock me.\n\n Vanessa sighs. It's done.", "Mark hangs the guitars back on the wall. He and Juno exit \n the room, chastised. Vanessa looks to Mark in question.", "MARK\n (ignores the comment)\n Ever since, it's just been like a \n ticking clock.\n\n This stops Vanessa. Juno looks offended.", "MARK\n I didn't do anything... I just... \n I've just been thinking.\n\n VANESSA\n (you've been thinking?)\n What?", "We hear the front door closing. Vanessa and Mark look over \n and notice that Juno has escaped the conflict.\n\n EXT. LORING HOUSE - AFTERNOON", "MARK\n You're something else.\n\n A door suddenly slams upstairs. Vanessa's home.", "MARK\n It's just not working out, but I'm \n getting my own place in the city...", "INT. LORING HOUSE - DINING ROOM - NIGHT\n\n Vanessa takes a sip and continues to let the days events \n sink in. After a beat, Mark comes down the stairs to join \n her.", "Juno glances at Mark and again at Vanessa. Vanessa looks \n embarrassed.\n\n MARK\n Cold feet.", "MARK\n That's not the point. We're just not \n in love anymore.", "VANESSA\n (to her guests)\n Will you excuse me?\n\n INT. LORING HOUSE - MARK'S SPECIAL ROOM - DAY", "VANESSA\n No, it's fine. Thanks for making the \n call, I guess.\n\n Mark nods and sits down." ], [ "JUNO\n Yeah. Um, I hooked up a whole private \n adoption thing. These married people \n in Saint Cloud are going to be the \n parents.", "JUNO\n But I'm going to give it up for \n adoption. I already found the perfect \n people.\n\n Leah presents the Penny Saver photos of the Lornings.", "JUNO (V.O.)\n There he was.\n\n Juno looks at the baby in awe, then her eyes begin to \n flutter... and she passes out.", "JUNO\n No, they're the people who are \n adopting the baby.\n\n ULTRASOUND TECH\n Oh. Well, thank goodness for that.", "Juno heads into the foyer and up the stairs. We see a posed \n photo of Mark and Vanessa in the stairwell. Their house is \n beautiful, but frigid. Juno rubs her arms, shivering.", "JUNO\n No, I heard you. I just can't give \n the baby to people who describe \n themselves as \"wholesome.\" I'm looking \n for something a little edgier.", "JUNO (V.O.)\n And then, out of nowhere, there it \n was...\n\n The doctor reveals JUNO'S BABY BOY above the sheet.", "Paulie climbs onto the hospital bed and carefully puts his \n arm around Juno. She leans into him, letting herself go for \n the first time in months.", "JUNO (V.O.)\n I think he was always hers.\n\n INT. LORING HOUSE - NURSERY - DAY", "JUNO\n This is the baby. Your baby.\n\n Vanessa drops the shopping bags, sick with relief.\n\n VANESSA\n Oh my God...", "He nods toward her belly.\n\n MAC\n Obviously.\n\n Juno laughs and hugs her father, planting a smooch on his \n cheek.", "JUNO\n (interrupting)\n I want you guys to adopt the Buglet. \n I wanted everything to be perfect.", "She waves and heads for the door.\n\n MARK\n (to Juno)\n Hey, don't forget your bag.", "She and Bleeker exchange glances as they play. They smile \n ambiguously. Juno leans over and kisses Bleeker on the cheek.", "INT. HOSPITAL - BIRTHING SUITE - LATER\n\n JUNO (V.O.)\n It really didn't hurt that bad having \n him.", "JUNO (V.O.)\n Bleeker decided he didn't want to \n see the baby. Neither did I, really. \n He didn't feel like ours.", "Juno gives her the FINGER, not breaking the clinch with \n Bleeker.\n\n INT. MACGUFF HOUSE - JUNO'S BEDROOM - MORNING", "Mark opens the door. Juno stands there, looking radiantly \n knocked-up. She holds a stack of CDs. Mark breaks into a \n grin.", "Juno runs up to her car sobbing. She struggles with the keys, \n but finally makes it into the Previa and drives off.\n\n EXT. HIGHWAY - AFTERNOON", "Vanessa looks pain-stricken as Mark helps Juno with her bag.\n\n EXT. MACGUFF HOUSE - NIGHT\n\n Juno kicks the snow off her shoes before she enters." ], [ "He nods toward her belly.\n\n MAC\n Obviously.\n\n Juno laughs and hugs her father, planting a smooch on his \n cheek.", "MAC\n I'm Mac MacGuff, and this, of course, \n is my daughter Juno.\n\n MARK\n Like the city in Alaska?", "Juno sees him and bursts into sudden, ragged sobs. Mac glances \n at her, alarmed. Paulie moves toward the bed. Mac clears his \n throat, gets up and leaves the room.", "She salutes and dashes out of the kitchen.\n\n MAC\n You were talking about me, right?\n\n MONTAGE:", "VIJAY\n Did you hear Juno MacGuff is pregnant?\n\n BLEEKER\n Yup.", "years old, an artfully bedraggled burnout kid. She winces \n and shields her eyes from the glare of the sun. The object", "MAC\n I thought you were the kind of girl \n who knew when to say when.\n\n JUNO\n I have no idea what kind of girl I \n am.", "Juno enters.\n\n JUNO\n Hi Dad.\n\n MAC\n Hey, big puffy version of Junebug. \n Where have you been?", "MAC\n No, but you know Bren. She dreams \n big.\n\n JUNO\n Yeah, she does.", "MAC\n You're pregnant?", "LEAH\n Only the one in my pants.\n\n JUNO\n (in low tones)\n Dude, I'm pregnant.", "Juno, her father MAC, her stepmother BREN, and LIBERTY BELL \n sit at a very typical kitchen table, eating dinner. MAC \n shovels food while chatting about his day.", "BREN\n (sensing tension)\n Why don't you girls go upstairs for \n a while? I think Mac's gonna blow.", "We see Paulie's face at the moment of his deflowering: he's \n comically wide-eyed with shock.\n\n INT. MACGUFF HOUSE - DINING ROOM - NIGHT", "MAC\n You mean like couples?\n\n JUNO\n Yeah, like people in love.", "Juno and Mac exit. Mark shuts the door. All is silent in the \n foyer. Mark, Vanessa and Gerta stand motionless. Gerta pumps \n her fist triumphantly, trying to create a mood of celebration.", "Juno and Leah hightail it upstairs.\n\n MAC\n Just tell it to me straight, Bren. \n Do you think this is my fault? Her \n mother's fault?", "INT. MACGUFF HOUSE - KITCHEN - NIGHT\n\n Mac is alone at the kitchen table going over the family \n finances while drinking one of Bren's weight loss shakes.", "Bren and Mac are predictably speechless.\n\n BREN\n Oh, God...", "She turns around, wipes TEARS off her cheek (making sure no \n one sees) and continues down the hallway.\n\n EXT. MACGUFF HOUSE - PREVIA - DAY" ], [ "JUNO\n But I'm going to give it up for \n adoption. I already found the perfect \n people.\n\n Leah presents the Penny Saver photos of the Lornings.", "JUNO\n Yeah. Um, I hooked up a whole private \n adoption thing. These married people \n in Saint Cloud are going to be the \n parents.", "LEAH\n Hey, Juno. Juno! Look at this one.\n\n She points to the paper and motions for Juno to look. Juno \n scans the ad silently.", "JUNO\n No, they're the people who are \n adopting the baby.\n\n ULTRASOUND TECH\n Oh. Well, thank goodness for that.", "JUNO\n No, I heard you. I just can't give \n the baby to people who describe \n themselves as \"wholesome.\" I'm looking \n for something a little edgier.", "JUNO (V.O.)\n There he was.\n\n Juno looks at the baby in awe, then her eyes begin to \n flutter... and she passes out.", "Juno heads into the foyer and up the stairs. We see a posed \n photo of Mark and Vanessa in the stairwell. Their house is \n beautiful, but frigid. Juno rubs her arms, shivering.", "Juno examines a large ad in the newspaper that depicts a \n distraught TEEN GIRL clutching her head in a moment of staged", "Juno has her pipe with her.\n\n JUNO\n The Penny Saver sucks.\n\n LEAH\n Yeah, but it sucks for free.", "JUNO\n You should have gone to China. I \n heard they give away babies like \n free iPods. They shoot 'em out of \n those T-shirt guns at sports events.", "JUNO\n There are ads? For parents?", "LEAH\n Well, maybe you could look at one of \n those adoption ads. I see them all \n the time in the Penny Saver.", "JUNO\n How do you know I'm so poisonous? \n Like, what if the adoptive parents \n turn out to be evil molesters?", "Mark opens the door. Juno stands there, looking radiantly \n knocked-up. She holds a stack of CDs. Mark breaks into a \n grin.", "INT. JUNO'S BEDROOM - DAY\n\n Juno lays in bed checking out the ULTRASOUND PRINT OUT.", "JUNO\n This is the baby. Your baby.\n\n Vanessa drops the shopping bags, sick with relief.\n\n VANESSA\n Oh my God...", "We see Juno is in a BIRTHING SUITE at the hospital, pacing \n impatiently, bent over in obvious discomfort. She's wearing", "JUNO (V.O.)\n And then, out of nowhere, there it \n was...\n\n The doctor reveals JUNO'S BABY BOY above the sheet.", "JUNO\n Yeah. For sure. I like you guys.\n\n Juno looks at Mark.", "JUNO (V.O.)\n She thinks I'm using a fake name. \n Like Gene Simmons or Mother Teresa.\n\n The receptionist hands Juno the clipboard and a pen." ], [ "JUNO\n Yeah. Um, I hooked up a whole private \n adoption thing. These married people \n in Saint Cloud are going to be the \n parents.", "JUNO\n But I'm going to give it up for \n adoption. I already found the perfect \n people.\n\n Leah presents the Penny Saver photos of the Lornings.", "Bren and MAC are seated on the couch. Leah is standing nearby \n for reinforcements. Juno paces nervously, trying to suss out \n how to break the massive news.", "Vanessa reaches out for the baby and gingerly accepts him in \n her eyes. She spends a few moments just looking at him.", "JUNO\n No, they're the people who are \n adopting the baby.\n\n ULTRASOUND TECH\n Oh. Well, thank goodness for that.", "JUNO (V.O.)\n That's my stepmom, Bren...\n\n INT. BREN'S WORKROOM - DAY", "She feels someone watching her, then looks up to see a Bren \n leaning against the doorway.\n\n Vanessa blinks away her tears self-consciously.", "BREN\n Nails? Really?\n\n MAC\n No, I mean the father! Who's the \n father, Juno?", "NURSE\n (amused)\n You are the adoptive mother?\n\n VANESSA\n I have a son.", "BREN\n You're not going to be a Pop-Pop. \n And Juno's not going to be a ma.", "Bren rises to leave, clutching the Dog Fancy magazine.\n\n JUNO\n (gesturing to the \n magazine)\n We don't even have a dog!", "BREN\n Well, you're a brave young lady. \n You're made of stronger stuff than I \n thought. You're a little Viking!", "Bren stitches a needlepoint pillow of a dog.\n\n JUNO (V.O.)\n She's obsessed with dogs...", "Bren appears behind them and orders Juno out of the \n wheelchair, exasperated. She pulls off Juno's surgical cap. \n Leah and Juno snicker.", "Mac, Bren and Liberty Bell rush out of the house. They pile \n into the Previa at breakneck speed. Juno waddles behind them, \n protesting.\n\n INT. HOSPITAL - DAY", "BREN\n Oh Mac, no! He's a sweet kid. You \n know it wasn't his idea.\n\n Mac shrugs in agreement.", "shoulder, feeding the baby. For the first time ever, Vanessa \n looks disorganized, unshowered -- and incredibly happy. There \n are formula bottles on the bedside table and a bassinet pushed", "Bren and Mac are predictably speechless.\n\n BREN\n Oh, God...", "VANESSA\n You're doing an amazing and selfless \n thing for us.\n\n MARK\n Vanessa has wanted a baby since we \n got married.", "It's a sparkling summer afternoon. Juno wheels her bicycle \n out of the detached garage. She waves goodbye to Bren, who" ], [ "MARK\n Here's to dovetailing interests.\n\n He raises his mug in a toast and Juno clinks it awkwardly.", "JUNO\n Yeah. For sure. I like you guys.\n\n Juno looks at Mark.", "MARK\n That suits you.\n\n JUNO\n Uh, thanks.", "JUNO AND MARK\n (singing together and \n connecting)\n Yeah, they really want you... they \n really want you... and I do to.\n (both blush)", "MARK\n I actually know this one.\n\n JUNO\n You do?", "Juno rests her head on Mark's chest. They dance in silence \n for a few moments, then stop moving. Mark pulls Juno as close \n as he possibly can, given her expanding girth.", "MARK\n Nope. We're safe.\n\n He and Juno smile conspiratorially.\n\n JUNO\n Cool.", "MARK\n Come on, I have something for you.\n\n He gestures for Juno to follow him into the house.", "INT. LORING HOUSE - UPSTAIRS HALLWAY - DAY\n\n Juno opens the bathroom door and instantly BUMPS into Mark.", "Mark puts his hands on what remains of Juno's waist. She \n drapes her arms around his neck self-consciously.\n\n JUNO\n Oh, okay. Like this.", "JUNO AND MARK\n (quietly singing \n together)\n \"Yeah, they really want you... they \n really want you... they really do.\"\n\n Building together.", "Mark opens the door. Juno stands there, looking radiantly \n knocked-up. She holds a stack of CDs. Mark breaks into a \n grin.", "MARK\n Technically, that would be kickin' \n it Old Testament.\n\n Mark and Juno lock eyes.", "MARK\n Commercials.\n\n JUNO\n Oh.", "Juno backs away.\n\n JUNO\n (growing)\n No.\n\n MARK\n No?", "JUNO\n (aghast)\n But you're old!\n\n MARK\n I... How do you think of me, Juno? \n Why are you here?", "JUNO\n Oh God, you're one of those guys...\n\n MARK\n You're gonna like this, I promise.", "Juno heads into the foyer and up the stairs. We see a posed \n photo of Mark and Vanessa in the stairwell. Their house is \n beautiful, but frigid. Juno rubs her arms, shivering.", "MARK\n What are you?\n\n JUNO\n I don't know.", "MARK\n (joking)\n Oh, is he bald and amorphous?\n\n JUNO\n No, he's the dad." ], [ "JUNO\n But I'm going to give it up for \n adoption. I already found the perfect \n people.\n\n Leah presents the Penny Saver photos of the Lornings.", "JUNO\n Yeah. Um, I hooked up a whole private \n adoption thing. These married people \n in Saint Cloud are going to be the \n parents.", "JUNO (V.O.)\n There he was.\n\n Juno looks at the baby in awe, then her eyes begin to \n flutter... and she passes out.", "JUNO\n No, they're the people who are \n adopting the baby.\n\n ULTRASOUND TECH\n Oh. Well, thank goodness for that.", "Juno heads into the foyer and up the stairs. We see a posed \n photo of Mark and Vanessa in the stairwell. Their house is \n beautiful, but frigid. Juno rubs her arms, shivering.", "JUNO\n No, I heard you. I just can't give \n the baby to people who describe \n themselves as \"wholesome.\" I'm looking \n for something a little edgier.", "Paulie climbs onto the hospital bed and carefully puts his \n arm around Juno. She leans into him, letting herself go for \n the first time in months.", "Paulie is on the floor surrounded by old quizzes, studying \n like the tortured brainiac he is. Mrs. Bleeker opens the \n bedroom door. Juno appears. Paulie jumps, startled.", "JUNO\n Yeah. For sure. I like you guys.\n\n Juno looks at Mark.", "MAC\n Juno, I want to come with you to \n meet these adoption people. You're", "Juno nods.\n\n LEAH\n No way! She's pretty.\n\n JUNO\n You sound shocked or something.", "Juno sees him and bursts into sudden, ragged sobs. Mac glances \n at her, alarmed. Paulie moves toward the bed. Mac clears his \n throat, gets up and leaves the room.", "LEAH\n Hey, Juno. Juno! Look at this one.\n\n She points to the paper and motions for Juno to look. Juno \n scans the ad silently.", "JUNO\n How do you know I'm so poisonous? \n Like, what if the adoptive parents \n turn out to be evil molesters?", "She and Bleeker exchange glances as they play. They smile \n ambiguously. Juno leans over and kisses Bleeker on the cheek.", "JUNO\n (interrupting)\n I want you guys to adopt the Buglet. \n I wanted everything to be perfect.", "She waves and heads for the door.\n\n MARK\n (to Juno)\n Hey, don't forget your bag.", "MARK\n (joking)\n Oh, is he bald and amorphous?\n\n JUNO\n No, he's the dad.", "Mark opens the door. Juno stands there, looking radiantly \n knocked-up. She holds a stack of CDs. Mark breaks into a \n grin.", "He nods toward her belly.\n\n MAC\n Obviously.\n\n Juno laughs and hugs her father, planting a smooch on his \n cheek." ], [ "Juno sees him and bursts into sudden, ragged sobs. Mac glances \n at her, alarmed. Paulie moves toward the bed. Mac clears his \n throat, gets up and leaves the room.", "Paulie is on the floor surrounded by old quizzes, studying \n like the tortured brainiac he is. Mrs. Bleeker opens the \n bedroom door. Juno appears. Paulie jumps, startled.", "Paulie climbs onto the hospital bed and carefully puts his \n arm around Juno. She leans into him, letting herself go for \n the first time in months.", "JUNO\n Oh. It's, well, it's Paulie Bleeker.\n\n Bren and Mac burst into shocked laughter.", "JUNO\n What?\n\n MAC\n Paulie Bleeker? I didn't know he had \n it in him!", "Mark suddenly sees Juno for what she is -- a teenage girl.\n\n MARK\n I'm such an idiot. I can't believe \n what an idiot I am.", "It's obvious from Juno's tears and flushed face that she's \n lying. Vanessa instantly goes pale with fear, but she tries \n her hardest to seem serene and \"together\" in front of Juno.", "Bleeker's mom escorts Juno wordlessly up the stairs and down \n the hallway to Paulie's bedroom. Juno discreetly tries to", "JUNO\n (indignant)\n No, it's not. Paulie is virile, by \n the way. He was very good in... chair.", "We see Leah holding Juno's FOOT, which is shaking. Leah's \n shirt is soaked. She rolls her eyes and mouths \"Fuck you\" at", "Juno, Leah and Bren become immediately defensive.", "Juno turns to leave, then shoots one furious look back at \n Mark.", "INT. LORING HOUSE - UPSTAIRS HALLWAY - DAY\n\n Juno opens the bathroom door and instantly BUMPS into Mark.", "JUNO\n I'll handle this. I'm really good at \n diffusing mom-type rage.\n\n Juno jumps up and rushes out.", "MARK\n (ignores the comment)\n Ever since, it's just been like a \n ticking clock.\n\n This stops Vanessa. Juno looks offended.", "Juno glares at Leah.\n\n VANESSA\n (confused)\n No...", "Juno looks totally betrayed. She doesn't respond. Vanessa \n looks at Juno's expression and knows Mark is lying.\n\n VANESSA\n What did you do?", "Vanessa JUMPS and makes a strangled sound.\n\n VANESSA\n Juno! God, you startled me. What are \n you doing here? What's wrong?", "BLEEKER'S MOM answers, visibly annoyed. Her eyes drift down \n to Juno's middle.", "She wrestles Leah for the pretzel. Onlookers stare at them, \n appalled, as Leah puts Juno in a half-Nelson." ], [ "MARK\n I'm leaving Vanessa.\n\n JUNO\n (quiet at first)\n What?", "Mark opens the door. There's a folded piece of paper sitting \n on the doormat. He squints and sees Juno pulling away in the \n van.", "Juno turns to leave, then shoots one furious look back at \n Mark.", "Juno looks totally betrayed. She doesn't respond. Vanessa \n looks at Juno's expression and knows Mark is lying.\n\n VANESSA\n What did you do?", "MARK\n It's just not working out, but I'm \n getting my own place in the city...", "MARK\n No, she's working late tonight. She's \n trying to accrue some extra time off \n for when, you know...", "Juno sees him and bursts into sudden, ragged sobs. Mac glances \n at her, alarmed. Paulie moves toward the bed. Mac clears his \n throat, gets up and leaves the room.", "Juno and Mac exit. Mark shuts the door. All is silent in the \n foyer. Mark, Vanessa and Gerta stand motionless. Gerta pumps \n her fist triumphantly, trying to create a mood of celebration.", "MARK\n I didn't do anything... I just... \n I've just been thinking.\n\n VANESSA\n (you've been thinking?)\n What?", "MARK\n That's not the point. We're just not \n in love anymore.", "Juno rests her head on Mark's chest. They dance in silence \n for a few moments, then stop moving. Mark pulls Juno as close \n as he possibly can, given her expanding girth.", "Mark looks jolted, as if it's the first time he considered \n that her baby might have a father. He stands up and holds \n the photo up to the light critically.", "VANESSA\n What are you saying?\n\n A long hideous beat.\n\n MARK\n It just feels a little like bad \n timing.", "MARK\n Hi. I'm Mark Loring. I'm the husband.\n\n INT. LORING HOUSE - LIVING ROOM - DAY", "MARK\n You're something else.\n\n A door suddenly slams upstairs. Vanessa's home.", "MARK\n I know you did.\n\n There's a LOUD KNOCK on the front door.\n\n EXT. LORING HOUSE - ENTRY - NIGHT", "INT. LORING HOUSE - DINING ROOM - NIGHT\n\n Vanessa takes a sip and continues to let the days events \n sink in. After a beat, Mark comes down the stairs to join \n her.", "We hear the front door closing. Vanessa and Mark look over \n and notice that Juno has escaped the conflict.\n\n EXT. LORING HOUSE - AFTERNOON", "MARK\n They'd say you came a long way out \n here not knowing if anyone would be \n home.\n\n She holds up a manila envelope.", "MARK\n Wait... aww, crap!\n\n INT. LORING HOUSE - KITCHEN - AFTERNOON" ], [ "JUNO\n But I'm going to give it up for \n adoption. I already found the perfect \n people.\n\n Leah presents the Penny Saver photos of the Lornings.", "JUNO (V.O.)\n I think he was always hers.\n\n INT. LORING HOUSE - NURSERY - DAY", "Juno sees him and bursts into sudden, ragged sobs. Mac glances \n at her, alarmed. Paulie moves toward the bed. Mac clears his \n throat, gets up and leaves the room.", "We hear the front door closing. Vanessa and Mark look over \n and notice that Juno has escaped the conflict.\n\n EXT. LORING HOUSE - AFTERNOON", "JUNO\n This is the baby. Your baby.\n\n Vanessa drops the shopping bags, sick with relief.\n\n VANESSA\n Oh my God...", "INT. LORING HOUSE - UPSTAIRS HALLWAY - DAY\n\n Juno opens the bathroom door and instantly BUMPS into Mark.", "Juno heads into the foyer and up the stairs. We see a posed \n photo of Mark and Vanessa in the stairwell. Their house is \n beautiful, but frigid. Juno rubs her arms, shivering.", "JUNO\n No, I heard you. I just can't give \n the baby to people who describe \n themselves as \"wholesome.\" I'm looking \n for something a little edgier.", "JUNO\n (hushed)\n That's her. That's Vanessa Loring.\n\n LEAH\n Of the Penny Saver Lorings?", "Paulie climbs onto the hospital bed and carefully puts his \n arm around Juno. She leans into him, letting herself go for \n the first time in months.", "Juno rests her head on Mark's chest. They dance in silence \n for a few moments, then stop moving. Mark pulls Juno as close \n as he possibly can, given her expanding girth.", "JUNO (V.O.)\n There he was.\n\n Juno looks at the baby in awe, then her eyes begin to \n flutter... and she passes out.", "JUNO\n Come on, you're going to want to sit \n down for this.\n\n INT. LORING HOUSE - DEN - AFTERNOON", "Juno ain't buying it.\n\n VANESSA\n (to Mark)\n Why don't we let Juno go home and we \n can discuss this later on, okay?", "JUNO\n Well, no... I'm not going to sell \n the baby. I just want it to grow up", "Juno backs away.\n\n JUNO\n (growing)\n No.\n\n MARK\n No?", "Juno and Mac exit. Mark shuts the door. All is silent in the \n foyer. Mark, Vanessa and Gerta stand motionless. Gerta pumps \n her fist triumphantly, trying to create a mood of celebration.", "INT. LORING HOUSE - ENTRY WAY - DAY\n\n Vanessa and Mark walk Juno out. Juno peers at some shopping \n bags from various kids stores.", "JUNO\n Yeah. Um, I hooked up a whole private \n adoption thing. These married people \n in Saint Cloud are going to be the \n parents.", "The receptionist cranes her neck and sees the front door \n drift shut. Juno's figure recedes into the distance as she \n tears off down the street, running as fast as she can." ], [ "Paulie climbs onto the hospital bed and carefully puts his \n arm around Juno. She leans into him, letting herself go for \n the first time in months.", "Paulie is on the floor surrounded by old quizzes, studying \n like the tortured brainiac he is. Mrs. Bleeker opens the \n bedroom door. Juno appears. Paulie jumps, startled.", "Juno sees him and bursts into sudden, ragged sobs. Mac glances \n at her, alarmed. Paulie moves toward the bed. Mac clears his \n throat, gets up and leaves the room.", "Bleeker's mom escorts Juno wordlessly up the stairs and down \n the hallway to Paulie's bedroom. Juno discreetly tries to", "We see Juno is in a BIRTHING SUITE at the hospital, pacing \n impatiently, bent over in obvious discomfort. She's wearing", "JUNO\n Oh. It's, well, it's Paulie Bleeker.\n\n Bren and Mac burst into shocked laughter.", "We see Juno in the process of delivery, from her POV. Leah \n holds one of Juno's feet and Bren holds the other.", "JUNO (V.O.)\n There he was.\n\n Juno looks at the baby in awe, then her eyes begin to \n flutter... and she passes out.", "Juno heads into the foyer and up the stairs. We see a posed \n photo of Mark and Vanessa in the stairwell. Their house is \n beautiful, but frigid. Juno rubs her arms, shivering.", "Mac, Bren and Liberty Bell rush out of the house. They pile \n into the Previa at breakneck speed. Juno waddles behind them, \n protesting.\n\n INT. HOSPITAL - DAY", "Juno gives her the FINGER, not breaking the clinch with \n Bleeker.\n\n INT. MACGUFF HOUSE - JUNO'S BEDROOM - MORNING", "INT. HOSPITAL - BIRTHING SUITE - LATER\n\n JUNO (V.O.)\n It really didn't hurt that bad having \n him.", "JUNO (V.O.)\n As boyfriends go, Paulie Bleeker is \n totally boss. He is the cheese to my", "JUNO\n What?\n\n MAC\n Paulie Bleeker? I didn't know he had \n it in him!", "Vanessa looks pain-stricken as Mark helps Juno with her bag.\n\n EXT. MACGUFF HOUSE - NIGHT\n\n Juno kicks the snow off her shoes before she enters.", "INT. LORING HOUSE - UPSTAIRS HALLWAY - DAY\n\n Juno opens the bathroom door and instantly BUMPS into Mark.", "BLEEKER\n Oh. That's a relief.\n\n Juno walks over to the bed and sits down next to Bleeker.", "Juno RIDES up to a garage where Bleeker is sitting, tuning \n his guitar.\n\n EXT. BLEEKER HOUSE - DAY", "Juno trudges toward her HOUSE. The yard is a wild tangle of \n prairie grass and wild flowers.\n\n INT. MACGUFF HOUSE - JUNO'S BEDROOM - NIGHT", "They stare at her quizzically. Bleeker spots Juno approaching \n and jogs up to the chainlink fence." ], [ "Paulie is on the floor surrounded by old quizzes, studying \n like the tortured brainiac he is. Mrs. Bleeker opens the \n bedroom door. Juno appears. Paulie jumps, startled.", "Paulie climbs onto the hospital bed and carefully puts his \n arm around Juno. She leans into him, letting herself go for \n the first time in months.", "Juno sees him and bursts into sudden, ragged sobs. Mac glances \n at her, alarmed. Paulie moves toward the bed. Mac clears his \n throat, gets up and leaves the room.", "JUNO (V.O.)\n There he was.\n\n Juno looks at the baby in awe, then her eyes begin to \n flutter... and she passes out.", "JUNO\n Oh. It's, well, it's Paulie Bleeker.\n\n Bren and Mac burst into shocked laughter.", "Bleeker's mom escorts Juno wordlessly up the stairs and down \n the hallway to Paulie's bedroom. Juno discreetly tries to", "JUNO (V.O.)\n And then, out of nowhere, there it \n was...\n\n The doctor reveals JUNO'S BABY BOY above the sheet.", "JUNO\n What?\n\n MAC\n Paulie Bleeker? I didn't know he had \n it in him!", "Mark suddenly sees Juno for what she is -- a teenage girl.\n\n MARK\n I'm such an idiot. I can't believe \n what an idiot I am.", "Mark EXAMINES the ultrasound, baffled.\n\n JUNO\n I think it kind of looks like my \n friend, Paulie.", "He nods toward her belly.\n\n MAC\n Obviously.\n\n Juno laughs and hugs her father, planting a smooch on his \n cheek.", "BLEEKER\n It does?\n\n Juno presses Bleeker's hand against her belly.\n\n BLEEKER\n Wizard!", "Juno gives her the FINGER, not breaking the clinch with \n Bleeker.\n\n INT. MACGUFF HOUSE - JUNO'S BEDROOM - MORNING", "Juno heads into the foyer and up the stairs. We see a posed \n photo of Mark and Vanessa in the stairwell. Their house is \n beautiful, but frigid. Juno rubs her arms, shivering.", "We see Juno is in a BIRTHING SUITE at the hospital, pacing \n impatiently, bent over in obvious discomfort. She's wearing", "JUNO\n This is the baby. Your baby.\n\n Vanessa drops the shopping bags, sick with relief.\n\n VANESSA\n Oh my God...", "INT. HOSPITAL - BIRTHING SUITE - LATER\n\n JUNO (V.O.)\n It really didn't hurt that bad having \n him.", "BLEEKER\n (shrugs)\n I don't know...\n\n JUNO\n I'm pregnant.", "It's obvious from Juno's tears and flushed face that she's \n lying. Vanessa instantly goes pale with fear, but she tries \n her hardest to seem serene and \"together\" in front of Juno.", "INT. LORING HOUSE - UPSTAIRS HALLWAY - DAY\n\n Juno opens the bathroom door and instantly BUMPS into Mark." ] ]

[ "How old is Juno?", "Who is it that Juno realizes she is love with?", "Who are Mark and Vanessa?", "What does Juno share in common with Mark?", "What does Juno convince Vanessa to do after she saw the way Vanessa how she was with a child at the shopping mall?", "Why does Mark tell Vanessa he wants a divorce?", "Why did Juno angrily confront Paulie?", "What does the note say that Juno leaves at Vanessa's house?", "After having a heart felt conversation with her father what did Juno realize?", "Who is the main character?", "How old is the main character?", "Who is the main character pregnant by?", "After considering abortion, what does Juno decide to do with the baby?", "Where does Juno and her friend, Leah, look for prespective parents?", "Who does Juno first choose to adopt her baby?", "What do Juno and Mark bond over?", "What does Mark do for a living?", "Why does Mark leave Vanessa?", "Who ends up adopting Juno's baby?", "How old is Mac's daughter when she gets pregnant?", "Where does Juno look for adoptive parents for her baby?", "Which couple did Bren's stepdaughter choose to adopt her baby?", "What interests do Juno and Mark share?", "Which friend helped Juno find adoptive parents?", "Why does Juno get upset with Paulie?", "When did Mark tell his wife he was leaving her?", "What does Juno decide about the baby after learning that the Lorings are separating?", "Where is Paulie while Juno is giving birth?", "When did Paulie realize that Juno was having the baby?" ]

[ [ "She is sixteen years old.", "16" ], [ "Her long time friend and father of her child Paulie.", "Paulie" ], [ "They are the married couple who want to adopt her baby when it is born.", "The couple who agreed to adopt Juno's child" ], [ "They both liked punk rock and horror films.", "A love of punk rock music and scary movies" ], [ "She convinced Vanessa to talk to the baby while in her stomach.", "To talk to the baby in Juno's womb." ], [ "He says he isn't ready to become a father and there are things he still wants to do.", "He is not ready to be a dad yet." ], [ "She got upset when she found out he asked some else to the prom.", "He asked another girl to prom" ], [ "It said if your still in, I'm still in.", "\"Vanessa: If you're still in, I'm still in. - Juno.\"" ], [ "She realized she was in love with Paulie.", "That she is in love with Paulie" ], [ "Juno MacGuff", "Juno Macguff" ], [ "Sixteen", "16" ], [ "Paulie Bleeker", "Paulie." ], [ "Put it up for adoption", "carry it to term and give it up for adoption" ], [ "The Pennysaver", "PennySaver Ads" ], [ "Mark and Vanessa Loring", "Mark and Vanessa Loring." ], [ "Their love for punk rock and horror films", "Punk rock and horror films." ], [ "He works from home composing commercial jingles.", "Writes commercial jingles" ], [ "He isn't ready to be a father", "He isn't ready for fatherhood." ], [ "Vanessa ", "Vanessa Loring" ], [ "16", "16." ], [ "in Pennysaver ads", "In the Pennysaver " ], [ "Vanessa and Mark Loring", "Mark and Vanessa Loring." ], [ "scary movies and punk rock music", "Punk rock and horror films." ], [ "Leah", "Leah" ], [ "he asked someone else to the prom", "He asked another girl to prom" ], [ "Shortly before Juno gave birth", "After telling Juno." ], [ "to still let Vanessa adopt the baby if she wants to do so", "She still wants to give the babe to Vanessa." ], [ "at a track meet", "A track meet." ], [ "after he saw she wasn't in the stands at his track meet", "After the track meet." ] ]

[ [ "Joanna gets to her feet and starts toward the front door. In \n an instant Ted is after her.", "TED\n (he has become an \n armchair lawyer)\n So, naturally, you assume that since \n Joanna left, that would be a \n compelling point against her, right?", "HIS POV\n\n There, standing waiting for him is Joanna.\n\n CLOSE ON TED\n\n His face a mask of cold anger. She crosses to him.", "CROSS-CUTTING BETWEEN THEM:\n\n JOANNA\n (she takes a deep \n breath, then:)\n Ted, I'm leaving you.", "JOANNA\n Ted, you're not listening to me. \n It's over, finished.", "THELMA\n Joanna left Billy? She didn't take \n him with her?\n\n Ted shakes his head. There is a long beat of silence.", "Joanna sits, still not looking at Ted. She holds her face, \n one hand shielding her eyes.\n\n CUT TO:\n\n ON THE JUDGE", "JOANNA\n Yes. I tried to talk to Ted – my ex-\n husband – about it, but he wouldn't", "JOANNA\n (tears start)\n Ted, I can't... I tried... I really \n tried but... I just can't hack it \n anymore...", "JOANNA\n Please, Ted. I never would have \n brought it up if I thought –\n\n TED\n I'm not interested, Joanna. Goodbye.", "THELMA\n (clearly she knows \n more than she's \n willing to say)\n I mean... things. Ted, Joanna's very \n unhappy and –", "Joanna's last ounce of reserve crumbles, she begins to sob. \n Ted puts his arms around her and holds her. They do not kiss. \n Then, after a few moments she steps back.", "Reading Joanna's letter.\n\n THELMA\n Oh, God... OhmyGod...\n\n She finishes the letter, looks up at Ted.", "As they continue to walk. Ted's eyes remain on Joanna. As \n they reach the door to the school, Ted looks at his son.", "JOANNA\n (a deep breath)\n Ted... The reason I wanted to see \n you... I want Billy back.\n\n TED\n You want what?!", "Ted nods in agreement. There is a beat of silence as both \n men consider Joanna's imminent return. Then:", "JOANNA\n (she will be heard)\n Ted, all my life I'd either been", "She is dressed simply and no longer has a tan. Nevertheless, \n Joanna is still stunningly beautiful. HOLD ON HER FOR A BEAT \n as she looks up, smiles.\n\n ON TED", "JOANNA\n (a deep breath, then:)\n Ted, when we got married it was", "TED\n Joanna said that?\n\n Thelma nods.\n\n TED\n Then how come she never said anything \n like that to me?" ], [ "As Ted, carrying Billy, wrapped in his coat, comes barreling \n out of the park, nearly knocking over several people with", "As he grabs his stuff and starts toward the exit of the \n playground.\n\n TED\n (louder)\n Billy?\n\n HIS POV", "Billy hangs back, watching Ted.\n\n TED\n Go on, scoot.\n\n The boy turns and runs back along the beach toward the house.", "CUT TO:\n\n TED'S POV\n\n As the boy, by now a considerable distance away, turns and \n waves.", "The Saturday Father, restless, bored, walking with his \n daughter who is also bored. It is clear that they have nothing \n to say to one another. He looks around, spots Ted, waves and \n starts in his direction.", "HIS POV\n\n Another area of the playground. Billy is nowhere in sight.\n\n WIDER ON TED", "As Ted begins beating a hasty retreat,\n\n CUT TO:\n\n EXT. STREET – DAY\n\n ON TED", "The show is over and the parents and children mill around \n eating popcorn, drinking lemonade from paper cups. Ted stands \n off to one side, talking to the teacher as Billy runs around.", "He turns and starts to walk off down the street, Ted, of \n course, follows.", "ON TED\n\n TRACKING IN FRONT OF HIM as he continues to chase his son.\n\n HIS POV – TRACKING FORWARD", "nearby rocking chair, watching his son. HOLD FOR A BEAT, \n then Ted gets to his feet, walks quietly to the door and \n steps out into the hall, closing the door behind him.", "That is all Ted can manage to say. He gets to his feet and \n rushes for the door.\n\n CUT TO:", "As it pulls to a stop, the doors open and, along with the \n usual flood of mothers and children we SEE Ted and Billy.", "to bear what they are saying. HOLD ON THEM and, as they reach \n the entrance to the park, Billy first, then Ted begin to", "Taking Billy to school. They stop at the entrance, Ted kisses \n his son good-bye and stands for a moment watching as the boy \n runs into the building.\n\n CUT TO:", "As Ted enters. He crosses to Billy's bed where the child is \n fast asleep, sits down on the edge, and starts to rub the \n child's back.", "He holds his son tightly while the doctor stitches up the \n boy's wound. From THIS CAMERA ANGLE we can SEE Ted's face,", "Looking in another direction. Nothing.\n\n WIDE ON TED\n\n Standing among a crowd of people just outside the entrance \n to the playground. He is looking around wildly.", "TRACKING WITH HIM as he lets go of Ted's hand and starts to \n run flat out toward his mother. She kneels, opens her arms", "Then, in the last shot, Ted lets go of the bike and runs \n along just behind. Slowly as Billy gains confidence he speeds \n up, leaving Ted farther and farther behind. Finally, as Billy \n glances over his shoulders." ], [ "THELMA\n (clearly she knows \n more than she's \n willing to say)\n I mean... things. Ted, Joanna's very \n unhappy and –", "JOANNA\n Yes. I tried to talk to Ted – my ex-\n husband – about it, but he wouldn't", "TED\n Joanna said that?\n\n Thelma nods.\n\n TED\n Then how come she never said anything \n like that to me?", "TED\n (he has become an \n armchair lawyer)\n So, naturally, you assume that since \n Joanna left, that would be a \n compelling point against her, right?", "JOANNA\n (she will be heard)\n Ted, all my life I'd either been", "Joanna sits, still not looking at Ted. She holds her face, \n one hand shielding her eyes.\n\n CUT TO:\n\n ON THE JUDGE", "JOANNA\n Please, Ted. I never would have \n brought it up if I thought –\n\n TED\n I'm not interested, Joanna. Goodbye.", "Reading Joanna's letter.\n\n THELMA\n Oh, God... OhmyGod...\n\n She finishes the letter, looks up at Ted.", "Ted nods in agreement. There is a beat of silence as both \n men consider Joanna's imminent return. Then:", "JOANNA\n (a deep breath, then:)\n Ted, when we got married it was", "THELMA\n Joanna left Billy? She didn't take \n him with her?\n\n Ted shakes his head. There is a long beat of silence.", "Joanna gets to her feet and starts toward the front door. In \n an instant Ted is after her.", "HIS POV\n\n There, standing waiting for him is Joanna.\n\n CLOSE ON TED\n\n His face a mask of cold anger. She crosses to him.", "Joanna's last ounce of reserve crumbles, she begins to sob. \n Ted puts his arms around her and holds her. They do not kiss. \n Then, after a few moments she steps back.", "JOANNA\n You can't tell it from a distance, \n Ted.\n\n For the first time he looks up at her.", "JOANNA\n (tears start)\n Ted, I can't... I tried... I really \n tried but... I just can't hack it \n anymore...", "JOANNA\n Ted, you're not listening to me. \n It's over, finished.", "JOANNA\n Hello, Ted. You look well.\n\n TED\n So do you.", "She is dressed simply and no longer has a tan. Nevertheless, \n Joanna is still stunningly beautiful. HOLD ON HER FOR A BEAT \n as she looks up, smiles.\n\n ON TED", "TED\n (speaking quietly)\n When Joanna –\n (to the judge," ], [ "Joanna gets to her feet and takes Billy's hand.\n\n JOANNA\n (to Ted, but looking \n at Billy)\n I'll have him back at six.", "That stops her dead in her tracks. She had always assumed \n that Joanna took Billy with her when she left.", "JOANNA\n (a deep breath)\n Ted... The reason I wanted to see \n you... I want Billy back.\n\n TED\n You want what?!", "THELMA\n Joanna left Billy? She didn't take \n him with her?\n\n Ted shakes his head. There is a long beat of silence.", "JOANNA\n (somewhere between \n laughter and tears)\n Oh, Billy... Oh my Billy... Oh my \n son...\n\n WIDER SHOT", "Joanna stops in the doorway, silhouetted against the light. \n She turns, takes a last look at her son, then steps outside.\n\n CUT TO:", "Note: during this we cross-cut to Joanna, who sits, staring \n at her friend, shaken.", "About half a block away Joanna paces back and forth. She \n hasn't seen them and it is clear that she is as nervous as \n they are.", "HIS POV\n\n There, standing in the window, watching, is Joanna.\n\n ON TED AND BILLY", "JOANNA\n No you didn't.\n (quietly)\n You didn't even ask about Billy.", "JOANNA\n (intense)\n I love you, Billy...\n\n BILLY\n (drowsy)\n I love you too, mommy... Good-night...", "CLOSEUP BILLY\n\n As he spots his mother.\n\n BILLY\n Mommy!\n\n QUICK CUT: JOANNA", "Closer now, we can SEE that ahead of Billy is a woman that, \n from behind, looks remarkably like Joanna.\n\n CLOSER ON TED", "she didn't leave a lot sooner was \n because she loves you so much. Joanna \n stayed until she couldn't stand me", "will be able to see the picture of Joanna when he wakes up \n in the morning. He sits for a moment longer on the side of", "JOANNA\n Yes... How's Billy?\n\n ON TED\n\n The question he has been dreading.", "This is the first time since Joanna left that this has \n occurred to him.\n\n TED\n Mrs. Willewska, could you start on \n Monday?", "CUT TO:\n\n INT. JOANNA'S APT. – DAY\n\n ON HER\n\n As she finishes reading the letter.", "carrying. He crosses to another table, picks up a framed \n photograph of Joanna and Billy and piles that on top of \n everything. We realize that Ted is going through the apartment", "ON JOANNA\n\n She gets up from the bed and starts toward the door of the \n child's room.\n\n JOANNA\n Sleep tight..." ], [ "INT. OFFICE, TED'S AGENCY – DAY\n\n ON THE ELEVATOR DOORS", "TED\n (not losing his cool)\n Technically, the agency lost a big \n account and seventy four people were \n let go. I was one of them.", "Ted stands inside, talking on the phone. AS THE CAMERA DOLLIES \n IN CLOSER, he hangs up the receiver and takes the employment", "That is all Ted can manage to say. He gets to his feet and \n rushes for the door.\n\n CUT TO:", "FADE TO BLACK:\n\n INT. TED'S OFFICE – LATE AFTERNOON\n\n ON TED", "Ted nods, walks over to the desk and begins collecting \n paperwork to do over the weekend. As he does, Billy goes \n through the office, sitting in every chair, looking in every \n drawer.", "ON TED\n\n He realizes that they have lost.\n\n TED\n Oh, Christ!", "Ted is sitting at the dining room table, working. Spread out \n all across the table are layouts, rate sheets, etc., etc.", "Ted stands at the ocean's edge, his back to CAMERA, weeping.\n\n FADE TO BLACK:", "JUMP CUT TO:\n\n WIDER SHOT\n\n Ted stands helpless, watching them leave.\n\n JUMP CUT TO:", "The room is empty, the door stands open and Ted is gone.\n\n O'CONNOR'S VOICE\n Ted?...\n\n CUT TO:", "Note: Ted does not for a moment believe that his wife will \n really leave him. All he can think of right now is that he \n will have to spend the rest of the evening coping with one \n of her moods.", "The Saturday Father, restless, bored, walking with his \n daughter who is also bored. It is clear that they have nothing \n to say to one another. He looks around, spots Ted, waves and \n starts in his direction.", "Note: It is this same set of notes that Ted will later \n unthinkingly throw away.\n\n CUT TO:", "Ted sits across from the interviewer, a polished young man \n in his middle twenties, very efficient, he sounds a bit like \n a tape recording.", "TED\n Yes, but I'm with J. Walter Thompson \n now. I don't think that will happen \n again.", "As Ted begins beating a hasty retreat,\n\n CUT TO:\n\n EXT. STREET – DAY\n\n ON TED", "By now they have reached Billy's room. Ted dumps him on the \n bed unceremoniously and starts out of the room.", "Ted gets to his feet and starts toward the foyer.\n\n CUT TO:\n\n INT. FOYER – DAY", "TED\n (embarrassed at being \n caught)\n Oh, yeah...\n\n Reluctantly, Ted leaves, closing the door behind him." ], [ "There is a long beat of silence as Billy thinks about this.\n\n Clearly an enormous burden has been lifted from his shoulders.\n\n Finally:", "it and wipes the child's chin. Now satisfied, he takes Billy's \n hand and they continue. Suddenly:", "Kim screams at the sight of the blood.\n\n BILLY\n (terrified)\n Daddy!\n\n CUT TO:", "His face reveals all of the pain that Billy's can't.\n\n CUT TO:\n\n INT. CLASSROOM, NURSERY SCHOOL – DAY", "As they start toward the child's room.\n\n CUT TO:\n\n INT. BILLY'S ROOM – NIGHT", "BILLY\n (tentatively)\n Daddy?\n\n TED\n (all anger gone)\n Yeah?", "Agitated. This is not what he wanted to hear.\n\n TED\n But she signed over custody. Here...", "SHAUNESSY\n First, there's no such thing as an \n open and shut case. Especially where \n custody is involved. Got it?\n\n Ted nods.", "Joanna gets to her feet and takes Billy's hand.\n\n JOANNA\n (to Ted, but looking \n at Billy)\n I'll have him back at six.", "Billy immediately turns on his heels and heads back into the \n bathroom.\n\n CUT TO:", "TED\n (shaking his head)\n No.\n\n CLOSE ON BILLY\n\n There is a long pause, then:", "Then, in the last shot, Ted lets go of the bike and runs \n along just behind. Slowly as Billy gains confidence he speeds \n up, leaving Ted farther and farther behind. Finally, as Billy \n glances over his shoulders.", "punished for that. Billy's only six. \n He needs me. I'm not saying he doesn't \n need his father, but he needs me", "By now they have reached Billy's room. Ted dumps him on the \n bed unceremoniously and starts out of the room.", "It is late, only a few lights are still on.\n\n CUT TO:\n\n INT. BILLY'S ROOM – NIGHT", "It opens and Billy and Mrs. Willewska enter. Billy sees Ted \n and rushes across to him.", "Ted gets to his feet, starts for the door.\n\n TED\n Now go to sleep. It's very late.\n\n BILLY\n Good night.", "involved time. He reads to Billy. \n They play together. They talk all \n the time...\n (tears start)", "That stops her dead in her tracks. She had always assumed \n that Joanna took Billy with her when she left.", "CUT TO:\n\n EXT. BEACH – DAY\n\n It is a clear, cold beautiful winter's day. Ted and Billy \n walk" ], [ "That stops her dead in her tracks. She had always assumed \n that Joanna took Billy with her when she left.", "...he has decided that it would be \n best for you to live with your mom \n Joanna in her apartment.\n (fake cheerful)", "JOANNA\n (a deep breath)\n Ted... The reason I wanted to see \n you... I want Billy back.\n\n TED\n You want what?!", "And Joanna if you ever saw them \n together... there wouldn't be a trial \n at all...\n (she breaks down,", "to matter here is what's best for \n Billy... When Joanna said why \n shouldn't a woman have the same", "Joanna gets to her feet and takes Billy's hand.\n\n JOANNA\n (to Ted, but looking \n at Billy)\n I'll have him back at six.", "Joanna sits, still not looking at Ted. She holds her face, \n one hand shielding her eyes.\n\n CUT TO:\n\n ON THE JUDGE", "TED\n (he has become an \n armchair lawyer)\n So, naturally, you assume that since \n Joanna left, that would be a \n compelling point against her, right?", "JOANNA\n Because he's my child... Because I \n love him. I know I left my son, I", "THELMA\n Joanna left Billy? She didn't take \n him with her?\n\n Ted shakes his head. There is a long beat of silence.", "JOANNA\n No you didn't.\n (quietly)\n You didn't even ask about Billy.", "He's called a judge. And a judge has \n a lot of experience with divorces \n and he decides who it would be best", "punished for that. Billy's only six. \n He needs me. I'm not saying he doesn't \n need his father, but he needs me", "JOANNA\n (somewhere between \n laughter and tears)\n Oh, Billy... Oh my Billy... Oh my \n son...\n\n WIDER SHOT", "JOANNA\n Because my son is here. And his father \n is here. As a mother, I don't want \n my child to be separated from his \n father.", "And with that he hands both the judge and Shaunessy a thick \n sheaf of papers. Then, turning his attention back to Joanna:", "CLOSEUP BILLY\n\n As he spots his mother.\n\n BILLY\n Mommy!\n\n QUICK CUT: JOANNA", "JOANNA\n (quiet, determined)\n I've learned that I want my son.\n\n ON TED\n\n He reacts as though he has been slapped.", "SHAUNESSY\n That's tough. In most cases involving \n a child that young, the court tends \n to side with the mother.\n\n ON TED", "SHAUNESSY\n First, there's no such thing as an \n open and shut case. Especially where \n custody is involved. Got it?\n\n Ted nods." ], [ "ON TED\n\n He realizes that they have lost.\n\n TED\n Oh, Christ!", "That is all Ted can manage to say. He gets to his feet and \n rushes for the door.\n\n CUT TO:", "TED\n (shaking his head)\n No.\n\n CLOSE ON BILLY\n\n There is a long pause, then:", "Note: Ted does not for a moment believe that his wife will \n really leave him. All he can think of right now is that he \n will have to spend the rest of the evening coping with one \n of her moods.", "Silence.\n\n TED\n I know how you feel.\n\n Silence.\n\n Ted crosses, sits on the edge of the bed.", "Joanna sits, still not looking at Ted. She holds her face, \n one hand shielding her eyes.\n\n CUT TO:\n\n ON THE JUDGE", "Shaken, she gets down from the witness stand, crosses to the \n petitioner's table without looking at Ted. She sits, leans \n across to her lawyer and whispers something in his ear. As \n he nods...", "TED\n (the defense attorney)\n Objection. You're leading the witness.\n\n BILLY (O.S.)\n Sure.", "CUT TO:\n\n INT. COURTROOM – DAY\n\n ON TED KRAMER\n\n Sitting in the witness stand.", "He is thoughtful for a moment, like a man trying to decide \n whether or not to drop the bomb. Then, turning back to Ted:", "JUMP CUT TO:\n\n WIDER SHOT\n\n Ted stands helpless, watching them leave.\n\n JUMP CUT TO:", "There is a long pause as she looks at Ted, unable to speak.\n\n Finally:", "Silence. She still cannot look at him.\n\n TED\n Look, if it's too much responsibility \n –\n\n Thelma nods, unable to speak.", "JUDGE\n (before Ted can say \n anything)\n No, counselor, I'm going to over-\n rule you on this line of questioning.", "Clearly he doesn't believe this.\n\n O'CONNOR\n I hope you're right, Ted... I really \n hope you're right.", "TED\n You're sure?\n\n She nods again.\n\n TED\n Thank you, Thel. Thank you very much.", "ON TED\n\n Not very reassured.\n\n O'CONNOR\n Trust me on this one, Ted...\n\n CUT TO:", "Eyes wide. He starts to get up.\n\n TED\n Objection.\n\n BILLY (O.S.)\n Sure. Lots of times.", "Ted stands at the ocean's edge, his back to CAMERA, weeping.\n\n FADE TO BLACK:", "BILLY\n Why does he decide?\n\n TED\n Because... Well, that's what he does. \n He's a very powerful man." ], [ "That stops her dead in her tracks. She had always assumed \n that Joanna took Billy with her when she left.", "JOANNA\n (a deep breath)\n Ted... The reason I wanted to see \n you... I want Billy back.\n\n TED\n You want what?!", "Joanna gets to her feet and takes Billy's hand.\n\n JOANNA\n (to Ted, but looking \n at Billy)\n I'll have him back at six.", "JOANNA\n No you didn't.\n (quietly)\n You didn't even ask about Billy.", "THELMA\n Joanna left Billy? She didn't take \n him with her?\n\n Ted shakes his head. There is a long beat of silence.", "JOANNA\n (somewhere between \n laughter and tears)\n Oh, Billy... Oh my Billy... Oh my \n son...\n\n WIDER SHOT", "JOANNA\n Because my son is here. And his father \n is here. As a mother, I don't want \n my child to be separated from his \n father.", "JOANNA\n Because he's my child... Because I \n love him. I know I left my son, I", "And Joanna if you ever saw them \n together... there wouldn't be a trial \n at all...\n (she breaks down,", "to matter here is what's best for \n Billy... When Joanna said why \n shouldn't a woman have the same", "TED\n (stiffening)\n What about Billy?\n\n JOANNA\n I'm not taking him with me.", "Joanna sits, still not looking at Ted. She holds her face, \n one hand shielding her eyes.\n\n CUT TO:\n\n ON THE JUDGE", "JOANNA\n (quiet, determined)\n I've learned that I want my son.\n\n ON TED\n\n He reacts as though he has been slapped.", "JOANNA\n (firm)\n I want my son. I'm through sitting \n in coffee shops looking at him from \n across the street. I want my son.", "Joanna stops in the doorway, silhouetted against the light. \n She turns, takes a last look at her son, then steps outside.\n\n CUT TO:", "HIS POV\n\n There, standing in the window, watching, is Joanna.\n\n ON TED AND BILLY", "Joanna's last ounce of reserve crumbles, she begins to sob. \n Ted puts his arms around her and holds her. They do not kiss. \n Then, after a few moments she steps back.", "Note: during this we cross-cut to Joanna, who sits, staring \n at her friend, shaken.", "JOANNA\n (intense)\n I love you, Billy...\n\n BILLY\n (drowsy)\n I love you too, mommy... Good-night...", "JOANNA\n (pleading)\n NO!... Please... Please don't make" ], [ "Note: Throughout the following, we continually CROSS-CUT to \n Ted Kramer, leaning forward, listening intently. It becomes \n evident that, in spite of himself, there are moments he feels \n great compassion for Joanna.", "CUT TO:\n\n INT. TED KRAMER'S OFFICE – DAY", "CUT TO:\n\n INT. TED KRAMER'S OFFICE – DAY", "CUT TO:\n\n INT. COURTROOM – DAY\n\n ON TED KRAMER\n\n Sitting in the witness stand.", "INT. TED KRAMER'S BEDROOM – LATE AT NIGHT\n\n ON THE BED", "CUT TO:\n\n INT. KITCHEN – TED KRAMER'S APT. – EARLY MORNING\n\n ON TED", "GRESSEN\n Now then, Mr. O'Connor, how long did \n Ted Kramer work for you?\n\n O'CONNOR\n Eight, almost nine years.", "EXT. STREET – MORNING\n\n ON TED KRAMER", "As it pulls to a stop. The doors open and a stream of mothers \n and children get off. Among them we spot Ted Kramer with", "Ted Kramer, the phone cradled against his ear is cleaning up \n the remains of one of Billy's attempts to make the perfect \n peanut butter sandwich.\n\n CLOSE ON TED", "At the moment, TED KRAMER, nice-looking without being what \n you would call a matinee idol, paces back and forth. His tie", "ON TED KRAMER\n\n He stands for a moment, stunned, unable to move. Then he \n turns and races back into the apartment.", "Across the room eighteen to twenty mothers (Ted Kramer is \n the only man present) are gathered, sitting on tiny chairs \n and at work tables watching as their children put on a show.\n\n ON BILLY", "SEE Ted Kramer, a tiny figure among hundreds, coming out of \n the subway. He crosses the street and starts up the steps of \n the large and forbidding courthouse.", "CUT TO:\n\n EXT. TED KRAMER'S APT. HOUSE – EVENING\n\n ESTABLISHING SHOT", "As the door swings open to reveal Ted Kramer, an enormous \n grin on his face, a bottle of champagne in his hand. He is \n so full of himself that he doesn't notice there is anything \n wrong.", "WIDE SHOT\n\n Ted Kramer paces back and forth, eyeing the phone. Then, \n coming to a decision, he crosses to it, picks up the receiver \n and starts to dial.", "\"KRAMER VS. KRAMER\"\n\n by\n\n Robert Benton\n\n \n\n FADE IN:", "Ted – Mr. Kramer, spends a great \n deal of time with his child. I don't \n just mean hours, I mean good time,", "comes welling up. What if he pushed too hard? What will he \n do if he doesn't get a job? If Ted Kramer could fall to his \n knees and pray, he would." ], [ "Note: Ted does not for a moment believe that his wife will \n really leave him. All he can think of right now is that he \n will have to spend the rest of the evening coping with one \n of her moods.", "Thelma nods.\n\n TED\n (conflicting emotions)\n Hey, that's terrific.", "There is a long pause as she looks at Ted, unable to speak.\n\n Finally:", "Ted nods in agreement. There is a beat of silence as both \n men consider Joanna's imminent return. Then:", "A look of total pleasure on his face. From time to time when \n Billy does something particularly difficult, Ted nudges the \n woman next to him.", "Suddenly a younger man rushes up, grabs Ted's hand and starts \n to pump it vigorously.\n\n YOUNG MAN\n Terrific news, Ted.", "Shaken, she gets down from the witness stand, crosses to the \n petitioner's table without looking at Ted. She sits, leans \n across to her lawyer and whispers something in his ear. As \n he nods...", "He stops what he is doing, turns to her.\n\n TED\n And?", "They open and Thelma steps out. She runs to the door, begins \n to knock.\n\n THELMA\n (calling out)\n Ted!... It's me... Ted?...", "TED\n You're sure?\n\n She nods again.\n\n TED\n Thank you, Thel. Thank you very much.", "She glances up to ask Ted a question about some point or \n other, notices the direction of his gaze and, unself-\n consciously buttons up her blouse.", "They listen for a moment, then:\n\n TED\n Look at us, Joanna. Just like any \n old married couple having dinner. \n Who would believe it.", "TED\n Like that?!\n\n Phyllis nods.\n\n TED\n And?", "JOANNA\n You can't tell it from a distance, \n Ted.\n\n For the first time he looks up at her.", "She breaks off, uncertain whether or not to go on. Then, \n making up her mind, she reaches across, takes Ted's scotch \n and soda and drinks half of it down in one gulp.", "That is all Ted can manage to say. He gets to his feet and \n rushes for the door.\n\n CUT TO:", "Thelma having washed and dried the dishes is now wiping off \n the top of the counter top, more to keep busy than anything \n else. She looks around as Ted enters.", "TED\n (stunned)\n What?!?\n\n Phyllis nods.", "TED\n (weary)\n I'll call Thelma and remind her, \n okay? Don't worry.\n\n They walk in silence for a few steps, then:", "Instantly, Ted is on his feet, yelling.\n\n TED\n Goddamnit, can't you watch what you're \n doing!" ], [ "TED\n (he has become an \n armchair lawyer)\n So, naturally, you assume that since \n Joanna left, that would be a \n compelling point against her, right?", "Joanna gets to her feet and starts toward the front door. In \n an instant Ted is after her.", "THELMA\n Joanna left Billy? She didn't take \n him with her?\n\n Ted shakes his head. There is a long beat of silence.", "JOANNA\n Ted, you're not listening to me. \n It's over, finished.", "JOANNA\n (tears start)\n Ted, I can't... I tried... I really \n tried but... I just can't hack it \n anymore...", "HIS POV\n\n There, standing waiting for him is Joanna.\n\n CLOSE ON TED\n\n His face a mask of cold anger. She crosses to him.", "CROSS-CUTTING BETWEEN THEM:\n\n JOANNA\n (she takes a deep \n breath, then:)\n Ted, I'm leaving you.", "Joanna's last ounce of reserve crumbles, she begins to sob. \n Ted puts his arms around her and holds her. They do not kiss. \n Then, after a few moments she steps back.", "JOANNA\n Yes. I tried to talk to Ted – my ex-\n husband – about it, but he wouldn't", "JOANNA\n Please, Ted. I never would have \n brought it up if I thought –\n\n TED\n I'm not interested, Joanna. Goodbye.", "Joanna sits, still not looking at Ted. She holds her face, \n one hand shielding her eyes.\n\n CUT TO:\n\n ON THE JUDGE", "THELMA\n (clearly she knows \n more than she's \n willing to say)\n I mean... things. Ted, Joanna's very \n unhappy and –", "Reading Joanna's letter.\n\n THELMA\n Oh, God... OhmyGod...\n\n She finishes the letter, looks up at Ted.", "As they continue to walk. Ted's eyes remain on Joanna. As \n they reach the door to the school, Ted looks at his son.", "JOANNA\n (a deep breath)\n Ted... The reason I wanted to see \n you... I want Billy back.\n\n TED\n You want what?!", "Ted nods in agreement. There is a beat of silence as both \n men consider Joanna's imminent return. Then:", "TED\n Joanna said that?\n\n Thelma nods.\n\n TED\n Then how come she never said anything \n like that to me?", "JOANNA\n (she will be heard)\n Ted, all my life I'd either been", "JOANNA\n (a deep breath, then:)\n Ted, when we got married it was", "She is dressed simply and no longer has a tan. Nevertheless, \n Joanna is still stunningly beautiful. HOLD ON HER FOR A BEAT \n as she looks up, smiles.\n\n ON TED" ], [ "He is covered with Billy's blood, it is on his face, his \n shirt, his trousers. At the moment 'he stands helpless, \n watching as, Off-Screen, a surgeon examines Billy's wound.", "Watching, horrified.\n\n ON BILLY\n\n As he hits the concrete.\n\n ON TED", "BILLY\n (starting to help)\n I'm sorry.\n\n By now there is nothing the boy can do right.", "it and wipes the child's chin. Now satisfied, he takes Billy's \n hand and they continue. Suddenly:", "Billy's foot, as he trips.\n\n ON BILLY\n\n As he starts to fall, still holding onto the airplane.\n\n QUICK CUT: TED", "HOLD ON BILLY\n\n As he wakes up, struggles to his feet.", "There is a long beat of silence as Billy thinks about this.\n\n Clearly an enormous burden has been lifted from his shoulders.\n\n Finally:", "By now they have reached Billy's room. Ted dumps him on the \n bed unceremoniously and starts out of the room.", "Billy immediately turns on his heels and heads back into the \n bathroom.\n\n CUT TO:", "It is late, only a few lights are still on.\n\n CUT TO:\n\n INT. BILLY'S ROOM – NIGHT", "CUT TO:\n\n INT. BILLY'S ROOM – NIGHT\n\n TED'S POV", "He leaps to his feet, starts toward the boy.\n\n ON BILLY\n\n As he looks up.", "CUT TO:\n\n INT. BILLY'S ROOM – EARLY MORNING\n\n MEDIUM SHOT ON BILLY", "It is that same afternoon and Billy (his clothes are much \n dirtier by now) is running back and forth with a group of \n other children.", "He is out of his chair like a shot, crosses to Billy and \n jerks him to his feet.\n\n TED\n (yelling)\n Goddamnit! Go to your room!", "Kim screams at the sight of the blood.\n\n BILLY\n (terrified)\n Daddy!\n\n CUT TO:", "His face reveals all of the pain that Billy's can't.\n\n CUT TO:\n\n INT. CLASSROOM, NURSERY SCHOOL – DAY", "BILLY\n No!\n\n By now both of them are out of control.", "BILLY\n (at the top of his \n voice)\n Owwww... You're hurting me... You're \n hurting me... I hate you... I hate \n you...", "involved time. He reads to Billy. \n They play together. They talk all \n the time...\n (tears start)" ], [ "He is covered with Billy's blood, it is on his face, his \n shirt, his trousers. At the moment 'he stands helpless, \n watching as, Off-Screen, a surgeon examines Billy's wound.", "it and wipes the child's chin. Now satisfied, he takes Billy's \n hand and they continue. Suddenly:", "Billy immediately turns on his heels and heads back into the \n bathroom.\n\n CUT TO:", "CUT TO:\n\n INT. BILLY'S ROOM – NIGHT\n\n TED'S POV", "Watching, horrified.\n\n ON BILLY\n\n As he hits the concrete.\n\n ON TED", "HOLD ON BILLY\n\n As he wakes up, struggles to his feet.", "By now they have reached Billy's room. Ted dumps him on the \n bed unceremoniously and starts out of the room.", "It is late, only a few lights are still on.\n\n CUT TO:\n\n INT. BILLY'S ROOM – NIGHT", "There is a long beat of silence as Billy thinks about this.\n\n Clearly an enormous burden has been lifted from his shoulders.\n\n Finally:", "He leaps to his feet, starts toward the boy.\n\n ON BILLY\n\n As he looks up.", "BILLY\n (starting to help)\n I'm sorry.\n\n By now there is nothing the boy can do right.", "CUT TO:\n\n INT. BILLY'S ROOM – EARLY MORNING\n\n MEDIUM SHOT ON BILLY", "His face reveals all of the pain that Billy's can't.\n\n CUT TO:\n\n INT. CLASSROOM, NURSERY SCHOOL – DAY", "Billy's foot, as he trips.\n\n ON BILLY\n\n As he starts to fall, still holding onto the airplane.\n\n QUICK CUT: TED", "Kim screams at the sight of the blood.\n\n BILLY\n (terrified)\n Daddy!\n\n CUT TO:", "the needle and surgical thread as it moves into and out of \n view with a slow, steady rhythm. Billy's hand clutches Ted's \n so tightly that the knuckles are white.", "BILLY\n (at the top of his \n voice)\n Owwww... You're hurting me... You're \n hurting me... I hate you... I hate \n you...", "He removes the photograph from the drawer, crosses to the \n bed and places it on the nightstand nearby so that Billy", "He is out of his chair like a shot, crosses to Billy and \n jerks him to his feet.\n\n TED\n (yelling)\n Goddamnit! Go to your room!", "Billy gets to his feet, collects his stuff and walks into \n his bedroom. HOLD ON TED who sits for a moment, then gets" ], [ "Joanna gets to her feet and takes Billy's hand.\n\n JOANNA\n (to Ted, but looking \n at Billy)\n I'll have him back at six.", "That stops her dead in her tracks. She had always assumed \n that Joanna took Billy with her when she left.", "JOANNA\n (a deep breath)\n Ted... The reason I wanted to see \n you... I want Billy back.\n\n TED\n You want what?!", "JOANNA\n (somewhere between \n laughter and tears)\n Oh, Billy... Oh my Billy... Oh my \n son...\n\n WIDER SHOT", "THELMA\n Joanna left Billy? She didn't take \n him with her?\n\n Ted shakes his head. There is a long beat of silence.", "Note: during this we cross-cut to Joanna, who sits, staring \n at her friend, shaken.", "Closer now, we can SEE that ahead of Billy is a woman that, \n from behind, looks remarkably like Joanna.\n\n CLOSER ON TED", "HIS POV\n\n There, standing in the window, watching, is Joanna.\n\n ON TED AND BILLY", "CLOSEUP BILLY\n\n As he spots his mother.\n\n BILLY\n Mommy!\n\n QUICK CUT: JOANNA", "JOANNA\n No you didn't.\n (quietly)\n You didn't even ask about Billy.", "Joanna stops in the doorway, silhouetted against the light. \n She turns, takes a last look at her son, then steps outside.\n\n CUT TO:", "JOANNA\n (intense)\n I love you, Billy...\n\n BILLY\n (drowsy)\n I love you too, mommy... Good-night...", "carrying. He crosses to another table, picks up a framed \n photograph of Joanna and Billy and piles that on top of \n everything. We realize that Ted is going through the apartment", "Joanna sits, still not looking at Ted. She holds her face, \n one hand shielding her eyes.\n\n CUT TO:\n\n ON THE JUDGE", "About half a block away Joanna paces back and forth. She \n hasn't seen them and it is clear that she is as nervous as \n they are.", "will be able to see the picture of Joanna when he wakes up \n in the morning. He sits for a moment longer on the side of", "And Joanna if you ever saw them \n together... there wouldn't be a trial \n at all...\n (she breaks down,", "There is a long beat of silence as Billy thinks about this.\n\n Clearly an enormous burden has been lifted from his shoulders.\n\n Finally:", "HIS POV\n\n There, standing waiting for him is Joanna.\n\n CLOSE ON TED\n\n His face a mask of cold anger. She crosses to him.", "Joanna gets to her feet and starts toward the front door. In \n an instant Ted is after her." ], [ "it and wipes the child's chin. Now satisfied, he takes Billy's \n hand and they continue. Suddenly:", "There is a long beat of silence as Billy thinks about this.\n\n Clearly an enormous burden has been lifted from his shoulders.\n\n Finally:", "His face reveals all of the pain that Billy's can't.\n\n CUT TO:\n\n INT. CLASSROOM, NURSERY SCHOOL – DAY", "As they start toward the child's room.\n\n CUT TO:\n\n INT. BILLY'S ROOM – NIGHT", "Agitated. This is not what he wanted to hear.\n\n TED\n But she signed over custody. Here...", "By now they have reached Billy's room. Ted dumps him on the \n bed unceremoniously and starts out of the room.", "They cross to the door of Billy's room. Ted opens it.\n\n INT. BILLY'S ROOM – DAY\n\n THEIR POV", "SHAUNESSY\n First, there's no such thing as an \n open and shut case. Especially where \n custody is involved. Got it?\n\n Ted nods.", "Joanna gets to her feet and takes Billy's hand.\n\n JOANNA\n (to Ted, but looking \n at Billy)\n I'll have him back at six.", "BILLY\n (tentatively)\n Daddy?\n\n TED\n (all anger gone)\n Yeah?", "Billy immediately turns on his heels and heads back into the \n bathroom.\n\n CUT TO:", "Kim screams at the sight of the blood.\n\n BILLY\n (terrified)\n Daddy!\n\n CUT TO:", "punished for that. Billy's only six. \n He needs me. I'm not saying he doesn't \n need his father, but he needs me", "TED\n (shaking his head)\n No.\n\n CLOSE ON BILLY\n\n There is a long pause, then:", "It opens and Billy and Mrs. Willewska enter. Billy sees Ted \n and rushes across to him.", "the petitioner be awarded custody of \n the minor child, effective Monday \n the 23rd of January. That the \n respondent pay for the maintenance", "That stops her dead in her tracks. She had always assumed \n that Joanna took Billy with her when she left.", "He's called a judge. And a judge has \n a lot of experience with divorces \n and he decides who it would be best", "As Ted, carrying Billy, wrapped in his coat, comes barreling \n out of the park, nearly knocking over several people with", "Eyes wide. He starts to get up.\n\n TED\n Objection.\n\n BILLY (O.S.)\n Sure. Lots of times." ], [ "They cross to the door of Billy's room. Ted opens it.\n\n INT. BILLY'S ROOM – DAY\n\n THEIR POV", "By now they have reached Billy's room. Ted dumps him on the \n bed unceremoniously and starts out of the room.", "WIDE SHOT\n\n As Ted, now fully dressed, wearing a dark blue suit, white \n shirt, conservative tie, leans over Billy and wakes him.", "EXT. STREET – DAY\n\n ON TED AND BILLY", "CUT TO:\n\n EXT. BEACH – DAY\n\n It is a clear, cold beautiful winter's day. Ted and Billy \n walk", "Ted gets to his feet, starts for the door.\n\n TED\n Now go to sleep. It's very late.\n\n BILLY\n Good night.", "And they start off in the opposite direction.\n\n ON TED\n\n Realizing that Billy has not said good-bye, has not looked \n at him once.", "As Ted enters. He crosses to Billy's bed where the child is \n fast asleep, sits down on the edge, and starts to rub the \n child's back.", "Billy gets to his feet, collects his stuff and walks into \n his bedroom. HOLD ON TED who sits for a moment, then gets", "Ted stops, turns to Billy and gives him a last-minute check. \n Then, spotting a smudge he takes his handkerchief, spits on", "Billy hangs back, watching Ted.\n\n TED\n Go on, scoot.\n\n The boy turns and runs back along the beach toward the house.", "As it pulls to a stop, the doors open and, along with the \n usual flood of mothers and children we SEE Ted and Billy.", "REACTION – BILLY\n\n Terrified.\n\n WIDE SHOT\n\n As Ted kneels down and begins to clean up the mess.", "Billy lies sprawled across the bed, all tangled up in the \n covers.\n\n ON TED\n\n As he crosses to the sleeping child and starts to straighten \n the covers.", "At the moment, Ted is trying to teach Billy how to bat.", "He starts to crawl into bed.\n\n BILLY\n (aloof)\n 'Night.\n\n ON TED", "As Ted goes through the room, picking up Billy's clothes \n which have been strewn every which way.\n\n THE CAMERA TRACKS WITH HIM as he carries them into Billy's \n room.", "This brings Ted all the way to his feet. He starts across \n the living room headed for the door to Billy's room.", "Ted nods, walks over to the desk and begins collecting \n paperwork to do over the weekend. As he does, Billy goes \n through the office, sitting in every chair, looking in every \n drawer.", "As Ted grabs a picture of Billy from his desk, takes his \n jacket and coat and stalks out the door.\n\n CUT TO:" ], [ "As they continue to walk. Ted's eyes remain on Joanna. As \n they reach the door to the school, Ted looks at his son.", "JOANNA\n You can't tell it from a distance, \n Ted.\n\n For the first time he looks up at her.", "HIS POV\n\n There, standing waiting for him is Joanna.\n\n CLOSE ON TED\n\n His face a mask of cold anger. She crosses to him.", "Joanna sits, still not looking at Ted. She holds her face, \n one hand shielding her eyes.\n\n CUT TO:\n\n ON THE JUDGE", "TED\n Do you want me to help you get a \n cab?\n\n Joanna shakes her head. The elevator door closes behind her \n and it starts to descend.", "She is dressed simply and no longer has a tan. Nevertheless, \n Joanna is still stunningly beautiful. HOLD ON HER FOR A BEAT \n as she looks up, smiles.\n\n ON TED", "JOANNA\n Hello, Ted. You look well.\n\n TED\n So do you.", "Ted nods in agreement. There is a beat of silence as both \n men consider Joanna's imminent return. Then:", "JOANNA'S VOICE\n Ted, it's Joanna. Can you meet me in \n the lobby?... Alone?\n\n And she hangs up before he can answer.", "TED\n Joanna said that?\n\n Thelma nods.\n\n TED\n Then how come she never said anything \n like that to me?", "As he comes out of the building, starts down the steps.\n\n JOANNA (O.S.)\n Ted.\n\n He stops, turns:", "INT. LOBBY – DAY\n\n ON THE ELEVATOR DOORS\n\n As they open, Ted steps out, looks around.\n\n HIS POV", "Reading Joanna's letter.\n\n THELMA\n Oh, God... OhmyGod...\n\n She finishes the letter, looks up at Ted.", "INT. HALLWAY – APARTMENT BLDG. – LATE AFTERNOON\n\n The elevator doors open and Ted steps out.", "There is a self-conscious pause. From the bar, the piano \n player begins playing a new song. From Ted and Joanna's \n reaction, it is clearly a song that has meant a great deal \n to them in the past.", "JOANNA\n I don't know...\n\n The elevator door opens, Joanna steps inside.", "Joanna gets to her feet and starts toward the front door. In \n an instant Ted is after her.", "The lobby is dark, the only light coming from the window. \n Joanna sits off to one side, wearing sunglasses. She looks \n up as Ted approaches, a small smile on her face.", "Joanna's last ounce of reserve crumbles, she begins to sob. \n Ted puts his arms around her and holds her. They do not kiss. \n Then, after a few moments she steps back.", "ON THE DOOR\n\n As Ted enters, looks around. The Maitre d'hotel approaches. \n From his attitude, it is clear that Ted and Joanna were \n regular customers." ], [ "Note: Throughout the following, we continually CROSS-CUT to \n Ted Kramer, leaning forward, listening intently. It becomes \n evident that, in spite of himself, there are moments he feels \n great compassion for Joanna.", "CUT TO:\n\n INT. TED KRAMER'S OFFICE – DAY", "CUT TO:\n\n INT. TED KRAMER'S OFFICE – DAY", "CUT TO:\n\n INT. COURTROOM – DAY\n\n ON TED KRAMER\n\n Sitting in the witness stand.", "INT. TED KRAMER'S BEDROOM – LATE AT NIGHT\n\n ON THE BED", "GRESSEN\n Now then, Mr. O'Connor, how long did \n Ted Kramer work for you?\n\n O'CONNOR\n Eight, almost nine years.", "CUT TO:\n\n INT. KITCHEN – TED KRAMER'S APT. – EARLY MORNING\n\n ON TED", "Ted Kramer, the phone cradled against his ear is cleaning up \n the remains of one of Billy's attempts to make the perfect \n peanut butter sandwich.\n\n CLOSE ON TED", "ON TED KRAMER\n\n He stands for a moment, stunned, unable to move. Then he \n turns and races back into the apartment.", "As it pulls to a stop. The doors open and a stream of mothers \n and children get off. Among them we spot Ted Kramer with", "EXT. STREET – MORNING\n\n ON TED KRAMER", "SEE Ted Kramer, a tiny figure among hundreds, coming out of \n the subway. He crosses the street and starts up the steps of \n the large and forbidding courthouse.", "ALVAREZ\n Mr. Kramer?\n\n TED\n Yes?", "CUT TO:\n\n EXT. TED KRAMER'S APT. HOUSE – EVENING\n\n ESTABLISHING SHOT", "comes welling up. What if he pushed too hard? What will he \n do if he doesn't get a job? If Ted Kramer could fall to his \n knees and pray, he would.", "Across the room eighteen to twenty mothers (Ted Kramer is \n the only man present) are gathered, sitting on tiny chairs \n and at work tables watching as their children put on a show.\n\n ON BILLY", "\"KRAMER VS. KRAMER\"\n\n by\n\n Robert Benton\n\n \n\n FADE IN:", "At the moment, TED KRAMER, nice-looking without being what \n you would call a matinee idol, paces back and forth. His tie", "WIDE SHOT\n\n Ted Kramer paces back and forth, eyeing the phone. Then, \n coming to a decision, he crosses to it, picks up the receiver \n and starts to dial.", "As the door swings open to reveal Ted Kramer, an enormous \n grin on his face, a bottle of champagne in his hand. He is \n so full of himself that he doesn't notice there is anything \n wrong." ], [ "Note: during this we cross-cut to Joanna, who sits, staring \n at her friend, shaken.", "And Joanna if you ever saw them \n together... there wouldn't be a trial \n at all...\n (she breaks down,", "CUT TO:\n\n INT. JOANNA'S BEDROOM – MORNING\n\n ON JOANNA", "CUT TO:\n\n INT. JOANNA'S APT. – DAY\n\n ON HER\n\n As she finishes reading the letter.", "JOANNA\n Yes. I tried to talk to Ted – my ex-\n husband – about it, but he wouldn't", "Stunned. He looks across at Joanna.\n\n QUICK CUT – HIS POV\n\n Joanna looks away.", "Note: During the early part of Shaunessy's cross-examination, \n Joanna has been very forthright, very sure of herself. Now, \n as he starts getting tougher, she begins to falter.", "As Joanna gets to her feet, crosses to the witness stand and \n is sworn in.", "JOANNA\n (pleading)\n NO!... Please... Please don't make", "JOANNA\n (she will be heard)\n Ted, all my life I'd either been", "Joanna sits across from her lawyer as he talks to her, \n intently, giving her last-minute instructions.\n\n CUT TO:", "THELMA\n (getting mad herself)\n What d'you know about how Joanna", "HIS POV\n\n There, standing waiting for him is Joanna.\n\n CLOSE ON TED\n\n His face a mask of cold anger. She crosses to him.", "Joanna sits, still not looking at Ted. She holds her face, \n one hand shielding her eyes.\n\n CUT TO:\n\n ON THE JUDGE", "As Joanna looks up...\n\n CUT TO:\n\n HER POV", "brutally honest, I'm not so sure \n what kind of mental shape Joanna's \n in right now. Y'know she admitted", "she didn't leave a lot sooner was \n because she loves you so much. Joanna \n stayed until she couldn't stand me", "He is a very... kind man... a very... \n devoted father, and... and...\n (she turns to Joanna)", "JOANNA\n (a deep breath, then:)\n Ted, when we got married it was", "will be able to see the picture of Joanna when he wakes up \n in the morning. He sits for a moment longer on the side of" ], [ "ON BILLY", "There is a long beat of silence as Billy thinks about this.\n\n Clearly an enormous burden has been lifted from his shoulders.\n\n Finally:", "By now they have reached Billy's room. Ted dumps him on the \n bed unceremoniously and starts out of the room.", "it and wipes the child's chin. Now satisfied, he takes Billy's \n hand and they continue. Suddenly:", "Billy nods.", "BILLY\n No.", "ON BILLY\n\n Weaving in and around the benches. He turns and starts back \n towards Ted. As he does:\n\n QUICK CUT: INSERT:", "TED\n (shaking his head)\n No.\n\n CLOSE ON BILLY\n\n There is a long pause, then:", "BILLY\n (sobbing)\n I want my... mm... ommy... I want \n mmmy... mommy...", "Billy immediately turns on his heels and heads back into the \n bathroom.\n\n CUT TO:", "It opens and Billy and Mrs. Willewska enter. Billy sees Ted \n and rushes across to him.", "BILLY\n Daddy?\n\n TED\n Uh huh?", "BILLY\n (looking at the sign)\n It's my name too.\n\n TED\n Right.\n\n As he opens the door:", "It is that same afternoon and Billy (his clothes are much \n dirtier by now) is running back and forth with a group of \n other children.", "He is covered with Billy's blood, it is on his face, his \n shirt, his trousers. At the moment 'he stands helpless, \n watching as, Off-Screen, a surgeon examines Billy's wound.", "He leaps to his feet, starts toward the boy.\n\n ON BILLY\n\n As he looks up.", "BILLY\n (at the top of his \n voice)\n Owwww... You're hurting me... You're \n hurting me... I hate you... I hate \n you...", "CUT TO:\n\n INT. BILLY'S ROOM – NIGHT\n\n TED'S POV", "BILLY\n (very quiet)\n Are you... gonna go... away?\n\n ON TED\n\n Stunned at the question.", "They cross to the door of Billy's room. Ted opens it.\n\n INT. BILLY'S ROOM – DAY\n\n THEIR POV" ], [ "TED\n (he has become an \n armchair lawyer)\n So, naturally, you assume that since \n Joanna left, that would be a \n compelling point against her, right?", "Joanna gets to her feet and starts toward the front door. In \n an instant Ted is after her.", "JOANNA\n Ted, you're not listening to me. \n It's over, finished.", "JOANNA\n Yes. I tried to talk to Ted – my ex-\n husband – about it, but he wouldn't", "THELMA\n Joanna left Billy? She didn't take \n him with her?\n\n Ted shakes his head. There is a long beat of silence.", "HIS POV\n\n There, standing waiting for him is Joanna.\n\n CLOSE ON TED\n\n His face a mask of cold anger. She crosses to him.", "JOANNA\n (tears start)\n Ted, I can't... I tried... I really \n tried but... I just can't hack it \n anymore...", "THELMA\n (clearly she knows \n more than she's \n willing to say)\n I mean... things. Ted, Joanna's very \n unhappy and –", "CROSS-CUTTING BETWEEN THEM:\n\n JOANNA\n (she takes a deep \n breath, then:)\n Ted, I'm leaving you.", "she didn't leave a lot sooner was \n because she loves you so much. Joanna \n stayed until she couldn't stand me", "JOANNA\n (she will be heard)\n Ted, all my life I'd either been", "JOANNA\n Please, Ted. I never would have \n brought it up if I thought –\n\n TED\n I'm not interested, Joanna. Goodbye.", "TED\n Joanna said that?\n\n Thelma nods.\n\n TED\n Then how come she never said anything \n like that to me?", "Joanna sits, still not looking at Ted. She holds her face, \n one hand shielding her eyes.\n\n CUT TO:\n\n ON THE JUDGE", "JOANNA\n (a deep breath, then:)\n Ted, when we got married it was", "Reading Joanna's letter.\n\n THELMA\n Oh, God... OhmyGod...\n\n She finishes the letter, looks up at Ted.", "JOANNA\n (a deep breath)\n Ted... The reason I wanted to see \n you... I want Billy back.\n\n TED\n You want what?!", "Ted nods in agreement. There is a beat of silence as both \n men consider Joanna's imminent return. Then:", "Joanna's last ounce of reserve crumbles, she begins to sob. \n Ted puts his arms around her and holds her. They do not kiss. \n Then, after a few moments she steps back.", "TED\n (softly, but with \n real feeling)\n Good Christ, Joanna, just get the \n hell out of my life." ], [ "In the midst of all this chaos sits PHYLLIS BERNARD, as we \n said before, she is about thirty, very pretty in spite of \n her glasses.\n\n ON PHYLLIS", "ON THE FIFTH WOMAN (MRS. WILLEWSKA)\n\n She is a slightly built attractive woman in her early sixties.\n\n There is a long pause as she looks around.", "And Joanna if you ever saw them \n together... there wouldn't be a trial \n at all...\n (she breaks down,", "somebody's daughter or somebody's \n wife, or somebody else's mother. \n Then all of a sudden, I was a thirty-", "JUDGE\n I'll allow that. The witness will \n answer please.\n\n JOANNA\n (in a whisper)\n Yes.", "Note: The following scene, which is written as one, is \n actually to be played so that each time we cut back to the", "had it. You can call your good friend \n Joanna Kramer and tell her enough is \n enough, okay? I mean, I don't know", "much I loved him... And I did... And \n I won. Only... it was just another \n \"should.\"\n (she begins to break", "She breaks off, uncertain whether or not to go on. Then, \n making up her mind, she reaches across, takes Ted's scotch \n and soda and drinks half of it down in one gulp.", "Ted shrugs.\n\n TED\n How should I know?\n\n PHYLLIS\n Murray.\n\n REACTION, TED", "This is MRS. KLINE. She has the slightly haggard look of \n someone who has just survived a birthday party with eight \n five-year-olds.", "THELMA\n (hastily)\n Maybe. I said maybe.\n (apologizing for her", "As Mrs. Willewska comes out. Her eyes are red from crying. \n THE CAMERA PANS WITH HER as she turns up the street on her", "Look, this isn't exactly an easy \n thing for me to do, y'know? I swear \n Murray and I did everything we could,", "JOANNA\n (she will be heard)\n Ted, all my life I'd either been", "moving up. His housekeeper has been \n Etta Willewska and she is the main \n reason for the note. She is a loving", "Shaken, she gets down from the witness stand, crosses to the \n petitioner's table without looking at Ted. She sits, leans \n across to her lawyer and whispers something in his ear. As \n he nods...", "– very hard. And when she couldn't, \n then she tried to tell me about it. \n Only I wouldn't listen. I guess I", "GRESSEN\n And would you describe those years \n as happy?\n\n JOANNA\n The first couple, yes, but after \n that it became increasingly difficult.", "Several rows in front of her is Thelma. Ted crosses to her, \n they talk quietly between themselves for a few moments. Then" ], [ "As Ted, carrying Billy, wrapped in his coat, comes barreling \n out of the park, nearly knocking over several people with", "Watching, horrified.\n\n ON BILLY\n\n As he hits the concrete.\n\n ON TED", "He is covered with Billy's blood, it is on his face, his \n shirt, his trousers. At the moment 'he stands helpless, \n watching as, Off-Screen, a surgeon examines Billy's wound.", "it and wipes the child's chin. Now satisfied, he takes Billy's \n hand and they continue. Suddenly:", "There is a long beat of silence as Billy thinks about this.\n\n Clearly an enormous burden has been lifted from his shoulders.\n\n Finally:", "It is that same afternoon and Billy (his clothes are much \n dirtier by now) is running back and forth with a group of \n other children.", "BILLY\n I love you...\n\n CUT TO:\n\n EXT. CENTRAL PARK – DAY", "As he grabs his stuff and starts toward the exit of the \n playground.\n\n TED\n (louder)\n Billy?\n\n HIS POV", "to bear what they are saying. HOLD ON THEM and, as they reach \n the entrance to the park, Billy first, then Ted begin to", "By now they have reached Billy's room. Ted dumps him on the \n bed unceremoniously and starts out of the room.", "Billy's foot, as he trips.\n\n ON BILLY\n\n As he starts to fall, still holding onto the airplane.\n\n QUICK CUT: TED", "(glancing around, \n making sure Billy is \n out of earshot)\n I mean, with what he's been through", "Billy immediately turns on his heels and heads back into the \n bathroom.\n\n CUT TO:", "involved time. He reads to Billy. \n They play together. They talk all \n the time...\n (tears start)", "BILLY\n (it comes pouring out)\n That's why mommy left... isn't it? \n 'Cause I was bad...\n\n The boy begins to weep.", "BILLY\n (starting to help)\n I'm sorry.\n\n By now there is nothing the boy can do right.", "His face reveals all of the pain that Billy's can't.\n\n CUT TO:\n\n INT. CLASSROOM, NURSERY SCHOOL – DAY", "Then, in the last shot, Ted lets go of the bike and runs \n along just behind. Slowly as Billy gains confidence he speeds \n up, leaving Ted farther and farther behind. Finally, as Billy \n glances over his shoulders.", "REACTION – BILLY\n\n Terrified.\n\n WIDE SHOT\n\n As Ted kneels down and begins to clean up the mess.", "The sprinkler area. Other children are running around, but \n there is no sign of Billy.\n\n TED\n (calling out)\n Billy?" ], [ "JOANNA\n (a deep breath)\n Ted... The reason I wanted to see \n you... I want Billy back.\n\n TED\n You want what?!", "CUT TO:\n\n INT. JOANNA'S APT. – DAY\n\n ON HER\n\n As she finishes reading the letter.", "JOANNA\n (firm)\n I want my son. I'm through sitting \n in coffee shops looking at him from \n across the street. I want my son.", "Note: during this we cross-cut to Joanna, who sits, staring \n at her friend, shaken.", "JOANNA\n After I left... when I was in \n California, I began to think, what", "to believe I did everything I could \n to get Joanna to stay.\n (pause)\n But I'll tell you something. You may", "JOANNA\n Yes. I tried to talk to Ted – my ex-\n husband – about it, but he wouldn't", "About half a block away Joanna paces back and forth. She \n hasn't seen them and it is clear that she is as nervous as \n they are.", "CUT TO:\n\n INT. JOANNA'S BEDROOM – MORNING\n\n ON JOANNA", "And Joanna if you ever saw them \n together... there wouldn't be a trial \n at all...\n (she breaks down,", "brutally honest, I'm not so sure \n what kind of mental shape Joanna's \n in right now. Y'know she admitted", "Joanna stops in the doorway, silhouetted against the light. \n She turns, takes a last look at her son, then steps outside.\n\n CUT TO:", "JOANNA\n (she will be heard)\n Ted, all my life I'd either been", "TED\n Jim, I appreciate what you're saying. \n I mean it, but I really think Joanna's \n coming back.\n\n ON O'CONNOR", "planning to remain in New York, or \n even to keep the child for that \n matter, since you've never really \n done anything in your life that was", "JOANNA\n (quiet, determined)\n I've learned that I want my son.\n\n ON TED\n\n He reacts as though he has been slapped.", "HIS POV\n\n There, standing waiting for him is Joanna.\n\n CLOSE ON TED\n\n His face a mask of cold anger. She crosses to him.", "Joanna gets to her feet and starts toward the front door. In \n an instant Ted is after her.", "for Joanna's return. As he continues straightening up the \n room,", "JOANNA\n (completing the \n sentence)\n Watching my son... Ted, I've been \n living in New York for the past two \n months." ], [ "Agitated. This is not what he wanted to hear.\n\n TED\n But she signed over custody. Here...", "There is a long beat of silence as Billy thinks about this.\n\n Clearly an enormous burden has been lifted from his shoulders.\n\n Finally:", "it and wipes the child's chin. Now satisfied, he takes Billy's \n hand and they continue. Suddenly:", "His face reveals all of the pain that Billy's can't.\n\n CUT TO:\n\n INT. CLASSROOM, NURSERY SCHOOL – DAY", "As they start toward the child's room.\n\n CUT TO:\n\n INT. BILLY'S ROOM – NIGHT", "SHAUNESSY\n First, there's no such thing as an \n open and shut case. Especially where \n custody is involved. Got it?\n\n Ted nods.", "Kim screams at the sight of the blood.\n\n BILLY\n (terrified)\n Daddy!\n\n CUT TO:", "BILLY\n (tentatively)\n Daddy?\n\n TED\n (all anger gone)\n Yeah?", "the petitioner be awarded custody of \n the minor child, effective Monday \n the 23rd of January. That the \n respondent pay for the maintenance", "That stops her dead in her tracks. She had always assumed \n that Joanna took Billy with her when she left.", "Billy immediately turns on his heels and heads back into the \n bathroom.\n\n CUT TO:", "By now they have reached Billy's room. Ted dumps him on the \n bed unceremoniously and starts out of the room.", "SHAUNESSY\n That's tough. In most cases involving \n a child that young, the court tends \n to side with the mother.\n\n ON TED", "punished for that. Billy's only six. \n He needs me. I'm not saying he doesn't \n need his father, but he needs me", "They cross to the door of Billy's room. Ted opens it.\n\n INT. BILLY'S ROOM – DAY\n\n THEIR POV", "TED\n (shaking his head)\n No.\n\n CLOSE ON BILLY\n\n There is a long pause, then:", "As Ted, carrying Billy, wrapped in his coat, comes barreling \n out of the park, nearly knocking over several people with", "He's called a judge. And a judge has \n a lot of experience with divorces \n and he decides who it would be best", "Joanna gets to her feet and takes Billy's hand.\n\n JOANNA\n (to Ted, but looking \n at Billy)\n I'll have him back at six.", "It is late, only a few lights are still on.\n\n CUT TO:\n\n INT. BILLY'S ROOM – NIGHT" ], [ "That stops her dead in her tracks. She had always assumed \n that Joanna took Billy with her when she left.", "Joanna gets to her feet and takes Billy's hand.\n\n JOANNA\n (to Ted, but looking \n at Billy)\n I'll have him back at six.", "HIS POV\n\n There, standing in the window, watching, is Joanna.\n\n ON TED AND BILLY", "JOANNA\n (somewhere between \n laughter and tears)\n Oh, Billy... Oh my Billy... Oh my \n son...\n\n WIDER SHOT", "carrying. He crosses to another table, picks up a framed \n photograph of Joanna and Billy and piles that on top of \n everything. We realize that Ted is going through the apartment", "JOANNA\n (a deep breath)\n Ted... The reason I wanted to see \n you... I want Billy back.\n\n TED\n You want what?!", "HIS POV\n\n There, standing waiting for him is Joanna.\n\n CLOSE ON TED\n\n His face a mask of cold anger. She crosses to him.", "Closer now, we can SEE that ahead of Billy is a woman that, \n from behind, looks remarkably like Joanna.\n\n CLOSER ON TED", "THELMA\n Joanna left Billy? She didn't take \n him with her?\n\n Ted shakes his head. There is a long beat of silence.", "CLOSEUP BILLY\n\n As he spots his mother.\n\n BILLY\n Mommy!\n\n QUICK CUT: JOANNA", "Note: during this we cross-cut to Joanna, who sits, staring \n at her friend, shaken.", "Joanna gets to her feet and starts toward the front door. In \n an instant Ted is after her.", "As she turns, spots Billy, starts to run.\n\n ON BILLY", "About half a block away Joanna paces back and forth. She \n hasn't seen them and it is clear that she is as nervous as \n they are.", "Joanna sits, still not looking at Ted. She holds her face, \n one hand shielding her eyes.\n\n CUT TO:\n\n ON THE JUDGE", "JOANNA\n No you didn't.\n (quietly)\n You didn't even ask about Billy.", "It opens and Billy and Mrs. Willewska enter. Billy sees Ted \n and rushes across to him.", "Joanna stops in the doorway, silhouetted against the light. \n She turns, takes a last look at her son, then steps outside.\n\n CUT TO:", "CUT TO:\n\n INT. JOANNA'S APT. – DAY\n\n ON HER\n\n As she finishes reading the letter.", "And Joanna if you ever saw them \n together... there wouldn't be a trial \n at all...\n (she breaks down," ], [ "JOANNA'S VOICE\n Ted, it's Joanna. Can you meet me in \n the lobby?... Alone?\n\n And she hangs up before he can answer.", "The lobby is dark, the only light coming from the window. \n Joanna sits off to one side, wearing sunglasses. She looks \n up as Ted approaches, a small smile on her face.", "Joanna gets to her feet and starts toward the front door. In \n an instant Ted is after her.", "HIS POV\n\n There, standing waiting for him is Joanna.\n\n CLOSE ON TED\n\n His face a mask of cold anger. She crosses to him.", "As he comes out of the building, starts down the steps.\n\n JOANNA (O.S.)\n Ted.\n\n He stops, turns:", "As they continue to walk. Ted's eyes remain on Joanna. As \n they reach the door to the school, Ted looks at his son.", "Joanna sits, still not looking at Ted. She holds her face, \n one hand shielding her eyes.\n\n CUT TO:\n\n ON THE JUDGE", "JOANNA\n You can't tell it from a distance, \n Ted.\n\n For the first time he looks up at her.", "Ted nods in agreement. There is a beat of silence as both \n men consider Joanna's imminent return. Then:", "She is dressed simply and no longer has a tan. Nevertheless, \n Joanna is still stunningly beautiful. HOLD ON HER FOR A BEAT \n as she looks up, smiles.\n\n ON TED", "Reading Joanna's letter.\n\n THELMA\n Oh, God... OhmyGod...\n\n She finishes the letter, looks up at Ted.", "TED'S VOICE\n Joanna?\n\n CUT TO:\n\n INT. RESTAURANT, ISLE OF CAPRI – NIGHT", "TED\n Joanna said that?\n\n Thelma nods.\n\n TED\n Then how come she never said anything \n like that to me?", "ON THE DOOR\n\n As Ted enters, looks around. The Maitre d'hotel approaches. \n From his attitude, it is clear that Ted and Joanna were \n regular customers.", "THELMA\n (clearly she knows \n more than she's \n willing to say)\n I mean... things. Ted, Joanna's very \n unhappy and –", "Joanna's last ounce of reserve crumbles, she begins to sob. \n Ted puts his arms around her and holds her. They do not kiss. \n Then, after a few moments she steps back.", "JOANNA\n (she will be heard)\n Ted, all my life I'd either been", "TED\n Do you want me to help you get a \n cab?\n\n Joanna shakes her head. The elevator door closes behind her \n and it starts to descend.", "TED'S VOICE\n Hello?\n\n JOANNA'S VOICE\n Ted?", "INT. LOBBY – DAY\n\n ON THE ELEVATOR DOORS\n\n As they open, Ted steps out, looks around.\n\n HIS POV" ] ]

[ "Why is Joanna leaving Ted? ", "What happens to Ted's son at the park?", "Who counseled Joanna to leave Ted if she wasn't happy?", "How long is Joanna away before she comes back for Billy?", "What happens to Ted's job at the advertising agency?", "Who wins the custody battle for Billy?", "Why did the courts presume that Billy would be better off placed with Joanna? ", "Why does Ted decide not to appeal the verdict?", "Why does Joanna not take custody of Billy? ", "What is Ted Kramer's job?", "What does Ted's wife do when he tells her his good news?", "Why does Joanna leave Ted?", "How does Billy injure himself?", "Where on his body does Billy injure himself?", "How long passes before Joanna returns to claim Billy?", "Who does the court award custody of Billy?", "What do Ted and Billy do the morning Billy is supposed to move out?", "Joanna asked Ted how she looked after entering the elvator. What does Ted say?", "What was Ted Kramer job?", "Who was Joanna?", "Who was Billy?", "Why did Joanna said she was leaving Ted?", "Who was Margaret?", "What happen to Billy when he had accident in the park?", "What did Joanna want when she return to New York?", "Whom did court award custody of Billy to?", "What did Joanna did when she show up to pick up Billy?", "What did Joanna told Ted at the lobby?" ]

[ [ "Because she needs to find herself", "She needs to find herself." ], [ "He falls off the jungle gym and cuts his face", "He falls and cuts his face." ], [ "Margaret", "Margaret." ], [ "15 months", "15 months" ], [ "Ted is fired", "He was fired." ], [ "Joanna", "Joanna" ], [ "Because she is his mother", "They said that children are best raised by their mothers. " ], [ "Because he does not want to put his child on the stand", "He doesn't want Billy to take the stand." ], [ "Because she knows that his true home is with his father", "Billy belongs with Ted" ], [ "advertising executive", "he is an advertising executive" ], [ "Tells him she is leaving him", "She tells him that she is leaving him." ], [ "To find herself", "She needs to \"find herself\". " ], [ "Falls off the jungle gym", "falling at the playground" ], [ "His face", "His face." ], [ "15 months", "15 months." ], [ "Joanna", "Joanna." ], [ "Make breakfast", "make breakfast" ], [ "Terrific", "Terrific." ], [ "Advertising Executive", "he is an advertising executive" ], [ "Ted's wife", "Ted's wife" ], [ "Ted and Joanna son", "Billy is Ted and Joanna's son." ], [ "Joanna said she need to find herself.", "She needed to find herself." ], [ "Ted neighbor", "Ted's neighbor" ], [ "Billy had a cut on his face.", "Ted ran him to the hospital." ], [ "Joanna wanted custody of Billy", "custody of Billy" ], [ "Joanna", "Joanna." ], [ "Joanna called Ted to come down to the lobby.", "Decided not to take him " ], [ "Joanna told Ted, she love Billy and his home is with Ted.", "That Billy's true home is with Ted and she will not take him away. " ] ]

[ [ "GUTENBERG EBOOK EVE'S DIARY, COMPLETE ***\n\n\n\n\nProduced by David Widger and Cindy Rosenthal", "EVE'S DIARY\n\n\nBy Mark Twain\n\n\nIllustrated by Lester Ralph\n\n\n\n\nTranslated from the Original", "At Eve's Grave\n\nADAM: Wheresoever she was, THERE was Eden.", "End of the Project Gutenberg EBook of Eve's Diary, Complete\nby Mark Twain (Samuel Clemens)", "The Garden is lost, but I have found HIM, and am content. He loves me as\nwell as he can; I love him with all the strength of my passionate", "EXTRACT FROM ADAM'S DIARY", "but she will come.” And it was so: she always did. At night she would\nnot come if it was dark, for she was a timid little thing; but if there", "had, and now she is gone!” In my despair I said, “Break, my heart; I\ncannot bear my life any more!” and hid my face in my hands, and there", "That was perfect happiness; I had known happiness before, but it was not\nlike this, which was ecstasy. I never doubted her afterward. Sometimes", "That first time that she forsook me! ah, I shall never forget that\n--never, never. My heart was lead in my body! I said, “She was all I", "was no solace for me. And when I took them away, after a little, there\nshe was again, white and shining and beautiful, and I sprang into her\narms!", "continues. I am the first wife; and in the last wife I shall be\nrepeated.", "When I look back, the Garden is a dream to me. It was beautiful,\nsurpassingly beautiful, enchantingly beautiful; and now it is lost, and\nI shall not see it any more.", "Perhaps I ought to remember that she is very young, a mere girl and make\nallowances. She is all interest, eagerness, vivacity, the world is to", "“How did it come?”\n\nAnother direct question, and it also had to have a direct answer.\n\n“I made it.”", "friend.” It IS a good friend to me, and my only one; it is my sister.", "at the scenery. Thirty or forty feet of its tail was lying on the\nground, like a fallen tree, and she thought she could climb it, but she", "and talk to it, and pour out endearing names upon it. And she is\ncolor-mad: brown rocks, yellow sand, gray moss, green foliage, blue sky;", "animals. I think that this must be so. I love certain birds because of\ntheir song; but I do not love Adam on account of his singing--no, it is", "At bottom he is good, and I love him for that, but I could love him\nwithout it. If he should beat me and abuse me, I should go on loving\nhim. I know it. It is a matter of sex, I think." ], [ "it nervous and unhappy. At last it was a good deal worried, and climbed\na tree. I waited a good while, then gave it up and went home.", "but she will come.” And it was so: she always did. At night she would\nnot come if it was dark, for she was a timid little thing; but if there", "“Fire-coals.”\n\nHe picked up one to examine it, but changed his mind and put it down\nagain. Then he went away. NOTHING interests him.", "and I did not know what he was and was indifferent about him; but now it\nwas a mournful place, and every little thing spoke of him, and my heart", "at the scenery. Thirty or forty feet of its tail was lying on the\nground, like a fallen tree, and she thought she could climb it, but she", "her theory, but it failed: every time she got him properly placed in\nthe river and went ashore to cross over him, he came out and followed", "When the dodo came along he thought it was a wildcat--I saw it in his\neye. But I saved him. And I was careful not to do it in a way that", "He came running, and stopped and gazed, and said not a word for many\nminutes. Then he asked what it was. Ah, it was too bad that he should", "had, and now she is gone!” In my despair I said, “Break, my heart; I\ncannot bear my life any more!” and hid my face in my hands, and there", "“How did it come?”\n\nAnother direct question, and it also had to have a direct answer.\n\n“I made it.”", "FRIDAY.--I saw him again, for a moment, last Monday at nightfall, but\nonly for a moment. I was hoping he would praise me for trying to", "so frightened! But I looked back, and it was not coming; so I leaned\nagainst a rock and rested and panted, and let my limbs go on trembling", "an awful fright. A thin, transparent bluish film rose out of the hole,\nand I dropped everything and ran! I thought it was a spirit, and I WAS", "himself, that it was a good one, for he worked it in twice afterward,\ncasually. It was good casual art, still it showed that he possesses a", "could gather them tenderly then, and not break them. But it was farther\nthan I thought, and at last I had to give it up; I was so tired I", "not done anything? But at last it seemed true, so I went away and sat\nlonely in the place where I first saw him the morning that we were made", "the river and use him for a bridge. It turned out that he was already\nplenty tame enough--at least as far as she was concerned--so she tried", "So I cried a little, which was natural, I suppose, for one of my age,\nand after I was rested I got a basket and started for a place on the", "out. She believed it could be tamed by kind treatment and would be a\ngood pet; I said a pet twenty-one feet high and eighty-four feet long", "When I look back, the Garden is a dream to me. It was beautiful,\nsurpassingly beautiful, enchantingly beautiful; and now it is lost, and\nI shall not see it any more." ], [ "At Eve's Grave\n\nADAM: Wheresoever she was, THERE was Eden.", "GUTENBERG EBOOK EVE'S DIARY, COMPLETE ***\n\n\n\n\nProduced by David Widger and Cindy Rosenthal", "EVE'S DIARY\n\n\nBy Mark Twain\n\n\nIllustrated by Lester Ralph\n\n\n\n\nTranslated from the Original", "The Garden is lost, but I have found HIM, and am content. He loves me as\nwell as he can; I love him with all the strength of my passionate", "EXTRACT FROM ADAM'S DIARY", "End of the Project Gutenberg EBook of Eve's Diary, Complete\nby Mark Twain (Samuel Clemens)", "embers, too. I found my apples, and raked them out, and was glad; for I\nam very young and my appetite is active. But I was disappointed; they", "animals. I think that this must be so. I love certain birds because of\ntheir song; but I do not love Adam on account of his singing--no, it is", "at the scenery. Thirty or forty feet of its tail was lying on the\nground, like a fallen tree, and she thought she could climb it, but she", "had, and now she is gone!” In my despair I said, “Break, my heart; I\ncannot bear my life any more!” and hid my face in my hands, and there", "were the very first flames that had ever been in the world. They\nclimbed the trees, then flashed splendidly in and out of the vast and", "SUNDAY.--It is up there yet. Resting, apparently. But that is a\nsubterfuge: Sunday isn't the day of rest; Saturday is appointed for", "but she will come.” And it was so: she always did. At night she would\nnot come if it was dark, for she was a timid little thing; but if there", "That was perfect happiness; I had known happiness before, but it was not\nlike this, which was ecstasy. I never doubted her afterward. Sometimes", "I think, and he did not make his sex. Of course I would not have told\non him, I would have perished first; but that is a peculiarity of sex,", "That first time that she forsook me! ah, I shall never forget that\n--never, never. My heart was lead in my body! I said, “She was all I", "out. She believed it could be tamed by kind treatment and would be a\ngood pet; I said a pet twenty-one feet high and eighty-four feet long", "not done anything? But at last it seemed true, so I went away and sat\nlonely in the place where I first saw him the morning that we were made", "was no solace for me. And when I took them away, after a little, there\nshe was again, white and shining and beautiful, and I sprang into her\narms!", "the river and use him for a bridge. It turned out that he was already\nplenty tame enough--at least as far as she was concerned--so she tried" ], [ "At Eve's Grave\n\nADAM: Wheresoever she was, THERE was Eden.", "EVE'S DIARY\n\n\nBy Mark Twain\n\n\nIllustrated by Lester Ralph\n\n\n\n\nTranslated from the Original", "GUTENBERG EBOOK EVE'S DIARY, COMPLETE ***\n\n\n\n\nProduced by David Widger and Cindy Rosenthal", "When I look back, the Garden is a dream to me. It was beautiful,\nsurpassingly beautiful, enchantingly beautiful; and now it is lost, and\nI shall not see it any more.", "were the very first flames that had ever been in the world. They\nclimbed the trees, then flashed splendidly in and out of the vast and", "We have made long excursions, and I have seen a great deal of the world;\nalmost all of it, I think; and so I am the first traveler, and the only", "at the scenery. Thirty or forty feet of its tail was lying on the\nground, like a fallen tree, and she thought she could climb it, but she", "End of the Project Gutenberg EBook of Eve's Diary, Complete\nby Mark Twain (Samuel Clemens)", "Perhaps I ought to remember that she is very young, a mere girl and make\nallowances. She is all interest, eagerness, vivacity, the world is to", "The Garden is lost, but I have found HIM, and am content. He loves me as\nwell as he can; I love him with all the strength of my passionate", "EXTRACT FROM ADAM'S DIARY", "At first I couldn't make out what I was made for, but now I think it was\nto search out the secrets of this wonderful world and be happy and thank", "should not be subjected to haste; and this majestic new world is indeed\na most noble and beautiful work. And certainly marvelously near to\nbeing perfect, notwithstanding the shortness of the time. There are too", "and talk to it, and pour out endearing names upon it. And she is\ncolor-mad: brown rocks, yellow sand, gray moss, green foliage, blue sky;", "After the Fall", "The birds and animals are all friendly to each other, and there are no\ndisputes about anything. They all talk, and they all talk to me, but it", "her a charm, a wonder, a mystery, a joy; she can't speak for delight\nwhen she finds a new flower, she must pet it and caress it and smell it", "but she will come.” And it was so: she always did. At night she would\nnot come if it was dark, for she was a timid little thing; but if there", "The fire was traveling farther and farther off. He went to the edge of\nthe burned place and stood looking down, and said:\n\n“What are these?”", "SATURDAY.--I am almost a whole day old, now. I arrived yesterday.\nThat is as it seems to me. And it must be so, for if there was a" ], [ "GUTENBERG EBOOK EVE'S DIARY, COMPLETE ***\n\n\n\n\nProduced by David Widger and Cindy Rosenthal", "EXTRACT FROM ADAM'S DIARY", "At Eve's Grave\n\nADAM: Wheresoever she was, THERE was Eden.", "EVE'S DIARY\n\n\nBy Mark Twain\n\n\nIllustrated by Lester Ralph\n\n\n\n\nTranslated from the Original", "embers, too. I found my apples, and raked them out, and was glad; for I\nam very young and my appetite is active. But I was disappointed; they", "The Garden is lost, but I have found HIM, and am content. He loves me as\nwell as he can; I love him with all the strength of my passionate", "animals. I think that this must be so. I love certain birds because of\ntheir song; but I do not love Adam on account of his singing--no, it is", "and their breath was sweet and pleasant, because they live on\nstrawberries. I had never seen a tiger before, but I knew them in a", "End of the Project Gutenberg EBook of Eve's Diary, Complete\nby Mark Twain (Samuel Clemens)", "were the very first flames that had ever been in the world. They\nclimbed the trees, then flashed splendidly in and out of the vast and", "I think, and he did not make his sex. Of course I would not have told\non him, I would have perished first; but that is a peculiarity of sex,", "“How did it come?”\n\nAnother direct question, and it also had to have a direct answer.\n\n“I made it.”", "When I look back, the Garden is a dream to me. It was beautiful,\nsurpassingly beautiful, enchantingly beautiful; and now it is lost, and\nI shall not see it any more.", "I tried to get him some of those apples, but I cannot learn to throw\nstraight. I failed, but I think the good intention pleased him. They", "not done anything? But at last it seemed true, so I went away and sat\nlonely in the place where I first saw him the morning that we were made", "at the scenery. Thirty or forty feet of its tail was lying on the\nground, like a fallen tree, and she thought she could climb it, but she", "and clothed myself in them while I ate my luncheon--apples, of course;\nthen I sat in the shade and wished and waited. But he did not come.", "SATURDAY.--I am almost a whole day old, now. I arrived yesterday.\nThat is as it seems to me. And it must be so, for if there was a", "SUNDAY.--It is up there yet. Resting, apparently. But that is a\nsubterfuge: Sunday isn't the day of rest; Saturday is appointed for", "but she will come.” And it was so: she always did. At night she would\nnot come if it was dark, for she was a timid little thing; but if there" ], [ "see, but because they have color and majesty, that is enough for her,\nand she loses her mind over them. If she could quiet down and keep still", "At Eve's Grave\n\nADAM: Wheresoever she was, THERE was Eden.", "and talk to it, and pour out endearing names upon it. And she is\ncolor-mad: brown rocks, yellow sand, gray moss, green foliage, blue sky;", "her a charm, a wonder, a mystery, a joy; she can't speak for delight\nwhen she finds a new flower, she must pet it and caress it and smell it", "EVE'S DIARY\n\n\nBy Mark Twain\n\n\nIllustrated by Lester Ralph\n\n\n\n\nTranslated from the Original", "GUTENBERG EBOOK EVE'S DIARY, COMPLETE ***\n\n\n\n\nProduced by David Widger and Cindy Rosenthal", "animals. I think that this must be so. I love certain birds because of\ntheir song; but I do not love Adam on account of his singing--no, it is", "The Garden is lost, but I have found HIM, and am content. He loves me as\nwell as he can; I love him with all the strength of my passionate", "embers, too. I found my apples, and raked them out, and was glad; for I\nam very young and my appetite is active. But I was disappointed; they", "I am coming to realize that she is a quite remarkably comely creature\n--lithe, slender, trim, rounded, shapely, nimble, graceful; and once", "Perhaps I ought to remember that she is very young, a mere girl and make\nallowances. She is all interest, eagerness, vivacity, the world is to", "my appreciation. I would like to send them some stars, for we have more\nthan we can use. I mean I, not we, for I can see that the reptile cares\nnothing for such things.", "When I look back, the Garden is a dream to me. It was beautiful,\nsurpassingly beautiful, enchantingly beautiful; and now it is lost, and\nI shall not see it any more.", "should feel so, for brightness is nothing; it is in the heart that the\nvalues lie. I wish I could make him understand that a loving good heart", "That was perfect happiness; I had known happiness before, but it was not\nlike this, which was ecstasy. I never doubted her afterward. Sometimes", "Today I am getting better ideas about distances. I was so eager to get\nhold of every pretty thing that I giddily grabbed for it, sometimes when", "indifferent to, but it is not so with her. She has no discrimination,\nshe takes to all of them, she thinks they are all treasures, every new\none is welcome.", "which is a good sign, and shows that he likes to have me with him. That\npleases me, and I study to be useful to him in every way I can, so as to\nincrease his regard.", "I tried to get him some of those apples, but I cannot learn to throw\nstraight. I failed, but I think the good intention pleased him. They", "I believe I can be honest in all other matters, but I already begin to\nrealize that the core and center of my nature is love of the beautiful,\na passion for the beautiful, and that it would not be safe to trust me" ], [ "EVE'S DIARY\n\n\nBy Mark Twain\n\n\nIllustrated by Lester Ralph\n\n\n\n\nTranslated from the Original", "End of the Project Gutenberg EBook of Eve's Diary, Complete\nby Mark Twain (Samuel Clemens)", "That first time that she forsook me! ah, I shall never forget that\n--never, never. My heart was lead in my body! I said, “She was all I", "That was perfect happiness; I had known happiness before, but it was not\nlike this, which was ecstasy. I never doubted her afterward. Sometimes", "had, and now she is gone!” In my despair I said, “Break, my heart; I\ncannot bear my life any more!” and hid my face in my hands, and there", "were plain, I should love him; if he were a wreck, I should love him;\nand I would work for him, and slave over him, and pray for him, and\nwatch by his bedside until I died.", "was no solace for me. And when I took them away, after a little, there\nshe was again, white and shining and beautiful, and I sprang into her\narms!", "but she will come.” And it was so: she always did. At night she would\nnot come if it was dark, for she was a timid little thing; but if there", "continues. I am the first wife; and in the last wife I shall be\nrepeated.", "out. She believed it could be tamed by kind treatment and would be a\ngood pet; I said a pet twenty-one feet high and eighty-four feet long", "WEDNESDAY.--We are getting along very well indeed, now, and getting\nbetter and better acquainted. He does not try to avoid me any more,", "the river and use him for a bridge. It turned out that he was already\nplenty tame enough--at least as far as she was concerned--so she tried", "and I did not know what he was and was indifferent about him; but now it\nwas a mournful place, and every little thing spoke of him, and my heart", "The Garden is lost, but I have found HIM, and am content. He loves me as\nwell as he can; I love him with all the strength of my passionate", "at the scenery. Thirty or forty feet of its tail was lying on the\nground, like a fallen tree, and she thought she could climb it, but she", "her theory, but it failed: every time she got him properly placed in\nthe river and went ashore to cross over him, he came out and followed", "himself, that it was a good one, for he worked it in twice afterward,\ncasually. It was good casual art, still it showed that he possesses a", "Tuesday--Wednesday--Thursday--and today: all without seeing him. It is\na long time to be alone; still, it is better to be alone than unwelcome.", "and their breath was sweet and pleasant, because they live on\nstrawberries. I had never seen a tiger before, but I knew them in a", "it nervous and unhappy. At last it was a good deal worried, and climbed\na tree. I waited a good while, then gave it up and went home." ], [ "had, and now she is gone!” In my despair I said, “Break, my heart; I\ncannot bear my life any more!” and hid my face in my hands, and there", "was no solace for me. And when I took them away, after a little, there\nshe was again, white and shining and beautiful, and I sprang into her\narms!", "That first time that she forsook me! ah, I shall never forget that\n--never, never. My heart was lead in my body! I said, “She was all I", "That was perfect happiness; I had known happiness before, but it was not\nlike this, which was ecstasy. I never doubted her afterward. Sometimes", "but she will come.” And it was so: she always did. At night she would\nnot come if it was dark, for she was a timid little thing; but if there", "and I did not know what he was and was indifferent about him; but now it\nwas a mournful place, and every little thing spoke of him, and my heart", "FRIDAY.--I saw him again, for a moment, last Monday at nightfall, but\nonly for a moment. I was hoping he would praise me for trying to", "Tuesday--Wednesday--Thursday--and today: all without seeing him. It is\na long time to be alone; still, it is better to be alone than unwelcome.", "at the scenery. Thirty or forty feet of its tail was lying on the\nground, like a fallen tree, and she thought she could climb it, but she", "not done anything? But at last it seemed true, so I went away and sat\nlonely in the place where I first saw him the morning that we were made", "her theory, but it failed: every time she got him properly placed in\nthe river and went ashore to cross over him, he came out and followed", "When I look back, the Garden is a dream to me. It was beautiful,\nsurpassingly beautiful, enchantingly beautiful; and now it is lost, and\nI shall not see it any more.", "THURSDAY.--my first sorrow. Yesterday he avoided me and seemed to wish\nI would not talk to him. I could not believe it, and thought there was", "Forty Years Later", "TUESDAY.--All the morning I was at work improving the estate; and I\npurposely kept away from him in the hope that he would get lonely and\ncome. But he did not.", "The Garden is lost, but I have found HIM, and am content. He loves me as\nwell as he can; I love him with all the strength of my passionate", "It is my prayer, it is my longing, that we may pass from this life\ntogether--a longing which shall never perish from the earth, but shall", "continues. I am the first wife; and in the last wife I shall be\nrepeated.", "could gather them tenderly then, and not break them. But it was farther\nthan I thought, and at last I had to give it up; I was so tired I", "were plain, I should love him; if he were a wreck, I should love him;\nand I would work for him, and slave over him, and pray for him, and\nwatch by his bedside until I died." ], [ "At Eve's Grave\n\nADAM: Wheresoever she was, THERE was Eden.", "had, and now she is gone!” In my despair I said, “Break, my heart; I\ncannot bear my life any more!” and hid my face in my hands, and there", "The Garden is lost, but I have found HIM, and am content. He loves me as\nwell as he can; I love him with all the strength of my passionate", "and I did not know what he was and was indifferent about him; but now it\nwas a mournful place, and every little thing spoke of him, and my heart", "EXTRACT FROM ADAM'S DIARY", "When I look back, the Garden is a dream to me. It was beautiful,\nsurpassingly beautiful, enchantingly beautiful; and now it is lost, and\nI shall not see it any more.", "That first time that she forsook me! ah, I shall never forget that\n--never, never. My heart was lead in my body! I said, “She was all I", "was no solace for me. And when I took them away, after a little, there\nshe was again, white and shining and beautiful, and I sprang into her\narms!", "It is my prayer, it is my longing, that we may pass from this life\ntogether--a longing which shall never perish from the earth, but shall", "not done anything? But at last it seemed true, so I went away and sat\nlonely in the place where I first saw him the morning that we were made", "were plain, I should love him; if he were a wreck, I should love him;\nand I would work for him, and slave over him, and pray for him, and\nwatch by his bedside until I died.", "and clothed myself in them while I ate my luncheon--apples, of course;\nthen I sat in the shade and wished and waited. But he did not come.", "embers, too. I found my apples, and raked them out, and was glad; for I\nam very young and my appetite is active. But I was disappointed; they", "could gather them tenderly then, and not break them. But it was farther\nthan I thought, and at last I had to give it up; I was so tired I", "GUTENBERG EBOOK EVE'S DIARY, COMPLETE ***\n\n\n\n\nProduced by David Widger and Cindy Rosenthal", "FRIDAY.--I saw him again, for a moment, last Monday at nightfall, but\nonly for a moment. I was hoping he would praise me for trying to", "I talk; it is sad when I am sad; it comforts me with its sympathy; it\nsays, “Do not be downhearted, you poor friendless girl; I will be your", "But I was interested. There were ashes, gray and soft and delicate and\npretty--I knew what they were at once. And the embers; I knew the", "and talk to it, and pour out endearing names upon it. And she is\ncolor-mad: brown rocks, yellow sand, gray moss, green foliage, blue sky;", "The fire was traveling farther and farther off. He went to the edge of\nthe burned place and stood looking down, and said:\n\n“What are these?”" ], [ "but she will come.” And it was so: she always did. At night she would\nnot come if it was dark, for she was a timid little thing; but if there", "“Fire-coals.”\n\nHe picked up one to examine it, but changed his mind and put it down\nagain. Then he went away. NOTHING interests him.", "NEXT WEEK SUNDAY.--All the week I tagged around after him and tried to\nget acquainted. I had to do the talking, because he was shy, but I", "at the scenery. Thirty or forty feet of its tail was lying on the\nground, like a fallen tree, and she thought she could climb it, but she", "and I did not know what he was and was indifferent about him; but now it\nwas a mournful place, and every little thing spoke of him, and my heart", "it nervous and unhappy. At last it was a good deal worried, and climbed\na tree. I waited a good while, then gave it up and went home.", "When I look back, the Garden is a dream to me. It was beautiful,\nsurpassingly beautiful, enchantingly beautiful; and now it is lost, and\nI shall not see it any more.", "her around like a pet mountain. Like the other animals. They all do\nthat.", "her theory, but it failed: every time she got him properly placed in\nthe river and went ashore to cross over him, he came out and followed", "That first time that she forsook me! ah, I shall never forget that\n--never, never. My heart was lead in my body! I said, “She was all I", "The Garden is lost, but I have found HIM, and am content. He loves me as\nwell as he can; I love him with all the strength of my passionate", "and talk to it, and pour out endearing names upon it. And she is\ncolor-mad: brown rocks, yellow sand, gray moss, green foliage, blue sky;", "FRIDAY.--I saw him again, for a moment, last Monday at nightfall, but\nonly for a moment. I was hoping he would praise me for trying to", "I believe I can be honest in all other matters, but I already begin to\nrealize that the core and center of my nature is love of the beautiful,\na passion for the beautiful, and that it would not be safe to trust me", "had, and now she is gone!” In my despair I said, “Break, my heart; I\ncannot bear my life any more!” and hid my face in my hands, and there", "We have made long excursions, and I have seen a great deal of the world;\nalmost all of it, I think; and so I am the first traveler, and the only", "But no matter. Nothing would have come of it, for he does not care for\nflowers. He called them rubbish, and cannot tell one from another, and", "WEDNESDAY.--We are getting along very well indeed, now, and getting\nbetter and better acquainted. He does not try to avoid me any more,", "TUESDAY.--All the morning I was at work improving the estate; and I\npurposely kept away from him in the hope that he would get lonely and\ncome. But he did not.", "himself, that it was a good one, for he worked it in twice afterward,\ncasually. It was good casual art, still it showed that he possesses a" ], [ "EVE'S DIARY\n\n\nBy Mark Twain\n\n\nIllustrated by Lester Ralph\n\n\n\n\nTranslated from the Original", "GUTENBERG EBOOK EVE'S DIARY, COMPLETE ***\n\n\n\n\nProduced by David Widger and Cindy Rosenthal", "At Eve's Grave\n\nADAM: Wheresoever she was, THERE was Eden.", "EXTRACT FROM ADAM'S DIARY", "End of the Project Gutenberg EBook of Eve's Diary, Complete\nby Mark Twain (Samuel Clemens)", "The Garden is lost, but I have found HIM, and am content. He loves me as\nwell as he can; I love him with all the strength of my passionate", "had, and now she is gone!” In my despair I said, “Break, my heart; I\ncannot bear my life any more!” and hid my face in my hands, and there", "but she will come.” And it was so: she always did. At night she would\nnot come if it was dark, for she was a timid little thing; but if there", "continues. I am the first wife; and in the last wife I shall be\nrepeated.", "That was perfect happiness; I had known happiness before, but it was not\nlike this, which was ecstasy. I never doubted her afterward. Sometimes", "When I look back, the Garden is a dream to me. It was beautiful,\nsurpassingly beautiful, enchantingly beautiful; and now it is lost, and\nI shall not see it any more.", "and talk to it, and pour out endearing names upon it. And she is\ncolor-mad: brown rocks, yellow sand, gray moss, green foliage, blue sky;", "was no solace for me. And when I took them away, after a little, there\nshe was again, white and shining and beautiful, and I sprang into her\narms!", "That first time that she forsook me! ah, I shall never forget that\n--never, never. My heart was lead in my body! I said, “She was all I", "It is what I think. But I am only a girl, the first that has examined\nthis matter, and it may turn out that in my ignorance and inexperience I\nhave not got it right.", "Perhaps I ought to remember that she is very young, a mere girl and make\nallowances. She is all interest, eagerness, vivacity, the world is to", "enough--that lovely white body painted there in the pool--but it is\nsomething, and something is better than utter loneliness. It talks when", "I talk; it is sad when I am sad; it comforts me with its sympathy; it\nsays, “Do not be downhearted, you poor friendless girl; I will be your", "to start right and not let the record get confused, for some instinct\ntells me that these details are going to be important to the historian\nsome day. For I feel like an experiment, I feel exactly like an", "at the scenery. Thirty or forty feet of its tail was lying on the\nground, like a fallen tree, and she thought she could climb it, but she" ], [ "At Eve's Grave\n\nADAM: Wheresoever she was, THERE was Eden.", "GUTENBERG EBOOK EVE'S DIARY, COMPLETE ***\n\n\n\n\nProduced by David Widger and Cindy Rosenthal", "EVE'S DIARY\n\n\nBy Mark Twain\n\n\nIllustrated by Lester Ralph\n\n\n\n\nTranslated from the Original", "The Garden is lost, but I have found HIM, and am content. He loves me as\nwell as he can; I love him with all the strength of my passionate", "EXTRACT FROM ADAM'S DIARY", "End of the Project Gutenberg EBook of Eve's Diary, Complete\nby Mark Twain (Samuel Clemens)", "embers, too. I found my apples, and raked them out, and was glad; for I\nam very young and my appetite is active. But I was disappointed; they", "animals. I think that this must be so. I love certain birds because of\ntheir song; but I do not love Adam on account of his singing--no, it is", "at the scenery. Thirty or forty feet of its tail was lying on the\nground, like a fallen tree, and she thought she could climb it, but she", "had, and now she is gone!” In my despair I said, “Break, my heart; I\ncannot bear my life any more!” and hid my face in my hands, and there", "were the very first flames that had ever been in the world. They\nclimbed the trees, then flashed splendidly in and out of the vast and", "SUNDAY.--It is up there yet. Resting, apparently. But that is a\nsubterfuge: Sunday isn't the day of rest; Saturday is appointed for", "but she will come.” And it was so: she always did. At night she would\nnot come if it was dark, for she was a timid little thing; but if there", "That was perfect happiness; I had known happiness before, but it was not\nlike this, which was ecstasy. I never doubted her afterward. Sometimes", "I think, and he did not make his sex. Of course I would not have told\non him, I would have perished first; but that is a peculiarity of sex,", "That first time that she forsook me! ah, I shall never forget that\n--never, never. My heart was lead in my body! I said, “She was all I", "out. She believed it could be tamed by kind treatment and would be a\ngood pet; I said a pet twenty-one feet high and eighty-four feet long", "not done anything? But at last it seemed true, so I went away and sat\nlonely in the place where I first saw him the morning that we were made", "was no solace for me. And when I took them away, after a little, there\nshe was again, white and shining and beautiful, and I sprang into her\narms!", "the river and use him for a bridge. It turned out that he was already\nplenty tame enough--at least as far as she was concerned--so she tried" ], [ "At Eve's Grave\n\nADAM: Wheresoever she was, THERE was Eden.", "EVE'S DIARY\n\n\nBy Mark Twain\n\n\nIllustrated by Lester Ralph\n\n\n\n\nTranslated from the Original", "GUTENBERG EBOOK EVE'S DIARY, COMPLETE ***\n\n\n\n\nProduced by David Widger and Cindy Rosenthal", "End of the Project Gutenberg EBook of Eve's Diary, Complete\nby Mark Twain (Samuel Clemens)", "The Garden is lost, but I have found HIM, and am content. He loves me as\nwell as he can; I love him with all the strength of my passionate", "but she will come.” And it was so: she always did. At night she would\nnot come if it was dark, for she was a timid little thing; but if there", "had, and now she is gone!” In my despair I said, “Break, my heart; I\ncannot bear my life any more!” and hid my face in my hands, and there", "When I look back, the Garden is a dream to me. It was beautiful,\nsurpassingly beautiful, enchantingly beautiful; and now it is lost, and\nI shall not see it any more.", "visits I have paid her; she is my comfort and my refuge when my life is\nhard--and it is mainly that.", "at the scenery. Thirty or forty feet of its tail was lying on the\nground, like a fallen tree, and she thought she could climb it, but she", "TUESDAY.--All the morning I was at work improving the estate; and I\npurposely kept away from him in the hope that he would get lonely and\ncome. But he did not.", "EXTRACT FROM ADAM'S DIARY", "Perhaps I ought to remember that she is very young, a mere girl and make\nallowances. She is all interest, eagerness, vivacity, the world is to", "Tuesday--Wednesday--Thursday--and today: all without seeing him. It is\na long time to be alone; still, it is better to be alone than unwelcome.", "was no solace for me. And when I took them away, after a little, there\nshe was again, white and shining and beautiful, and I sprang into her\narms!", "her theory, but it failed: every time she got him properly placed in\nthe river and went ashore to cross over him, he came out and followed", "The birds and animals are all friendly to each other, and there are no\ndisputes about anything. They all talk, and they all talk to me, but it", "continues. I am the first wife; and in the last wife I shall be\nrepeated.", "That was perfect happiness; I had known happiness before, but it was not\nlike this, which was ecstasy. I never doubted her afterward. Sometimes", "It has low tastes, and is not kind. When I went there yesterday evening\nin the gloaming it had crept down and was trying to catch the little" ], [ "Forty Years Later", "at the scenery. Thirty or forty feet of its tail was lying on the\nground, like a fallen tree, and she thought she could climb it, but she", "After the Fall", "it nervous and unhappy. At last it was a good deal worried, and climbed\na tree. I waited a good while, then gave it up and went home.", "“Fire-coals.”\n\nHe picked up one to examine it, but changed his mind and put it down\nagain. Then he went away. NOTHING interests him.", "but she will come.” And it was so: she always did. At night she would\nnot come if it was dark, for she was a timid little thing; but if there", "Tuesday--Wednesday--Thursday--and today: all without seeing him. It is\na long time to be alone; still, it is better to be alone than unwelcome.", "think they will last weeks and weeks. I hope so. When you cast up a\nfeather it sails away on the air and goes out of sight; then you throw", "not done anything? But at last it seemed true, so I went away and sat\nlonely in the place where I first saw him the morning that we were made", "was not noticing. Very well; I will be very watchful now, and if any\nday-before-yesterdays happen I will make a note of it. It will be best", "SATURDAY.--I am almost a whole day old, now. I arrived yesterday.\nThat is as it seems to me. And it must be so, for if there was a", "FRIDAY.--I saw him again, for a moment, last Monday at nightfall, but\nonly for a moment. I was hoping he would praise me for trying to", "The fire was traveling farther and farther off. He went to the edge of\nthe burned place and stood looking down, and said:\n\n“What are these?”", "had, and now she is gone!” In my despair I said, “Break, my heart; I\ncannot bear my life any more!” and hid my face in my hands, and there", "were all burst open and spoiled. Spoiled apparently; but it was not so;\nthey were better than raw ones. Fire is beautiful; some day it will be\nuseful, I think.", "But of course there is no telling where it went to. And besides,\nwhoever gets it will hide it; I know it because I would do it myself.", "could gather them tenderly then, and not break them. But it was farther\nthan I thought, and at last I had to give it up; I was so tired I", "When I look back, the Garden is a dream to me. It was beautiful,\nsurpassingly beautiful, enchantingly beautiful; and now it is lost, and\nI shall not see it any more.", "TUESDAY.--All the morning I was at work improving the estate; and I\npurposely kept away from him in the hope that he would get lonely and\ncome. But he did not.", "was no solace for me. And when I took them away, after a little, there\nshe was again, white and shining and beautiful, and I sprang into her\narms!" ], [ "Forty Years Later", "at the scenery. Thirty or forty feet of its tail was lying on the\nground, like a fallen tree, and she thought she could climb it, but she", "When I look back, the Garden is a dream to me. It was beautiful,\nsurpassingly beautiful, enchantingly beautiful; and now it is lost, and\nI shall not see it any more.", "had, and now she is gone!” In my despair I said, “Break, my heart; I\ncannot bear my life any more!” and hid my face in my hands, and there", "not done anything? But at last it seemed true, so I went away and sat\nlonely in the place where I first saw him the morning that we were made", "That first time that she forsook me! ah, I shall never forget that\n--never, never. My heart was lead in my body! I said, “She was all I", "Tuesday--Wednesday--Thursday--and today: all without seeing him. It is\na long time to be alone; still, it is better to be alone than unwelcome.", "it nervous and unhappy. At last it was a good deal worried, and climbed\na tree. I waited a good while, then gave it up and went home.", "FRIDAY.--I saw him again, for a moment, last Monday at nightfall, but\nonly for a moment. I was hoping he would praise me for trying to", "so frightened! But I looked back, and it was not coming; so I leaned\nagainst a rock and rested and panted, and let my limbs go on trembling", "After the Fall", "“Fire-coals.”\n\nHe picked up one to examine it, but changed his mind and put it down\nagain. Then he went away. NOTHING interests him.", "was not noticing. Very well; I will be very watchful now, and if any\nday-before-yesterdays happen I will make a note of it. It will be best", "So I cried a little, which was natural, I suppose, for one of my age,\nand after I was rested I got a basket and started for a place on the", "but she will come.” And it was so: she always did. At night she would\nnot come if it was dark, for she was a timid little thing; but if there", "That was perfect happiness; I had known happiness before, but it was not\nlike this, which was ecstasy. I never doubted her afterward. Sometimes", "He came running, and stopped and gazed, and said not a word for many\nminutes. Then he asked what it was. Ah, it was too bad that he should", "could gather them tenderly then, and not break them. But it was farther\nthan I thought, and at last I had to give it up; I was so tired I", "her theory, but it failed: every time she got him properly placed in\nthe river and went ashore to cross over him, he came out and followed", "and I did not know what he was and was indifferent about him; but now it\nwas a mournful place, and every little thing spoke of him, and my heart" ], [ "The Garden is lost, but I have found HIM, and am content. He loves me as\nwell as he can; I love him with all the strength of my passionate", "EXTRACT FROM ADAM'S DIARY", "At Eve's Grave\n\nADAM: Wheresoever she was, THERE was Eden.", "not done anything? But at last it seemed true, so I went away and sat\nlonely in the place where I first saw him the morning that we were made", "it nervous and unhappy. At last it was a good deal worried, and climbed\na tree. I waited a good while, then gave it up and went home.", "could gather them tenderly then, and not break them. But it was farther\nthan I thought, and at last I had to give it up; I was so tired I", "had, and now she is gone!” In my despair I said, “Break, my heart; I\ncannot bear my life any more!” and hid my face in my hands, and there", "When I look back, the Garden is a dream to me. It was beautiful,\nsurpassingly beautiful, enchantingly beautiful; and now it is lost, and\nI shall not see it any more.", "embers, too. I found my apples, and raked them out, and was glad; for I\nam very young and my appetite is active. But I was disappointed; they", "“Fire-coals.”\n\nHe picked up one to examine it, but changed his mind and put it down\nagain. Then he went away. NOTHING interests him.", "was no solace for me. And when I took them away, after a little, there\nshe was again, white and shining and beautiful, and I sprang into her\narms!", "at the scenery. Thirty or forty feet of its tail was lying on the\nground, like a fallen tree, and she thought she could climb it, but she", "TUESDAY.--All the morning I was at work improving the estate; and I\npurposely kept away from him in the hope that he would get lonely and\ncome. But he did not.", "But when night came I could not bear the lonesomeness, and went to the\nnew shelter which he has built, to ask him what I had done that was", "FRIDAY.--I saw him again, for a moment, last Monday at nightfall, but\nonly for a moment. I was hoping he would praise me for trying to", "SUNDAY.--It is up there yet. Resting, apparently. But that is a\nsubterfuge: Sunday isn't the day of rest; Saturday is appointed for", "The fire was traveling farther and farther off. He went to the edge of\nthe burned place and stood looking down, and said:\n\n“What are these?”", "her theory, but it failed: every time she got him properly placed in\nthe river and went ashore to cross over him, he came out and followed", "and clothed myself in them while I ate my luncheon--apples, of course;\nthen I sat in the shade and wished and waited. But he did not come.", "I couldn't get back home; it was too far and turning cold; but I found\nsome tigers and nestled in among them and was most adorably comfortable," ], [ "At Eve's Grave\n\nADAM: Wheresoever she was, THERE was Eden.", "and I did not know what he was and was indifferent about him; but now it\nwas a mournful place, and every little thing spoke of him, and my heart", "The Garden is lost, but I have found HIM, and am content. He loves me as\nwell as he can; I love him with all the strength of my passionate", "had, and now she is gone!” In my despair I said, “Break, my heart; I\ncannot bear my life any more!” and hid my face in my hands, and there", "GUTENBERG EBOOK EVE'S DIARY, COMPLETE ***\n\n\n\n\nProduced by David Widger and Cindy Rosenthal", "EVE'S DIARY\n\n\nBy Mark Twain\n\n\nIllustrated by Lester Ralph\n\n\n\n\nTranslated from the Original", "When I look back, the Garden is a dream to me. It was beautiful,\nsurpassingly beautiful, enchantingly beautiful; and now it is lost, and\nI shall not see it any more.", "EXTRACT FROM ADAM'S DIARY", "End of the Project Gutenberg EBook of Eve's Diary, Complete\nby Mark Twain (Samuel Clemens)", "I talk; it is sad when I am sad; it comforts me with its sympathy; it\nsays, “Do not be downhearted, you poor friendless girl; I will be your", "It is my prayer, it is my longing, that we may pass from this life\ntogether--a longing which shall never perish from the earth, but shall", "The fire was traveling farther and farther off. He went to the edge of\nthe burned place and stood looking down, and said:\n\n“What are these?”", "not done anything? But at last it seemed true, so I went away and sat\nlonely in the place where I first saw him the morning that we were made", "and talk to it, and pour out endearing names upon it. And she is\ncolor-mad: brown rocks, yellow sand, gray moss, green foliage, blue sky;", "was no solace for me. And when I took them away, after a little, there\nshe was again, white and shining and beautiful, and I sprang into her\narms!", "but she will come.” And it was so: she always did. At night she would\nnot come if it was dark, for she was a timid little thing; but if there", "continues. I am the first wife; and in the last wife I shall be\nrepeated.", "FRIDAY.--I saw him again, for a moment, last Monday at nightfall, but\nonly for a moment. I was hoping he would praise me for trying to", "But I was interested. There were ashes, gray and soft and delicate and\npretty--I knew what they were at once. And the embers; I knew the", "at the scenery. Thirty or forty feet of its tail was lying on the\nground, like a fallen tree, and she thought she could climb it, but she" ], [ "At Eve's Grave\n\nADAM: Wheresoever she was, THERE was Eden.", "GUTENBERG EBOOK EVE'S DIARY, COMPLETE ***\n\n\n\n\nProduced by David Widger and Cindy Rosenthal", "EVE'S DIARY\n\n\nBy Mark Twain\n\n\nIllustrated by Lester Ralph\n\n\n\n\nTranslated from the Original", "That was perfect happiness; I had known happiness before, but it was not\nlike this, which was ecstasy. I never doubted her afterward. Sometimes", "The Garden is lost, but I have found HIM, and am content. He loves me as\nwell as he can; I love him with all the strength of my passionate", "her a charm, a wonder, a mystery, a joy; she can't speak for delight\nwhen she finds a new flower, she must pet it and caress it and smell it", "embers, too. I found my apples, and raked them out, and was glad; for I\nam very young and my appetite is active. But I was disappointed; they", "see, but because they have color and majesty, that is enough for her,\nand she loses her mind over them. If she could quiet down and keep still", "I am coming to realize that she is a quite remarkably comely creature\n--lithe, slender, trim, rounded, shapely, nimble, graceful; and once", "my appreciation. I would like to send them some stars, for we have more\nthan we can use. I mean I, not we, for I can see that the reptile cares\nnothing for such things.", "was very agreeable, and I thought of it more than once with\ngratification before I slept. How little a thing can make us happy when\nwe feel that we have earned it!", "was no solace for me. And when I took them away, after a little, there\nshe was again, white and shining and beautiful, and I sprang into her\narms!", "which is a good sign, and shows that he likes to have me with him. That\npleases me, and I study to be useful to him in every way I can, so as to\nincrease his regard.", "When I look back, the Garden is a dream to me. It was beautiful,\nsurpassingly beautiful, enchantingly beautiful; and now it is lost, and\nI shall not see it any more.", "Perhaps I ought to remember that she is very young, a mere girl and make\nallowances. She is all interest, eagerness, vivacity, the world is to", "and talk to it, and pour out endearing names upon it. And she is\ncolor-mad: brown rocks, yellow sand, gray moss, green foliage, blue sky;", "I tried to get him some of those apples, but I cannot learn to throw\nstraight. I failed, but I think the good intention pleased him. They", "animals. I think that this must be so. I love certain birds because of\ntheir song; but I do not love Adam on account of his singing--no, it is", "a couple minutes at a time, it would be a reposeful spectacle. In that\ncase I think I could enjoy looking at her; indeed I am sure I could, for", "but she will come.” And it was so: she always did. At night she would\nnot come if it was dark, for she was a timid little thing; but if there" ], [ "At Eve's Grave\n\nADAM: Wheresoever she was, THERE was Eden.", "GUTENBERG EBOOK EVE'S DIARY, COMPLETE ***\n\n\n\n\nProduced by David Widger and Cindy Rosenthal", "EXTRACT FROM ADAM'S DIARY", "EVE'S DIARY\n\n\nBy Mark Twain\n\n\nIllustrated by Lester Ralph\n\n\n\n\nTranslated from the Original", "The Garden is lost, but I have found HIM, and am content. He loves me as\nwell as he can; I love him with all the strength of my passionate", "animals. I think that this must be so. I love certain birds because of\ntheir song; but I do not love Adam on account of his singing--no, it is", "End of the Project Gutenberg EBook of Eve's Diary, Complete\nby Mark Twain (Samuel Clemens)", "had, and now she is gone!” In my despair I said, “Break, my heart; I\ncannot bear my life any more!” and hid my face in my hands, and there", "That was perfect happiness; I had known happiness before, but it was not\nlike this, which was ecstasy. I never doubted her afterward. Sometimes", "That first time that she forsook me! ah, I shall never forget that\n--never, never. My heart was lead in my body! I said, “She was all I", "was no solace for me. And when I took them away, after a little, there\nshe was again, white and shining and beautiful, and I sprang into her\narms!", "were plain, I should love him; if he were a wreck, I should love him;\nand I would work for him, and slave over him, and pray for him, and\nwatch by his bedside until I died.", "When I look back, the Garden is a dream to me. It was beautiful,\nsurpassingly beautiful, enchantingly beautiful; and now it is lost, and\nI shall not see it any more.", "nature, and this, I think, is proper to my youth and sex. If I ask\nmyself why I love him, I find I do not know, and do not really much care", "continues. I am the first wife; and in the last wife I shall be\nrepeated.", "At bottom he is good, and I love him for that, but I could love him\nwithout it. If he should beat me and abuse me, I should go on loving\nhim. I know it. It is a matter of sex, I think.", "It is not on account of his chivalry that I love him--no, it is not\nthat. He told on me, but I do not blame him; it is a peculiarity of sex,", "but she will come.” And it was so: she always did. At night she would\nnot come if it was dark, for she was a timid little thing; but if there", "and talk to it, and pour out endearing names upon it. And she is\ncolor-mad: brown rocks, yellow sand, gray moss, green foliage, blue sky;", "embers, too. I found my apples, and raked them out, and was glad; for I\nam very young and my appetite is active. But I was disappointed; they" ], [ "EXTRACT FROM ADAM'S DIARY", "EVE'S DIARY\n\n\nBy Mark Twain\n\n\nIllustrated by Lester Ralph\n\n\n\n\nTranslated from the Original", "GUTENBERG EBOOK EVE'S DIARY, COMPLETE ***\n\n\n\n\nProduced by David Widger and Cindy Rosenthal", "When I look back, the Garden is a dream to me. It was beautiful,\nsurpassingly beautiful, enchantingly beautiful; and now it is lost, and\nI shall not see it any more.", "End of the Project Gutenberg EBook of Eve's Diary, Complete\nby Mark Twain (Samuel Clemens)", "to start right and not let the record get confused, for some instinct\ntells me that these details are going to be important to the historian\nsome day. For I feel like an experiment, I feel exactly like an", "but she will come.” And it was so: she always did. At night she would\nnot come if it was dark, for she was a timid little thing; but if there", "The Garden is lost, but I have found HIM, and am content. He loves me as\nwell as he can; I love him with all the strength of my passionate", "“How did it come?”\n\nAnother direct question, and it also had to have a direct answer.\n\n“I made it.”", "friend.” It IS a good friend to me, and my only one; it is my sister.", "SATURDAY.--I am almost a whole day old, now. I arrived yesterday.\nThat is as it seems to me. And it must be so, for if there was a", "from me. It is my only pain. Otherwise he is frank and open with me,\nnow. I am sure he keeps nothing from me but this. It grieves me that he", "At first I couldn't make out what I was made for, but now I think it was\nto search out the secrets of this wonderful world and be happy and thank", "I talk; it is sad when I am sad; it comforts me with its sympathy; it\nsays, “Do not be downhearted, you poor friendless girl; I will be your", "had, and now she is gone!” In my despair I said, “Break, my heart; I\ncannot bear my life any more!” and hid my face in my hands, and there", "It is what I think. But I am only a girl, the first that has examined\nthis matter, and it may turn out that in my ignorance and inexperience I\nhave not got it right.", "FRIDAY.--I saw him again, for a moment, last Monday at nightfall, but\nonly for a moment. I was hoping he would praise me for trying to", "TUESDAY.--All the morning I was at work improving the estate; and I\npurposely kept away from him in the hope that he would get lonely and\ncome. But he did not.", "That first time that she forsook me! ah, I shall never forget that\n--never, never. My heart was lead in my body! I said, “She was all I", "Perhaps I ought to remember that she is very young, a mere girl and make\nallowances. She is all interest, eagerness, vivacity, the world is to" ], [ "At Eve's Grave\n\nADAM: Wheresoever she was, THERE was Eden.", "GUTENBERG EBOOK EVE'S DIARY, COMPLETE ***\n\n\n\n\nProduced by David Widger and Cindy Rosenthal", "EVE'S DIARY\n\n\nBy Mark Twain\n\n\nIllustrated by Lester Ralph\n\n\n\n\nTranslated from the Original", "had, and now she is gone!” In my despair I said, “Break, my heart; I\ncannot bear my life any more!” and hid my face in my hands, and there", "The Garden is lost, but I have found HIM, and am content. He loves me as\nwell as he can; I love him with all the strength of my passionate", "embers, too. I found my apples, and raked them out, and was glad; for I\nam very young and my appetite is active. But I was disappointed; they", "and I did not know what he was and was indifferent about him; but now it\nwas a mournful place, and every little thing spoke of him, and my heart", "her theory, but it failed: every time she got him properly placed in\nthe river and went ashore to cross over him, he came out and followed", "End of the Project Gutenberg EBook of Eve's Diary, Complete\nby Mark Twain (Samuel Clemens)", "But I was interested. There were ashes, gray and soft and delicate and\npretty--I knew what they were at once. And the embers; I knew the", "was no solace for me. And when I took them away, after a little, there\nshe was again, white and shining and beautiful, and I sprang into her\narms!", "EXTRACT FROM ADAM'S DIARY", "at the scenery. Thirty or forty feet of its tail was lying on the\nground, like a fallen tree, and she thought she could climb it, but she", "The fire was traveling farther and farther off. He went to the edge of\nthe burned place and stood looking down, and said:\n\n“What are these?”", "When I look back, the Garden is a dream to me. It was beautiful,\nsurpassingly beautiful, enchantingly beautiful; and now it is lost, and\nI shall not see it any more.", "But of course there is no telling where it went to. And besides,\nwhoever gets it will hide it; I know it because I would do it myself.", "and clothed myself in them while I ate my luncheon--apples, of course;\nthen I sat in the shade and wished and waited. But he did not come.", "That first time that she forsook me! ah, I shall never forget that\n--never, never. My heart was lead in my body! I said, “She was all I", "So I cried a little, which was natural, I suppose, for one of my age,\nand after I was rested I got a basket and started for a place on the", "could gather them tenderly then, and not break them. But it was farther\nthan I thought, and at last I had to give it up; I was so tired I" ], [ "Forty Years Later", "at the scenery. Thirty or forty feet of its tail was lying on the\nground, like a fallen tree, and she thought she could climb it, but she", "it nervous and unhappy. At last it was a good deal worried, and climbed\na tree. I waited a good while, then gave it up and went home.", "but she will come.” And it was so: she always did. At night she would\nnot come if it was dark, for she was a timid little thing; but if there", "FRIDAY.--I saw him again, for a moment, last Monday at nightfall, but\nonly for a moment. I was hoping he would praise me for trying to", "Tuesday--Wednesday--Thursday--and today: all without seeing him. It is\na long time to be alone; still, it is better to be alone than unwelcome.", "think they will last weeks and weeks. I hope so. When you cast up a\nfeather it sails away on the air and goes out of sight; then you throw", "After the Fall", "was not noticing. Very well; I will be very watchful now, and if any\nday-before-yesterdays happen I will make a note of it. It will be best", "had, and now she is gone!” In my despair I said, “Break, my heart; I\ncannot bear my life any more!” and hid my face in my hands, and there", "not done anything? But at last it seemed true, so I went away and sat\nlonely in the place where I first saw him the morning that we were made", "“Fire-coals.”\n\nHe picked up one to examine it, but changed his mind and put it down\nagain. Then he went away. NOTHING interests him.", "was no solace for me. And when I took them away, after a little, there\nshe was again, white and shining and beautiful, and I sprang into her\narms!", "SATURDAY.--I am almost a whole day old, now. I arrived yesterday.\nThat is as it seems to me. And it must be so, for if there was a", "continues. I am the first wife; and in the last wife I shall be\nrepeated.", "could gather them tenderly then, and not break them. But it was farther\nthan I thought, and at last I had to give it up; I was so tired I", "When I look back, the Garden is a dream to me. It was beautiful,\nsurpassingly beautiful, enchantingly beautiful; and now it is lost, and\nI shall not see it any more.", "TUESDAY.--All the morning I was at work improving the estate; and I\npurposely kept away from him in the hope that he would get lonely and\ncome. But he did not.", "The fire was traveling farther and farther off. He went to the edge of\nthe burned place and stood looking down, and said:\n\n“What are these?”", "WEDNESDAY.--We are getting along very well indeed, now, and getting\nbetter and better acquainted. He does not try to avoid me any more," ], [ "was no solace for me. And when I took them away, after a little, there\nshe was again, white and shining and beautiful, and I sprang into her\narms!", "until they got steady again; then I crept warily back, alert, watching,\nand ready to fly if there was occasion; and when I was come near, I", "it nervous and unhappy. At last it was a good deal worried, and climbed\na tree. I waited a good while, then gave it up and went home.", "so frightened! But I looked back, and it was not coming; so I leaned\nagainst a rock and rested and panted, and let my limbs go on trembling", "at the scenery. Thirty or forty feet of its tail was lying on the\nground, like a fallen tree, and she thought she could climb it, but she", "could gather them tenderly then, and not break them. But it was farther\nthan I thought, and at last I had to give it up; I was so tired I", "but she will come.” And it was so: she always did. At night she would\nnot come if it was dark, for she was a timid little thing; but if there", "That was perfect happiness; I had known happiness before, but it was not\nlike this, which was ecstasy. I never doubted her afterward. Sometimes", "was not noticing. Very well; I will be very watchful now, and if any\nday-before-yesterdays happen I will make a note of it. It will be best", "FRIDAY.--I saw him again, for a moment, last Monday at nightfall, but\nonly for a moment. I was hoping he would praise me for trying to", "So I cried a little, which was natural, I suppose, for one of my age,\nand after I was rested I got a basket and started for a place on the", "But I was interested. There were ashes, gray and soft and delicate and\npretty--I knew what they were at once. And the embers; I knew the", "was only trying to get away, so after that I was not timid any more, but\ntracked it along, several hours, about twenty yards behind, which made", "not done anything? But at last it seemed true, so I went away and sat\nlonely in the place where I first saw him the morning that we were made", "Forty Years Later", "“Fire-coals.”\n\nHe picked up one to examine it, but changed his mind and put it down\nagain. Then he went away. NOTHING interests him.", "had, and now she is gone!” In my despair I said, “Break, my heart; I\ncannot bear my life any more!” and hid my face in my hands, and there", "himself, that it was a good one, for he worked it in twice afterward,\ncasually. It was good casual art, still it showed that he possesses a", "and I did not know what he was and was indifferent about him; but now it\nwas a mournful place, and every little thing spoke of him, and my heart", "The fire was traveling farther and farther off. He went to the edge of\nthe burned place and stood looking down, and said:\n\n“What are these?”" ], [ "EVE'S DIARY\n\n\nBy Mark Twain\n\n\nIllustrated by Lester Ralph\n\n\n\n\nTranslated from the Original", "GUTENBERG EBOOK EVE'S DIARY, COMPLETE ***\n\n\n\n\nProduced by David Widger and Cindy Rosenthal", "EXTRACT FROM ADAM'S DIARY", "End of the Project Gutenberg EBook of Eve's Diary, Complete\nby Mark Twain (Samuel Clemens)", "At Eve's Grave\n\nADAM: Wheresoever she was, THERE was Eden.", "but she will come.” And it was so: she always did. At night she would\nnot come if it was dark, for she was a timid little thing; but if there", "The Garden is lost, but I have found HIM, and am content. He loves me as\nwell as he can; I love him with all the strength of my passionate", "had, and now she is gone!” In my despair I said, “Break, my heart; I\ncannot bear my life any more!” and hid my face in my hands, and there", "When I look back, the Garden is a dream to me. It was beautiful,\nsurpassingly beautiful, enchantingly beautiful; and now it is lost, and\nI shall not see it any more.", "was no solace for me. And when I took them away, after a little, there\nshe was again, white and shining and beautiful, and I sprang into her\narms!", "TUESDAY.--All the morning I was at work improving the estate; and I\npurposely kept away from him in the hope that he would get lonely and\ncome. But he did not.", "That was perfect happiness; I had known happiness before, but it was not\nlike this, which was ecstasy. I never doubted her afterward. Sometimes", "That first time that she forsook me! ah, I shall never forget that\n--never, never. My heart was lead in my body! I said, “She was all I", "and talk to it, and pour out endearing names upon it. And she is\ncolor-mad: brown rocks, yellow sand, gray moss, green foliage, blue sky;", "Still, her heart was set upon having that monster, and she couldn't give\nit up. She thought we could start a dairy with it, and wanted me to", "Perhaps I ought to remember that she is very young, a mere girl and make\nallowances. She is all interest, eagerness, vivacity, the world is to", "to start right and not let the record get confused, for some instinct\ntells me that these details are going to be important to the historian\nsome day. For I feel like an experiment, I feel exactly like an", "continues. I am the first wife; and in the last wife I shall be\nrepeated.", "I talk; it is sad when I am sad; it comforts me with its sympathy; it\nsays, “Do not be downhearted, you poor friendless girl; I will be your", "at the scenery. Thirty or forty feet of its tail was lying on the\nground, like a fallen tree, and she thought she could climb it, but she" ], [ "That first time that she forsook me! ah, I shall never forget that\n--never, never. My heart was lead in my body! I said, “She was all I", "EVE'S DIARY\n\n\nBy Mark Twain\n\n\nIllustrated by Lester Ralph\n\n\n\n\nTranslated from the Original", "That was perfect happiness; I had known happiness before, but it was not\nlike this, which was ecstasy. I never doubted her afterward. Sometimes", "but she will come.” And it was so: she always did. At night she would\nnot come if it was dark, for she was a timid little thing; but if there", "was no solace for me. And when I took them away, after a little, there\nshe was again, white and shining and beautiful, and I sprang into her\narms!", "End of the Project Gutenberg EBook of Eve's Diary, Complete\nby Mark Twain (Samuel Clemens)", "were plain, I should love him; if he were a wreck, I should love him;\nand I would work for him, and slave over him, and pray for him, and\nwatch by his bedside until I died.", "had, and now she is gone!” In my despair I said, “Break, my heart; I\ncannot bear my life any more!” and hid my face in my hands, and there", "out. She believed it could be tamed by kind treatment and would be a\ngood pet; I said a pet twenty-one feet high and eighty-four feet long", "and talk to it, and pour out endearing names upon it. And she is\ncolor-mad: brown rocks, yellow sand, gray moss, green foliage, blue sky;", "the river and use him for a bridge. It turned out that he was already\nplenty tame enough--at least as far as she was concerned--so she tried", "WEDNESDAY.--We are getting along very well indeed, now, and getting\nbetter and better acquainted. He does not try to avoid me any more,", "and I did not know what he was and was indifferent about him; but now it\nwas a mournful place, and every little thing spoke of him, and my heart", "But I was interested. There were ashes, gray and soft and delicate and\npretty--I knew what they were at once. And the embers; I knew the", "continues. I am the first wife; and in the last wife I shall be\nrepeated.", "Perhaps I ought to remember that she is very young, a mere girl and make\nallowances. She is all interest, eagerness, vivacity, the world is to", "said, “Oh, you fire, I love you, you dainty pink creature, for you are\nBEAUTIFUL--and that is enough!” and was going to gather it to my breast.", "and their breath was sweet and pleasant, because they live on\nstrawberries. I had never seen a tiger before, but I knew them in a", "himself, that it was a good one, for he worked it in twice afterward,\ncasually. It was good casual art, still it showed that he possesses a", "No, he took no interest in my name. I tried to hide my disappointment,\nbut I suppose I did not succeed. I went away and sat on the moss-bank" ], [ "EVE'S DIARY\n\n\nBy Mark Twain\n\n\nIllustrated by Lester Ralph\n\n\n\n\nTranslated from the Original", "had, and now she is gone!” In my despair I said, “Break, my heart; I\ncannot bear my life any more!” and hid my face in my hands, and there", "End of the Project Gutenberg EBook of Eve's Diary, Complete\nby Mark Twain (Samuel Clemens)", "That first time that she forsook me! ah, I shall never forget that\n--never, never. My heart was lead in my body! I said, “She was all I", "was no solace for me. And when I took them away, after a little, there\nshe was again, white and shining and beautiful, and I sprang into her\narms!", "That was perfect happiness; I had known happiness before, but it was not\nlike this, which was ecstasy. I never doubted her afterward. Sometimes", "and I did not know what he was and was indifferent about him; but now it\nwas a mournful place, and every little thing spoke of him, and my heart", "were plain, I should love him; if he were a wreck, I should love him;\nand I would work for him, and slave over him, and pray for him, and\nwatch by his bedside until I died.", "Forty Years Later", "but she will come.” And it was so: she always did. At night she would\nnot come if it was dark, for she was a timid little thing; but if there", "THURSDAY.--my first sorrow. Yesterday he avoided me and seemed to wish\nI would not talk to him. I could not believe it, and thought there was", "her theory, but it failed: every time she got him properly placed in\nthe river and went ashore to cross over him, he came out and followed", "at the scenery. Thirty or forty feet of its tail was lying on the\nground, like a fallen tree, and she thought she could climb it, but she", "out. She believed it could be tamed by kind treatment and would be a\ngood pet; I said a pet twenty-one feet high and eighty-four feet long", "continues. I am the first wife; and in the last wife I shall be\nrepeated.", "it nervous and unhappy. At last it was a good deal worried, and climbed\na tree. I waited a good while, then gave it up and went home.", "Tuesday--Wednesday--Thursday--and today: all without seeing him. It is\na long time to be alone; still, it is better to be alone than unwelcome.", "TUESDAY.--All the morning I was at work improving the estate; and I\npurposely kept away from him in the hope that he would get lonely and\ncome. But he did not.", "When I look back, the Garden is a dream to me. It was beautiful,\nsurpassingly beautiful, enchantingly beautiful; and now it is lost, and\nI shall not see it any more.", "WEDNESDAY.--We are getting along very well indeed, now, and getting\nbetter and better acquainted. He does not try to avoid me any more," ], [ "At Eve's Grave\n\nADAM: Wheresoever she was, THERE was Eden.", "had, and now she is gone!” In my despair I said, “Break, my heart; I\ncannot bear my life any more!” and hid my face in my hands, and there", "The Garden is lost, but I have found HIM, and am content. He loves me as\nwell as he can; I love him with all the strength of my passionate", "and I did not know what he was and was indifferent about him; but now it\nwas a mournful place, and every little thing spoke of him, and my heart", "EXTRACT FROM ADAM'S DIARY", "When I look back, the Garden is a dream to me. It was beautiful,\nsurpassingly beautiful, enchantingly beautiful; and now it is lost, and\nI shall not see it any more.", "was no solace for me. And when I took them away, after a little, there\nshe was again, white and shining and beautiful, and I sprang into her\narms!", "and clothed myself in them while I ate my luncheon--apples, of course;\nthen I sat in the shade and wished and waited. But he did not come.", "not done anything? But at last it seemed true, so I went away and sat\nlonely in the place where I first saw him the morning that we were made", "GUTENBERG EBOOK EVE'S DIARY, COMPLETE ***\n\n\n\n\nProduced by David Widger and Cindy Rosenthal", "That first time that she forsook me! ah, I shall never forget that\n--never, never. My heart was lead in my body! I said, “She was all I", "It is my prayer, it is my longing, that we may pass from this life\ntogether--a longing which shall never perish from the earth, but shall", "were plain, I should love him; if he were a wreck, I should love him;\nand I would work for him, and slave over him, and pray for him, and\nwatch by his bedside until I died.", "The fire was traveling farther and farther off. He went to the edge of\nthe burned place and stood looking down, and said:\n\n“What are these?”", "could gather them tenderly then, and not break them. But it was farther\nthan I thought, and at last I had to give it up; I was so tired I", "But I was interested. There were ashes, gray and soft and delicate and\npretty--I knew what they were at once. And the embers; I knew the", "He came running, and stopped and gazed, and said not a word for many\nminutes. Then he asked what it was. Ah, it was too bad that he should", "embers, too. I found my apples, and raked them out, and was glad; for I\nam very young and my appetite is active. But I was disappointed; they", "her theory, but it failed: every time she got him properly placed in\nthe river and went ashore to cross over him, he came out and followed", "I talk; it is sad when I am sad; it comforts me with its sympathy; it\nsays, “Do not be downhearted, you poor friendless girl; I will be your" ] ]

[ "Who is Eve?", "What does the story concern?", "Who is Eve's mate?", "What world does Eve explore?", "Who wrote these stories about Adam and Eve?", "What things does Eve have a strong appreciation for?", "Who was Mark Twain's wife?", "When did Olivia die?", "What phrase does Adam say at Eve's grave?", "Who does the story center around?", "What does Eve write about?", "Who is Eve's mate?", "Where does Eve live?", "How far in the future does the story jump?", "What event happens prior to the story jumping forward 40 years?", "Where is Adam at the end?", "Who speaks at Eve's grave?", "What does Eve strongly appreciate?", "What does Eve write about Adam?", "Who is the diary about?", "Who buried Eve?", "How far into the future does the story jump?", "Where did the story pick up after it jumped into the future?", "What does Eve write about in her diary?", "What was Twain's wife's nickname?", "What year did Twain's wife die?", "What does Adam say at Eve's grave?" ]

[ [ "The first woman in the biblical creation story", "First woman created." ], [ "The first-person account of Eve", "The life of Eve" ], [ "Adam", "Adam" ], [ "Eden", "the world around her" ], [ "Mark Twain", "Mark Twain" ], [ "Beauty and love", "Love and Beauty" ], [ "Olivia Langdon Clemens", "Olivia Langdon Clemons." ], [ "June 1904", "June 1904." ], [ "\"Wherever she was, there was Eden\"", "Wherever she was, there was Eden" ], [ "Eve", "Eve" ], [ "She writes from her creation up until she is buried", "Adam" ], [ "Adam", "Adam" ], [ "In Eden", "Eden" ], [ "40 years", "40 years." ], [ "The Fall and Expulsion from Eden", "About Eve getting to Know Adam" ], [ "Eve's grave", "speaking at Eves grave" ], [ "Adam", "Adam" ], [ "Beauty and love", "beauty and love" ], [ "She writes about how she meets him and getting to know him", "Meeting him." ], [ "Eve", "Eve" ], [ "Adam", "Adam" ], [ "40 years", "40 years" ], [ "After the fall and expulsion from Eden.", "Eve's grave." ], [ "Meeting Adam and the beauty of the world.", "Her life from her creation to her death" ], [ "Livy", "Livy" ], [ "1904", "1904" ], [ "Wherever she was, there was Eden.", "Wherever she was, there was Eden" ] ]

[ [ "People on either side bellow at Norville and stuff envelopes \n and packages under his elbows, into his pockets, under his \n chin, between his clenched teeth, etc.", "He reaches into his mailroom apron and hands a scrap of paper \n across the desk to Mussburger, who stares, frozen, at \n Norville, making no move to take the paper.", "NORVILLE\n Yes sir...\n\n He tears open the envelope, reads:", "Norville gives him a forced but hearty laugh of reassurance.", "He hits the intercom.\n\n NORVILLE\n ...Mail room.\n\n To Amy:", "He is shoving a file towards Norville, who opens it.", "and away -- his face now TO us, we see that it is Norville \n looking at the newspaper. He throws his head back and laughs \n merrily.", "As he wheels a piled-high mail cart down the aisle, Norville \n is accompanied by an orientation AGENT who bellows at him", "The newspaper eddies around some more, then plasters against \n Norville.\n\n He peels it off and is about to toss it away but stops, \n noticing something.", "Norville frowns. As he stares at the envelope, we see \n envelopes swishing across the f.g., whipping one by one in \n rapid succession, left to right.", "Norville has pulled his old mailroom apron from the closet \n and is putting it on: HUDSUCKER MAIL ROOM/The Future Is Now.\n\n Norville looks at the door.", "Norville, undaunted, holds up the paper since Mussburger \n will not take it. Mussburger doesn't even look at it; his \n eyes are locked on Norville's. Mussburger smolders.", "Cut to candid film of Norville getting out of a car, noticing \n the camera, grinning and waving as he walks, and taking a \n pratfall.", "INT. NORVILLE'S OFFICE", "Norville is taking an envelope from his pocket and handing \n it to the Ancient Sorter.\n\n NORVILLE\n ...you look like you can keep a \n secret...", "INT. NORVILLE'S OFFICE\n\n Looking at its frosted-glass door; the sign painter is just \n finishing lettering in: NORVILLE BARNES, President.", "He turns to look at Norville.", "In the window behind him we see loose sheets of paper \n fluttering down.\n\n CUT TO:\n\n NORVILLE", "The door opens as Norville swings around to enter. He is \n wheezing like a gas pipe about to explode.", "that read, \"MAILROOM.\" They burst open as Norville, who wears \n a mail clerk's leather apron, imprinted: HUDSUCKER" ], [ "Norville reaches in and -- pulls out the wrinkled Blue Letter.\n\n NORVILLE\n Oh, geez.", "DRAMATIC TRACK IN ON Norville. As Hutchinson talks, he thrusts \n the blue letter into Norville's face. Norville looks at it", "Norville has been worriedly patting at his pockets since the \n mention of the blue letter.", "NORVILLE\n Yes sir...\n\n He tears open the envelope, reads:", "HUDSUCKER\n Failure to deliver a Blue Letter is \n grounds for dismissal.\n\n NORVILLE\n Geez, I --", "He reaches into his mailroom apron and hands a scrap of paper \n across the desk to Mussburger, who stares, frozen, at \n Norville, making no move to take the paper.", "The mail room is thrown into pandemonium.\n\n VARIOUS VOICES\n Blue letter...! It's a blue letter...! \n They're bringing down a blue letter!", "He hits the intercom.\n\n NORVILLE\n ...Mail room.\n\n To Amy:", "Norville takes out a pencil and writes on the face of the \n envelope:\n\n INSERT - LETTER", "Norville frowns. As he stares at the envelope, we see \n envelopes swishing across the f.g., whipping one by one in \n rapid succession, left to right.", "and away -- his face now TO us, we see that it is Norville \n looking at the newspaper. He throws his head back and laughs \n merrily.", "that read, \"MAILROOM.\" They burst open as Norville, who wears \n a mail clerk's leather apron, imprinted: HUDSUCKER", "FAST TRACK IN ON BLUE LETTER\n\n that Norville holds innocently at his side.\n\n BACK TO TRACK IN ON WAILING SECRETARY", "Dear Mr. Kloppit, Please give this letter to your son. Thank \n you, Norville Barnes.\n\n After a moment he adds:\n\n Your friend in the mailroom.", "Norville is taking an envelope from his pocket and handing \n it to the Ancient Sorter.\n\n NORVILLE\n ...you look like you can keep a \n secret...", "Norville has pulled his old mailroom apron from the closet \n and is putting it on: HUDSUCKER MAIL ROOM/The Future Is Now.\n\n Norville looks at the door.", "Norville, undaunted, holds up the paper since Mussburger \n will not take it. Mussburger doesn't even look at it; his \n eyes are locked on Norville's. Mussburger smolders.", "People on either side bellow at Norville and stuff envelopes \n and packages under his elbows, into his pockets, under his \n chin, between his clenched teeth, etc.", "INT. NORVILLE'S OFFICE\n\n Looking at its frosted-glass door; the sign painter is just \n finishing lettering in: NORVILLE BARNES, President.", "NORVILLE\n I know but ya see I have this -- \n here it is, this letter --" ], [ "Norville stands pat, watching.\n\n HIS POV\n\n An entry flips over to reveal EXECUTIVE VICE PRESIDENT.\n\n NORVILLE", "The board members look at the design, puzzled.\n\n Norville takes a drop cloth off of a piece of plastic on a \n pedestal. He has the board's complete attention.", "The elevator doors slam shut and we hear its ENGINES SCREAM \n as it power-dives away.\n\n Norville turns toward the executive offices.", "Again. Norville is eagerly pointing at a design he has up on \n an easel: Under the heading BRAND NEW is a large circle. The \n side view is a flat line.", "Labeled \"Executive Conference Room.\" A secretary is hanging \n up a sign that reads: \"Quiet Please! Board Meeting in \n Session.\"\n\n INT. BOARDROOM - CLOSE ON NORVILLE", "NORVILLE\n Well, it was no great idea, really. \n A thing like this, it takes a whole \n company to put it together, and I'm \n just grateful for the opportunity --", "NORVILLE\n You know, for kids! It's... it's ... \n well, it's...\n\n MUSSBURGER\n It's brilliant.", "Norville gives him a forced but hearty laugh of reassurance.", "A) Norville is entertaining the board with his depiction of \n the near-disaster. Mussburger is slapping him merrily on the \n back.", "NORVILLE\n Yessir.\n\n HUDSUCKER\n Well, why don't ya read it.", "Cut to candid film of Norville getting out of a car, noticing \n the camera, grinning and waving as he walks, and taking a \n pratfall.", "NORVILLE\n Please! Norville!\n\n As he reaches to shake:\n\n NORVILLE\n ...It's my pleasure!", "TRACK BACK CONTINUES THROUGH the large elegant office, leaving \n Norville looking quite small IN LONG SHOT.\n\n His LAUGHTER ECHOES in the bright bare office.", "At length Norville stirs, opens his eyes, sits bolt upright, \n batting away the hands of the manicurist and temple-massager.\n\n NORVILLE\n Hold it!...", "Norville throws his head back and laughs, it seems, insanely -- \n but CONTINUED PULL BACK REVEALS that Norville is merely", "Norville lifts his head from the desktop. A piece of scrap \n paper is sticking to his cheek. Dramatic FANFARE MUSIC STARTS \n TO SWELL.", "Lou also is beginning to sound choked up:\n\n LOU (O.S.)\n It is beautiful, Benny.\n\n Almost weeping as Norville and Amy continue their embrace:", "He swivels around to face Norville, who stands deferentially \n at the door. Still listening at the phone, Mussburger waves \n Norville forward.", "The door sweeps shut. Norville looks nervously around.\n\n Behind him the elevator doors suddenly open again.\n\n BUZZ\n -- You'll need it!", "NORVILLE\n ...I designed it myself and this is \n just the sweet baby that can put \n Hudsucker right back on top." ], [ "In the b.g., brilliantly spotlit, Vic Tenetta continues his \n song.\n\n As Mussburger joins them:", "Mussburger perches on the board table by his own chair.\n\n He reaches over to pluck the smoking cigar from the suicide's \n ashtray.", "We are in Mussburger's office. Mussburger is seated at his \n desk looking at the file picture and clipping; the sign", "Sidney J. Mussburger, President.\n\n Evil LAUGHTER. Sweeping shadows.\n\n CUT TO:", "MUSSBURGER\n Sure, sure, he was a swell guy, but \n when the president, chairman of the", "Mussburger's screaming abruptly stops.", "pantomiming the adventure for the benefit of the board \n members, including Mussburger. They stand around Mussburger's", "MUSSBURGER\n Why you nitwit. You almost destroyed \n the most sensitive deal of my career!\n\n NORVILLE\n Oh my God, sir!", "MUSSBURGER\n Wait a minute!\n\n Sudden quiet.\n\n With one last click the perpetual motion ball bearings \n abruptly stop.", "Mussburger, it seems, never sleeps.", "MUSSBURGER\n Sure, sure. Some jerk we can really \n push around.\n\n CUT TO:\n\n SWINGING STEEL DOORS", "He swivels around to face Norville, who stands deferentially \n at the door. Still listening at the phone, Mussburger waves \n Norville forward.", "MUSSBURGER\n You nitwit! I worked for three years \n on this deal!\n\n NORVILLE\n Oh my God, sir!", "MUSSBURGER\n What am I a headshrinker? Maybe the \n man was unhappy.\n\n ADDISON\n He didn't look unhappy!", "He thrusts his face into Norville's, whose head moves \n reflexively back. Mussburger's nose is almost touching \n Norville's, his eyes are burning, searching, studying, \n evaluating.", "Mussburger's forgotten match has burned down to his \n fingertips. With a wince, he shakes it out.\n\n The Board is staring.", "Mussburger gives an artificially hearty laugh and claps \n Norville on the shoulder.", "We hear a LOUD TEARING sound O.S. Mussburger drops a few \n inches.\n\n QUICK WIPE TO:", "We TILT UP to show that Mussburger is walking toward the \n boardroom window. Board members silently remonstrate with \n him as he tries to wrench it open.", "Norville, undaunted, holds up the paper since Mussburger \n will not take it. Mussburger doesn't even look at it; his \n eyes are locked on Norville's. Mussburger smolders." ], [ "She realizes that, though shattered, he is still the simple \n innocent she loved --\n\n AMY\n ... Oh, Norville!\n\n -- and bursts into tears.", "NORVILLE\n Huh?!\n\n He looks stupidly about, the shoulders of his coat down around \n his elbows. He sees Amy rushing up.", "AMY\n Sure, Norville, sure...\n\n She gives him a peck. They look at each other.\n\n AMY\n ...Oh, Norville!", "NORVILLE\n Now, Amy --\n\n AMY\n Consider this my resignation --\n\n Thwock -- She slaps him.", "Amy looks, puzzled, from the circle to Norville's proudly \n beaming face.", "AMY\n (to the Goon)\n Shutup!\n (to Norville)", "He lurches off his stool toward the door. Watching him, \n despair fights with confusion on Amy's face.\n\n AMY\n But Norville... I...", "Lou also is beginning to sound choked up:\n\n LOU (O.S.)\n It is beautiful, Benny.\n\n Almost weeping as Norville and Amy continue their embrace:", "AMY\n Never mind about that...\n\n She shakes a piece of paper at Norville.", "AMY\n ...Norville!", "Amy lamely fakes singing along, coming in louder on the last, \n obvious rhyme. Norville jumps an octave on it; she quickly \n follows sit, also pumping her fists.", "Norville sits anxiously awaiting the verdict of Amy who sits \n hunched over the ticker-tape machine, studying the emerging \n tape. Amy finally looks up at Norville and sadly shakes her \n head.", "Norville is holding one hand up to shield his eyes from the \n unaccustomed light. Amy stands next to him, beaming.", "Norville gives him a forced but hearty laugh of reassurance.", "He turns and we see that it is indeed Norville, holding a \n dripping icepack against one eye.\n\n AMY\n ...What happened?", "Amy looks at Norville, startled. After a moment she \n reciprocates the sign.\n\n BENNY (O.S.)\n What the heck's she doin', Lou?", "Amy awkwardly imitates.\n\n Norville excitedly sits behind his desk.", "Sadly:\n\n AMY\n Oh, Norville --\n\n NORVILLE\n Kiss me once, Amy! Kiss me once for \n luck!", "and away -- his face now TO us, we see that it is Norville \n looking at the newspaper. He throws his head back and laughs \n merrily.", "He freezes, taking in the scene: Amy reclining on the couch; \n Norville standing in front of her with his pants around his \n ankles, still breathing heavily; the bottle of whiskey in \n his own hand." ], [ "Norville, undaunted, holds up the paper since Mussburger \n will not take it. Mussburger doesn't even look at it; his \n eyes are locked on Norville's. Mussburger smolders.", "He thrusts his face into Norville's, whose head moves \n reflexively back. Mussburger's nose is almost touching \n Norville's, his eyes are burning, searching, studying, \n evaluating.", "MUSSBURGER AND NORVILLE\n\n As they make their way through the room Norville is mopping \n at his brow with a handkerchief.", "He swivels around to face Norville, who stands deferentially \n at the door. Still listening at the phone, Mussburger waves \n Norville forward.", "NORVILLE\n ...Mr. Mussburger's office?\n\n The scraper looks sullenly over his shoulder at Norville.", "Norville's arms are wrapped around Mussburger's ankles; the \n heels of Mussburger's shoes are digging into his face.\n\n MUSSBURGER", "As Mussburger's eyes burn in on him, Norville stands mute \n and paralyzed.", "Mussburger's burning eyes finally shift momentarily to look \n at the crudely drawn circle; he looks back incredulously at \n Norville.", "Norville is still loping behind Mussburger, trying to keep \n up with his long strides.", "His eyes locked on Norville's, Mussburger circles the desk. \n He stands toe-to-toe with Norville.", "MUSSBURGER\n Why you nitwit. You almost destroyed \n the most sensitive deal of my career!\n\n NORVILLE\n Oh my God, sir!", "MUSSBURGER\n Tell him I'll be right there...\n (looks at Norville)\n Well, what is it?", "MUSSBURGER\n Umm-hmm...\n\n He steps back, eyes still on Norville.", "MUSSBURGER\n Sure, sure. I'm going to borrow \n Norville for a while, if you don't \n mind, dear.", "Mussburger gives an artificially hearty laugh and claps \n Norville on the shoulder.", "Norville obeys. Mussburger studies.\n\n MUSSBURGER\n Hmmmm... Let's get to know one \n another, shall we?", "This last voice and supered face is Mussburger's.\n\n Norville DISSOLVES away to leave us ON Sidney in the:\n\n INT. BOARDROOM", "NORVILLE\n But, sir! --\n\n MUSSBURGER\n Get your feet off that desk.\n\n As he struggles to comply:", "NORVILLE\n But --\n\n MUSSBURGER\n Get out of my sight.", "NORVILLE\n I --\n\n But Mussburger is listening to the TINNY VOICE issuing from \n the PHONE." ], [ "BUZZ\n Aw, please, sir -- this job, it's \n all I got!\n\n NORVILLE\n Get up!", "Buzz stumbles away, still weeping.\n\n BUZZ\n I'm sorry, buddy... I'm sorry...", "BUZZ\n Aw, buddy, I don't care about that.\n\n Norville is stunned.\n\n NORVILLE\n ...You don't?", "It is Buzz, the elevator boy, dressed in an ill-fitting tuxedo \n and a conical party hat. Za-Za is on his arm, towering over \n him, leering at Norville.", "As Norville enters the elevators:\n\n BUZZ\n Hiya, buddy! The name is Buzz, I got \n the fuzz...", "Buzz swings and Norville hits the snow hard.\n\n BUZZ\n Think about that, idea man!!\n\n Norville groggily raises his head.", "After the doors shut behind Buzz:\n\n AMY\n (shuddering)\n What a horrible little person.", "BUZZ\n And Sid says you stole it!\n\n NORVILLE\n But Buzz --", "Sweeping open. Norville staggers out.\n\n BUZZ\n (hissing)\n Good luck, buddy!", "He opens his eyes and looks stuporously about.\n\n Buzz is grinning down at him in his little pillbox elevator \n cap.", "BUZZ\n But he told me you stole that swell \n hoop idea from me. What gives!\n\n NORVILLE\n But, Buzz --", "BUZZ\n Say, that was a swell idea!\n\n NORVILLE\n But, Buzz, you know I never --", "BUZZ\n Looks like ya nodded off there, buddy! \n Say, ya got a minute?\n\n Norville clears his throat.", "NORVILLE\n Sir! They voted me most likely to \n succeed!\n\n MUSSBURGER\n (curtly)\n You're fired.", "Buzz's jaw drops. His elastic chin strap snaps under the \n pressure.\n\n BUZZ\n Awwww, buddy --", "Buzz is instant decorum as Mussburger enters the elevator.\n\n BUZZ\n ...How're you this fine morning, \n sir?", "BUZZ\n ...I call it the Buzz-Sucker, get \n it, buddy? -- After me! Buzz! Why,", "BUZZ\n ...and I'll tell your secretary you're \n not to be disturbed. Yowzuh!!\n\n He snaps the elastic strap under his chin.", "The INTERCOM BUZZES fiercely.\n\n VOICE (V.O.)\n Mr. Bumstead is waiting downstairs.\n\n Mussburger hits the intercom.", "NORVILLE\n Oh, uh... Buzz... Is it important?\n\n BUZZ\n I like to think so! It's this little \n idea I been working on!" ], [ "being slammed behind Sidney who, straight-jacketed, is puffing \n on a cigar as he is led away.", "A VAN is SCREECHING to a halt and out jump two burly unshaven \n men in white, one of them holding open a straitjacket, the \n other carrying a large butterfly net. They join in the chase.", "She strides to the door, leaving Norville rubbing his cheek \n and the Goon hopping around on one leg.\n\n FADE OUT:\n\n FADE IN:", "And indeed she does: Faint dead away, falling backwards on \n the stool, so that Norville has no choice but to catch her.\n\n Norville holds her awkwardly, looking around for help.", "barred door is slammed shut behind a stooped and broken \n patient who is led, shuffling, away.", "He swings around to kick the door shut. We see that the \n lettering on the door is now terribly smudged; we also see,", "He lurches off his stool toward the door. Watching him, \n despair fights with confusion on Amy's face.\n\n AMY\n But Norville... I...", "Norville throws his head back and laughs, it seems, insanely -- \n but CONTINUED PULL BACK REVEALS that Norville is merely", "He has been pushing the box towards her. The box tilts lazily \n forward and then disappears over the far lip of the desk. We", "PASSERBY\n Say, isn't he that lunatic?\n\n Norville looks dopily up at the people in furs and party \n hats starting to gather.", "She gets up to leave, and is heading for the door when \n Norville adds:\n\n NORVILLE\n ...She's probably just a little \n confused.", "As he scores each point it is illustrated on the screen behind \n him: A patient is forced into a straitjacket by two brawny,", "once again running, maniacal, possessed. We don't know where \n they are running, but we can guess.\n\n CUT TO:\n\n STORE", "Mussburger still sits frozen in his chair. Outside the great \n arched window Hudsucker rises, through the falling snow, on \n his way back to the heavens.", "He is sitting alone in the boardroom, but its door swings \n open and Norville enters wearing plaid knickers, a little", "In flickering black-and-white, he is lying on a couch that \n has been brought into his office, gazing listlessly at a", "She realizes that, though shattered, he is still the simple \n innocent she loved --\n\n AMY\n ... Oh, Norville!\n\n -- and bursts into tears.", "This was addressed to the chamber orchestra, whose playing \n dribbles off. They look inquisitively at Norville, then rise \n to pack up their instruments and sheepishly leave the office.", "Buzz starts giving chase, followed by the braver souls, \n followed by the entire mob.\n\n NORVILLE\n\n runs, gasping, turning a corner.", "(laughs sadistically)\n ...This letter was sent down this \n morning by the big guy himself! 'At's" ], [ "and away -- his face now TO us, we see that it is Norville \n looking at the newspaper. He throws his head back and laughs \n merrily.", "With a jerk of his thumb he indicates the direction.\n\n Norville enters the adjacent office.\n\n OUTER OFFICE", "At length Norville stirs, opens his eyes, sits bolt upright, \n batting away the hands of the manicurist and temple-massager.\n\n NORVILLE\n Hold it!...", "Norville has pulled his old mailroom apron from the closet \n and is putting it on: HUDSUCKER MAIL ROOM/The Future Is Now.\n\n Norville looks at the door.", "Cut to candid film of Norville getting out of a car, noticing \n the camera, grinning and waving as he walks, and taking a \n pratfall.", "The newspaper eddies around some more, then plasters against \n Norville.\n\n He peels it off and is about to toss it away but stops, \n noticing something.", "Norville lifts his head from the desktop. A piece of scrap \n paper is sticking to his cheek. Dramatic FANFARE MUSIC STARTS \n TO SWELL.", "Norville's hand ENTERS FRAME to push the newspaper away and \n leave us looking up the empty street. Norville's back ENTERS", "The door sweeps shut. Norville looks nervously around.\n\n Behind him the elevator doors suddenly open again.\n\n BUZZ\n -- You'll need it!", "BACK TO SCENE\n\n NORVILLE\n (talking as he writes)\n Just got hired today!", "The sign painter makes way as we see Norville's shadow \n approaching; even from inside the room we can hear that he", "In the window behind him we see loose sheets of paper \n fluttering down.\n\n CUT TO:\n\n NORVILLE", "At the other end of the office, Norville is wrapping his \n arms around the glass water tank, which he pulls off its", "Again. Norville is eagerly pointing at a design he has up on \n an easel: Under the heading BRAND NEW is a large circle. The \n side view is a flat line.", "NORVILLE\n\n He pushes past the sign painter.\n\n INT. OFFICE", "He holds out his hand but as Norville reaches to shake it he \n snaps it away and pats down his crewcut:\n\n BUZZ\n ...Hang it up to dry.", "He reaches into his mailroom apron and hands a scrap of paper \n across the desk to Mussburger, who stares, frozen, at \n Norville, making no move to take the paper.", "He hits the intercom.\n\n NORVILLE\n ...Mail room.\n\n To Amy:", "People on either side bellow at Norville and stuff envelopes \n and packages under his elbows, into his pockets, under his \n chin, between his clenched teeth, etc.", "He swivels around to face Norville, who stands deferentially \n at the door. Still listening at the phone, Mussburger waves \n Norville forward." ], [ "MOSES (V.O.)\n ...An' that's the story of how \n Norville Barnes climbed away up to", "Norville, not mine. I used to love \n Norville Barnes -- yes, love him! -- \n when he was just a swell kid with", "On the white sofa cushion where he had been sitting is \n printed, in wet ink, right side around: NORVILLE BARNES, \n President.", "and away -- his face now TO us, we see that it is Norville \n looking at the newspaper. He throws his head back and laughs \n merrily.", "NARRATOR (V.O.)\n ...This one's Norville Barnes.", "Fresh-faced, eager -- NORVILLE BARNES. He is gazing off at:\n\n WESSELS EMPLOYMENT AGENCY", "AMY\n Well that just about does it! I've \n seen Norville Barnes, the young man", "He freezes, taking in the scene: Amy reclining on the couch; \n Norville standing in front of her with his pants around his \n ankles, still breathing heavily; the bottle of whiskey in \n his own hand.", "ANNOUNCER (V.O.)\n ...and so the congratulations pour \n in for up-and-comer Norville Barnes,", "HUTCHINSON\n ...Yeah, you! Barnes!\n\n As he points, the people around Norville shrink away.", "Norville enters, comes up next to her and makes the Go Eagles \n sign, hooking his thumbs in front of his nose and spreading \n his fingers.", "He thrusts his face into Norville's, whose head moves \n reflexively back. Mussburger's nose is almost touching \n Norville's, his eyes are burning, searching, studying, \n evaluating.", "Cut to candid film of Norville getting out of a car, noticing \n the camera, grinning and waving as he walks, and taking a \n pratfall.", "She strides to the door, leaving Norville rubbing his cheek \n and the Goon hopping around on one leg.\n\n FADE OUT:\n\n FADE IN:", "DEGREES to reveal that it is not floor but wall he has run \n into and is now leaning against. Norville looks up, sweating, \n gasping.", "At length Norville stirs, opens his eyes, sits bolt upright, \n batting away the hands of the manicurist and temple-massager.\n\n NORVILLE\n Hold it!...", "Its headline, over a picture of Norville smiling, is \"IMBECILE \n HEADS HUDSUCKER.\" The subheadline: \"Not a Brain in his Head.\"", "With a jerk of his thumb he indicates the direction.\n\n Norville enters the adjacent office.\n\n OUTER OFFICE", "NORVILLE\n Good afternoon to ya, this is Norville \n Barnes --", "Norville's hand ENTERS FRAME to push the newspaper away and \n leave us looking up the empty street. Norville's back ENTERS" ], [ "With a jerk of his thumb he indicates the direction.\n\n Norville enters the adjacent office.\n\n OUTER OFFICE", "and away -- his face now TO us, we see that it is Norville \n looking at the newspaper. He throws his head back and laughs \n merrily.", "Again. Norville is eagerly pointing at a design he has up on \n an easel: Under the heading BRAND NEW is a large circle. The \n side view is a flat line.", "At length Norville stirs, opens his eyes, sits bolt upright, \n batting away the hands of the manicurist and temple-massager.\n\n NORVILLE\n Hold it!...", "Cut to candid film of Norville getting out of a car, noticing \n the camera, grinning and waving as he walks, and taking a \n pratfall.", "The newspaper eddies around some more, then plasters against \n Norville.\n\n He peels it off and is about to toss it away but stops, \n noticing something.", "In the window behind him we see loose sheets of paper \n fluttering down.\n\n CUT TO:\n\n NORVILLE", "BACK TO SCENE\n\n NORVILLE\n (talking as he writes)\n Just got hired today!", "Norville's hand ENTERS FRAME to push the newspaper away and \n leave us looking up the empty street. Norville's back ENTERS", "Norville gives him a forced but hearty laugh of reassurance.", "INT. NORVILLE'S OFFICE", "NORVILLE\n\n He pushes past the sign painter.\n\n INT. OFFICE", "The sign painter makes way as we see Norville's shadow \n approaching; even from inside the room we can hear that he", "Norville lifts his head from the desktop. A piece of scrap \n paper is sticking to his cheek. Dramatic FANFARE MUSIC STARTS \n TO SWELL.", "NORVILLE\n Yes sir...\n\n He tears open the envelope, reads:", "Norville throws his head back and laughs, it seems, insanely -- \n but CONTINUED PULL BACK REVEALS that Norville is merely", "Norville, not mine. I used to love \n Norville Barnes -- yes, love him! -- \n when he was just a swell kid with", "Norville has pulled his old mailroom apron from the closet \n and is putting it on: HUDSUCKER MAIL ROOM/The Future Is Now.\n\n Norville looks at the door.", "INT. NORVILLE'S OFFICE\n\n Looking at its frosted-glass door; the sign painter is just \n finishing lettering in: NORVILLE BARNES, President.", "Beat. Norville, however, is not noticing: He is staring \n intently at his coffee spoon, his hat pushed back on his" ], [ "NARRATOR (V.O.)\n ...That office he jes stepped out of \n is the office of the president of \n Hudsucker Industries. It's his \n office...", "Mussburger still sits frozen in his chair. Outside the great \n arched window Hudsucker rises, through the falling snow, on \n his way back to the heavens.", "Sidney J. Mussburger President Norville Barnes and The Board \n of Hudsucker Industries CORDIALLY INVITE YOU TO The Annual", "Hudsucker takes one puff from his cigar and carefully sets \n it in his ashtray.\n\n EXECUTIVE (O.S.)\n ...new record in after-tax profit...", "Hudsucker looks up from his watch, smiles, runs his palms \n back over his fringe of hair.\n\n EXECUTIVE (O.S.)\n ...new record in gross...", "The board turns expectantly to Hudsucker, who sits in the \n f.g. Beyond him is the length of the board table and the", "Hudsucker. Why, in New York alone \n that means eighteen hundred people \n out of work, people with wives and \n children and families --", "At the far end of the table, Hudsucker's chair is empty and \n oddly askew. His cigar still smokes in its ashtray.", "REPORTER #2\n Ho-leeee!\n\n REPORTER #3\n Mr. Barnes, whither Hudsucker?\n Whither Norville Barnes?", "Norville is interrupted by loud blubbering. He looks up.\n\n Hudsucker is weeping loudly into a white handkerchief.", "AMY\n So if you know everything about \n Hudsucker, tell me why the Board \n decided to make Norville Barnes \n president.", "ANOTHER ANGLE\n\n Picture dissolves to a pan up the Hudsucker Building.", "BOARD\n\n Staring, mouths hanging open, in arrested motion much like \n when Waring Hudsucker jumped out the window at the previous \n board meeting.", "PAN UP his arm TO the newspaper and, BEYOND it, the towering \n Hudsucker Building.\n\n All of the above --\n\n DISSOLVING WITH:", "Hudsucker pulls his sleeve cuffs to expose just the right \n amount under the suit.\n\n EXECUTIVE (O.S.)\n ...new record in pre-tax earnings...", "As Hudsucker shoots past the window, his draft sends the \n stack of papers wafting this way and that. As the secretary", "Hudsucker is FRAMED FROM MID-TORSO DOWN. He shakes the tension \n loose from each leg, then waggles both arms dangling at his \n sides, like an athlete preparing for a sprint.", "in the company, and my seat on the \n board, to whomever is Hudsucker's \n most recent employee at the time of", "NORVILLE\n Well, by anyone's account I've saved \n Hudsucker Industries; our stock is", "HIS POV\n\n The massive Hudsucker Building looms dizzily up towards the \n stars, capped by the huge Hudsucker Clock." ], [ "Mussburger still sits frozen in his chair. Outside the great \n arched window Hudsucker rises, through the falling snow, on \n his way back to the heavens.", "Hudsucker takes one puff from his cigar and carefully sets \n it in his ashtray.\n\n EXECUTIVE (O.S.)\n ...new record in after-tax profit...", "Hudsucker looks up from his watch, smiles, runs his palms \n back over his fringe of hair.\n\n EXECUTIVE (O.S.)\n ...new record in gross...", "NORVILLE\n Well, by anyone's account I've saved \n Hudsucker Industries; our stock is", "PAN UP his arm TO the newspaper and, BEYOND it, the towering \n Hudsucker Building.\n\n All of the above --\n\n DISSOLVING WITH:", "Hudsucker. Why, in New York alone \n that means eighteen hundred people \n out of work, people with wives and \n children and families --", "NARRATOR (V.O.)\n ...That office he jes stepped out of \n is the office of the president of \n Hudsucker Industries. It's his \n office...", "REPORTER #2\n Ho-leeee!\n\n REPORTER #3\n Mr. Barnes, whither Hudsucker?\n Whither Norville Barnes?", "Hudsucker pulls his sleeve cuffs to expose just the right \n amount under the suit.\n\n EXECUTIVE (O.S.)\n ...new record in pre-tax earnings...", "The board turns expectantly to Hudsucker, who sits in the \n f.g. Beyond him is the length of the board table and the", "in the company, and my seat on the \n board, to whomever is Hudsucker's \n most recent employee at the time of", "ANOTHER ANGLE\n\n Picture dissolves to a pan up the Hudsucker Building.", "MUSSBURGER\n You mean to tell me that any slob in \n a smelly T-shirt will be able to buy \n Hudsucker stock?\n\n Stillson shrugs.", "right, Waring Hudsucker! It's \n addressed to Sid Mussburger! \n Hudsucker's right-hand man! It's a", "As Hudsucker shoots past the window, his draft sends the \n stack of papers wafting this way and that. As the secretary", "On his desk the perpetual ballbearings swing; outside his \n window the sweep second hand of the Hudsucker clock rumbles \n by, sweeping a shadow across the floor. Evil prevails.", "HIS POV\n\n The massive Hudsucker Building looms dizzily up towards the \n stars, capped by the huge Hudsucker Clock.", "CLOSE SHOT - WARING HUDSUCKER\n\n As the Executive drones on, O.S., Hudsucker is carefully \n winding his wristwatch.", "Hudsucker is FRAMED FROM MID-TORSO DOWN. He shakes the tension \n loose from each leg, then waggles both arms dangling at his \n sides, like an athlete preparing for a sprint.", "NORVILLE\n Yessir.\n\n HUDSUCKER\n Well, why don't ya read it." ], [ "He swivels around to face Norville, who stands deferentially \n at the door. Still listening at the phone, Mussburger waves \n Norville forward.", "Norville, undaunted, holds up the paper since Mussburger \n will not take it. Mussburger doesn't even look at it; his \n eyes are locked on Norville's. Mussburger smolders.", "MUSSBURGER AND NORVILLE\n\n As they make their way through the room Norville is mopping \n at his brow with a handkerchief.", "MUSSBURGER\n Tell him I'll be right there...\n (looks at Norville)\n Well, what is it?", "He reaches into his mailroom apron and hands a scrap of paper \n across the desk to Mussburger, who stares, frozen, at \n Norville, making no move to take the paper.", "MUSSBURGER\n Sure, sure. I'm going to borrow \n Norville for a while, if you don't \n mind, dear.", "MUSSBURGER\n Why you nitwit. You almost destroyed \n the most sensitive deal of my career!\n\n NORVILLE\n Oh my God, sir!", "He thrusts his face into Norville's, whose head moves \n reflexively back. Mussburger's nose is almost touching \n Norville's, his eyes are burning, searching, studying, \n evaluating.", "Norville obeys. Mussburger studies.\n\n MUSSBURGER\n Hmmmm... Let's get to know one \n another, shall we?", "Norville's arms are wrapped around Mussburger's ankles; the \n heels of Mussburger's shoes are digging into his face.\n\n MUSSBURGER", "MUSSBURGER\n Umm-hmm...\n\n He steps back, eyes still on Norville.", "Mussburger's burning eyes finally shift momentarily to look \n at the crudely drawn circle; he looks back incredulously at \n Norville.", "MUSSBURGER\n I'll be right there. Give him a \n magazine.\n (to Norville)\n ...What're you, a mute?", "NORVILLE\n ...Mr. Mussburger's office?\n\n The scraper looks sullenly over his shoulder at Norville.", "NORVILLE\n I --\n\n But Mussburger is listening to the TINNY VOICE issuing from \n the PHONE.", "MUSSBURGER\n ...Go ahead. Try it on.\n\n Norville obeys, reluctantly, stiffly.", "MUSSBURGER\n You nitwit! I worked for three years \n on this deal!\n\n NORVILLE\n Oh my God, sir!", "Norville, his lips puckered around the unaccustomed ciger, \n looks bemusedly from the chair to Mussburger.", "He covers the mouth piece.\n\n MUSSBURGER\n ...Who let you in?\n\n NORVILLE\n I --", "MUSSBURGER\n So they tell me. Norville, let me \n shepherd you through some of the" ], [ "Its headline, over a picture of Norville smiling, is \"IMBECILE \n HEADS HUDSUCKER.\" The subheadline: \"Not a Brain in his Head.\"", "MOSES\n But then I figured it out: they did \n it 'cause they figured young Norville \n for an imbecile. Like some othuh \n people ah know.", "Norville throws his head back and laughs, it seems, insanely -- \n but CONTINUED PULL BACK REVEALS that Norville is merely", "NORVILLE\n ...Oh, it's you! Lookin' for a nitwit \n to buy your lunch?!\n\n AMY\n Oh Norville, I --", "It is the heroic statue of Norville that we earlier saw him \n posing for.\n\n Norville reels over to it, stares dumbly.\n\n STATUE", "NORVILLE\n This is the most idiotic thing I've \n ever seen in my life!\n\n BUZZ\n Yeah, but, buddy --", "Norville shakes his head.\n\n MUSSBURGER\n ...'Shnook'? 'Dope'? 'Dipstick'? \n 'Lamebrain'?", "NORVILLE\n ...Well, you know me, Amy, at least \n better than that that dame does. Do \n you think I'm an imbecile?", "Norville gazes stupidly at the circle.\n\n BUZZ\n ...Ya get it, buddy? Incredibly \n convenient, isn't it? Ya see --", "and away -- his face now TO us, we see that it is Norville \n looking at the newspaper. He throws his head back and laughs \n merrily.", "Norville enters, comes up next to her and makes the Go Eagles \n sign, hooking his thumbs in front of his nose and spreading \n his fingers.", "Norville, who has been stewing, finally barks:\n\n NORVILLE\n Wait a minute!", "Mussburger's burning eyes finally shift momentarily to look \n at the crudely drawn circle; he looks back incredulously at \n Norville.", "imbecile after all... Norville, you \n let me down... You let Mrs. Eisenhower \n down... You let the American people", "Norville gives him a forced but hearty laugh of reassurance.", "He turns to look at Norville.", "NORVILLE\n Thanks. People seem to be pretty hot \n over this imbecile story.\n\n AMY\n ...I'm sorry.", "Beat. Norville, however, is not noticing: He is staring \n intently at his coffee spoon, his hat pushed back on his", "Norville, undaunted, holds up the paper since Mussburger \n will not take it. Mussburger doesn't even look at it; his \n eyes are locked on Norville's. Mussburger smolders.", "He thrusts his face into Norville's, whose head moves \n reflexively back. Mussburger's nose is almost touching \n Norville's, his eyes are burning, searching, studying, \n evaluating." ], [ "We are in Mussburger's office. Mussburger is seated at his \n desk looking at the file picture and clipping; the sign", "MUSSBURGER\n What am I a headshrinker? Maybe the \n man was unhappy.\n\n ADDISON\n He didn't look unhappy!", "He thrusts his face into Norville's, whose head moves \n reflexively back. Mussburger's nose is almost touching \n Norville's, his eyes are burning, searching, studying, \n evaluating.", "PAN UP FURTHER to reveal that the machine is in Mussburger's \n office. At the far end of the room, behind his desk, \n Mussburger laughs as he looks at a newspaper.", "Norville, undaunted, holds up the paper since Mussburger \n will not take it. Mussburger doesn't even look at it; his \n eyes are locked on Norville's. Mussburger smolders.", "We are LOOKING INTO Sidney J. Mussburger's office.\n\n Mussburger sits at his desk barking into a Dictaphone.", "Sidney J. Mussburger, President.\n\n Evil LAUGHTER. Sweeping shadows.\n\n CUT TO:", "Mussburger perches on the board table by his own chair.\n\n He reaches over to pluck the smoking cigar from the suicide's \n ashtray.", "MUSSBURGER\n Why you nitwit. You almost destroyed \n the most sensitive deal of my career!\n\n NORVILLE\n Oh my God, sir!", "Two secretaries are in Mussburger's outer reception office. \n The first is a filing secretary who stands frozen in the", "MUSSBURGER\n Mm. Ordinarily I wouldn't bother you \n with it, but -- this is embarrassing, \n kid -- it seems to concern you \n directly.", "MUSSBURGER\n Eeeeeeaaaahhhhh!\n\n CUT TO:\n\n INT. EXECUTIVE WAITING ROOM", "MUSSBURGER\n Sure, sure. Some jerk we can really \n push around.\n\n CUT TO:\n\n SWINGING STEEL DOORS", "This last voice and supered face is Mussburger's.\n\n Norville DISSOLVES away to leave us ON Sidney in the:\n\n INT. BOARDROOM", "Mussburger's forgotten match has burned down to his \n fingertips. With a wince, he shakes it out.\n\n The Board is staring.", "Mussburger's burning eyes finally shift momentarily to look \n at the crudely drawn circle; he looks back incredulously at \n Norville.", "Norville's arms are wrapped around Mussburger's ankles; the \n heels of Mussburger's shoes are digging into his face.\n\n MUSSBURGER", "We TILT UP to show that Mussburger is walking toward the \n boardroom window. Board members silently remonstrate with \n him as he tries to wrench it open.", "Mussburger, it seems, never sleeps.", "MUSSBURGER\n\n Casually puffing on a cigar.\n\n MUSSBURGER\n Diagnosis, Dr. Bromfenbrenner?" ], [ "We continue TILTING UP the length of the skyscraper, to reveal \n a huge clock capping its facade. Above the clock is the", "A huge MECHANICAL ARM -- the sweep second hand of the \n Hudsucker clock on the facade of the building -- RUMBLES by \n immediately outside the window, describing an arc that throws \n a moving shadow across the office.", "HIS POV\n\n The massive Hudsucker Building looms dizzily up towards the \n stars, capped by the huge Hudsucker Clock.", "wall there is an enormous iron ring with a metal rod sweeping \n an interior circle. It is the backside of the great Hudsucker \n clock.", "begin to hear the TICK of its enormous CLOCK. The clock reads \n a minute to twelve. Above it, in neon, a company's name:", "We are MOVING IN ON the enormous CLOCK, whose MECHANICAL \n THRUM becomes very loud indeed.", "The huge clock's sweep second hand is just approaching the \n position that will make the time 12:00 sharp.\n\n ANOTHER ANGLE", "being carried away in a continuous motion by an engineer who \n looks at it, nodding. We see that we are now in an enormous", "We are MOVING IN TOWARDS a particular skyscraper. At its top \n is a large illuminated clock.\n\n NARRATOR (V.O.)\n Yep...", "He deliberately unstraps his wristwatch and looks at its \n face.\n\n The sweep second hand is starting the last revolution that \n will end at precisely noon.", "On his desk the perpetual ballbearings swing; outside his \n window the sweep second hand of the Hudsucker clock rumbles \n by, sweeping a shadow across the floor. Evil prevails.", "SWISH PAN TO:\n\n CLOCK\n\n Reading five o'clock.\n\n SWISH PAN TO:", "In the skyline we can see the Hudsucker building topped by \n the Hudsucker clock.", "TRACKING\n\n WITH Hudsucker, the building slipping by behind him. As he \n yells he calmly runs his palms back over his fringe of hair. \n The CLOCK TOLLS.", "HIS POV\n\n Looking STEEPLY UP.\n\n CLOCK\n\n Its second hand is making its descent.\n\n NORVILLE", "Its sweep second hand is arrested on its downward sweep.\n\n WHINING NOISES emanate from within.\n\n CLOSE SHOT - GREAT GEAR", "We BOOM UP, AWAY FROM the boardroom, to the great Hudsucker \n Clock.", "Lou wears a fake whispy beard and white eyebrows and a long \n flowing robe; he holds a fake scythe. On the bar next to him \n sits a large hourglass.", "The second hand of the clock is nearing the twelve -- bare \n seconds to midnight. Distant CHANTING from Times Square MIXES \n UP: \"Nine! Eight! Seven!\"", "With a LOW MOAN the CLOCKWORKS start to shudder and turn --\n\n SWEEP SECOND HAND\n\n Lurching forward --" ], [ "And, to Norville's surprise, slamming the door shut behind \n him.", "The door closes behind Norville.\n\n We hear a rhythmic CLICK-CLICK-CLICK and the HUM of \n VENTILATION.", "With a jerk of his thumb he indicates the direction.\n\n Norville enters the adjacent office.\n\n OUTER OFFICE", "The door sweeps shut. Norville looks nervously around.\n\n Behind him the elevator doors suddenly open again.\n\n BUZZ\n -- You'll need it!", "The elevator doors slam shut and we hear its ENGINES SCREAM \n as it power-dives away.\n\n Norville turns toward the executive offices.", "NORVILLE\n But, sir!\n\n The windows do not open. Norville furiously stomps on the \n flames in the wastebasket and -- his foot sticks.", "EXT. ANNE'S\n\n As Norville exits. It is night, snowing.", "She strides to the door, leaving Norville rubbing his cheek \n and the Goon hopping around on one leg.\n\n FADE OUT:\n\n FADE IN:", "Buzz has already thrown the doors shut and sent the elevator \n into its power-rise. Norville, bracing himself now, sinks \n only a little under the G-force.", "Dark and empty. Norville is peeling off his coat as he \n staggers over to the closet.", "Norville throws his head back and laughs, it seems, insanely -- \n but CONTINUED PULL BACK REVEALS that Norville is merely", "At the other end of the office, Norville is wrapping his \n arms around the glass water tank, which he pulls off its", "The open window at a steep angle. Someone inside slides it \n shut.\n\n BACK TO SCENE\n\n Norville waves.", "All heads in the elevator turn, aghast, to look, and those \n near Norville shrink away.", "NORVILLE\n Oh my God, sir!\n\n He winds up and throws it through the closed window.", "Norville is already running to the window, which he runs \n both palms over, desperately seeking a way to open it.\n\n MUSSBURGER\n Not that way! Through the door!", "The door opens as Norville swings around to enter. He is \n wheezing like a gas pipe about to explode.", "Still laughing, Norville is now freshly shaven and has a \n slicked-back haircut, heavy with pomade.\n\n FREEZE ON Norville's laughing face.", "He climbs out.\n\n LEDGE\n\n Norville, back against the wall, looks cautiously down.\n\n We hear DISTANT CHANTING:", "The sign painter makes way as we see Norville's shadow \n approaching; even from inside the room we can hear that he" ], [ "She strides to the door, leaving Norville rubbing his cheek \n and the Goon hopping around on one leg.\n\n FADE OUT:\n\n FADE IN:", "Mussburger still sits frozen in his chair. Outside the great \n arched window Hudsucker rises, through the falling snow, on \n his way back to the heavens.", "And indeed she does: Faint dead away, falling backwards on \n the stool, so that Norville has no choice but to catch her.\n\n Norville holds her awkwardly, looking around for help.", "She realizes that, though shattered, he is still the simple \n innocent she loved --\n\n AMY\n ... Oh, Norville!\n\n -- and bursts into tears.", "He swings around to kick the door shut. We see that the \n lettering on the door is now terribly smudged; we also see,", "being slammed behind Sidney who, straight-jacketed, is puffing \n on a cigar as he is led away.", "Sadly:\n\n AMY\n Oh, Norville --\n\n NORVILLE\n Kiss me once, Amy! Kiss me once for \n luck!", "Norville throws his head back and laughs, it seems, insanely -- \n but CONTINUED PULL BACK REVEALS that Norville is merely", "A VAN is SCREECHING to a halt and out jump two burly unshaven \n men in white, one of them holding open a straitjacket, the \n other carrying a large butterfly net. They join in the chase.", "He lurches off his stool toward the door. Watching him, \n despair fights with confusion on Amy's face.\n\n AMY\n But Norville... I...", "As he scores each point it is illustrated on the screen behind \n him: A patient is forced into a straitjacket by two brawny,", "He has been pushing the box towards her. The box tilts lazily \n forward and then disappears over the far lip of the desk. We", "PASSERBY\n Say, isn't he that lunatic?\n\n Norville looks dopily up at the people in furs and party \n hats starting to gather.", "barred door is slammed shut behind a stooped and broken \n patient who is led, shuffling, away.", "AMY\n You're fools, both of you! It's \n obvious they're out to crucify \n Norville! They're trying to destroy \n him!", "once again running, maniacal, possessed. We don't know where \n they are running, but we can guess.\n\n CUT TO:\n\n STORE", "In flickering black-and-white, he is lying on a couch that \n has been brought into his office, gazing listlessly at a", "Weakly, still cradled in Norville's arms:\n\n AMY\n I'm sorry we had to take the stairs. \n It was just that horrible little \n elevator boy...", "He is sitting alone in the boardroom, but its door swings \n open and Norville enters wearing plaid knickers, a little", "After the doors shut behind Buzz:\n\n AMY\n (shuddering)\n What a horrible little person." ], [ "HUTCHINSON\n ...Yeah, you! Barnes!\n\n As he points, the people around Norville shrink away.", "He drifts into thought.\n\n AMY\n Is that all, Mr. Barnes?", "On the white sofa cushion where he had been sitting is \n printed, in wet ink, right side around: NORVILLE BARNES, \n President.", "NARRATOR (V.O.)\n ...This one's Norville Barnes.", "MOSES (V.O.)\n ...An' that's the story of how \n Norville Barnes climbed away up to", "REPORTER #1\n Mr. Barnes, Mr. Barnes, Rumpus \n magazine has called you the most", "Norville, not mine. I used to love \n Norville Barnes -- yes, love him! -- \n when he was just a swell kid with", "AMY\n Well that just about does it! I've \n seen Norville Barnes, the young man", "NORVILLE\n Good afternoon to ya, this is Norville \n Barnes --", "Fresh-faced, eager -- NORVILLE BARNES. He is gazing off at:\n\n WESSELS EMPLOYMENT AGENCY", "REPORTER\n Mr. Barnes, are you --", "NORVILLE\n -- A Muncie girl! Can you beat that!\n\n AMY\n Well, I just don't know how to thank \n you, Mr. Barnes --", "The sign painter makes way as we see Norville's shadow \n approaching; even from inside the room we can hear that he", "ANNOUNCER (V.O.)\n ...and so the congratulations pour \n in for up-and-comer Norville Barnes,", "In flickering black-and-white, he is lying on a couch that \n has been brought into his office, gazing listlessly at a", "AMY\n You're awful kind to yourself, \n Norville Barnes -- the fact is you've", "She hastily stubs out her cigarette and waves her hand to \n disperse the smoke.\n\n AMY\n ...Muncie, Indiana.", "the heat off this Barnes numbskull -- \n like you've gone all soft on him!", "BARMAN\n Yeah, just get down here -- he says \n he's a friend of yours... He won't \n say, but man, is he from squaresville.", "REPORTER #1\n Mr. Barnes, did the board consider \n you an 'idea man' when they promoted \n you from the mail room?" ], [ "AMY\n ...Suffice it to say that I'm jobless -- \n though not for want of trying, that", "He drifts into thought.\n\n AMY\n Is that all, Mr. Barnes?", "Fresh-faced, eager -- NORVILLE BARNES. He is gazing off at:\n\n WESSELS EMPLOYMENT AGENCY", "He frowns.\n\n Around him, the crowd is thinning out as men trot in to apply \n for their respective jobs.", "HUTCHINSON\n ...Yeah, you! Barnes!\n\n As he points, the people around Norville shrink away.", "On the white sofa cushion where he had been sitting is \n printed, in wet ink, right side around: NORVILLE BARNES, \n President.", "He looks at Norville.\n\n NORVILLE\n\n His face drawn with effort, still struggling to hang on.", "REPORTER #1\n Mr. Barnes, Mr. Barnes, Rumpus \n magazine has called you the most", "In flickering black-and-white, he is lying on a couch that \n has been brought into his office, gazing listlessly at a", "INTERCOM (V.O.)\n Barnes! Where the hell have you been! \n And where's my voucher?!\n\n Norville thumps at his pockets.", "NARRATOR (V.O.)\n ...This one's Norville Barnes.", "BUZZ\n Aw, please, sir -- this job, it's \n all I got!\n\n NORVILLE\n Get up!", "MOSES (V.O.)\n ...An' that's the story of how \n Norville Barnes climbed away up to", "He freezes, taking in the scene: Amy reclining on the couch; \n Norville standing in front of her with his pants around his \n ankles, still breathing heavily; the bottle of whiskey in \n his own hand.", "On his desk the perpetual ballbearings swing; outside his \n window the sweep second hand of the Hudsucker clock rumbles \n by, sweeping a shadow across the floor. Evil prevails.", "Presenting himself, he spreads his arms and stamps his forward \n foot, forgetting that there is nothing beneath his foot to \n stamp. He lurches forward, momentarily losing his balance.", "He takes one last gulp of the coffee, then sets the cup down \n on the want ads, stands, and digs into his pocket for change, \n turning it inside-out.\n\n CLOSE ON COUNTER", "He lurches off his stool toward the door. Watching him, \n despair fights with confusion on Amy's face.\n\n AMY\n But Norville... I...", "Norville, squinting against the cigar smoke, pulls the cigar \n out of his mouth as he doubles forward, feet still up, groping", "Beat. Norville, however, is not noticing: He is staring \n intently at his coffee spoon, his hat pushed back on his" ], [ "BOARD\n\n Staring, mouths hanging open, in arrested motion much like \n when Waring Hudsucker jumped out the window at the previous \n board meeting.", "CLOSE SHOT - WARING HUDSUCKER\n\n As the Executive drones on, O.S., Hudsucker is carefully \n winding his wristwatch.", "Mussburger still sits frozen in his chair. Outside the great \n arched window Hudsucker rises, through the falling snow, on \n his way back to the heavens.", "Hudsucker is FRAMED FROM MID-TORSO DOWN. He shakes the tension \n loose from each leg, then waggles both arms dangling at his \n sides, like an athlete preparing for a sprint.", "Hudsucker takes one puff from his cigar and carefully sets \n it in his ashtray.\n\n EXECUTIVE (O.S.)\n ...new record in after-tax profit...", "As the second hand hits the twelve, the CLOCK TOLLS, the \n board room WINDOW SHATTERS and Waring Hudsucker comes flying \n out.", "NARRATOR (V.O.)\n ...That office he jes stepped out of \n is the office of the president of \n Hudsucker Industries. It's his \n office...", "Hudsucker pulls his sleeve cuffs to expose just the right \n amount under the suit.\n\n EXECUTIVE (O.S.)\n ...new record in pre-tax earnings...", "Hudsucker looks up from his watch, smiles, runs his palms \n back over his fringe of hair.\n\n EXECUTIVE (O.S.)\n ...new record in gross...", "HIS POV\n\n The massive Hudsucker Building looms dizzily up towards the \n stars, capped by the huge Hudsucker Clock.", "ELDERY EXECUTIVE\n Waring Hudsucker was never an easy \n man to figure out.", "As Hudsucker shoots past the window, his draft sends the \n stack of papers wafting this way and that. As the secretary", "AN EXECUTIVE\n He could've opened the window.\n\n ELDERLY EXECUTIVE\n Waring Hudsucker never did anything \n the easy way.", "At the far end of the table, Hudsucker's chair is empty and \n oddly askew. His cigar still smokes in its ashtray.", "Norville is interrupted by loud blubbering. He looks up.\n\n Hudsucker is weeping loudly into a white handkerchief.", "BUZZ\n Waring Hudsucker! Na-ha-ha-ha-ha!\n Say, buddy! When is the sidewalk", "The board turns expectantly to Hudsucker, who sits in the \n f.g. Beyond him is the length of the board table and the", "In the skyline we can see the Hudsucker building topped by \n the Hudsucker clock.", "This is WARING HUDSUCKER.\n\n REPORTING EXECUTIVE\n\n He drones on.", "WARING HUDSUCKER\n\n looks dreamily out the window. His attention returns to the \n droning Executive and the benignant smile returns to his \n lips." ], [ "DRAMATIC TRACK IN ON Norville. As Hutchinson talks, he thrusts \n the blue letter into Norville's face. Norville looks at it", "Norville, undaunted, holds up the paper since Mussburger \n will not take it. Mussburger doesn't even look at it; his \n eyes are locked on Norville's. Mussburger smolders.", "He reaches into his mailroom apron and hands a scrap of paper \n across the desk to Mussburger, who stares, frozen, at \n Norville, making no move to take the paper.", "He thrusts his face into Norville's, whose head moves \n reflexively back. Mussburger's nose is almost touching \n Norville's, his eyes are burning, searching, studying, \n evaluating.", "BLUE LETTER\n\n Lying on the boardroom table. As a hand enters to lay a \n wristwatch on the table next to it, we hear the voice of \n Moses, the old maintenance man.", "The mail room is thrown into pandemonium.\n\n VARIOUS VOICES\n Blue letter...! It's a blue letter...! \n They're bringing down a blue letter!", "Norville reaches in and -- pulls out the wrinkled Blue Letter.\n\n NORVILLE\n Oh, geez.", "Mussburger's forgotten match has burned down to his \n fingertips. With a wince, he shakes it out.\n\n The Board is staring.", "On the white sofa cushion where he had been sitting is \n printed, in wet ink, right side around: NORVILLE BARNES, \n President.", "blue letter! That means you put it \n right in Mussburger's hand. No \n secretaries! No receptionists! No", "Mussburger perches on the board table by his own chair.\n\n He reaches over to pluck the smoking cigar from the suicide's \n ashtray.", "He drifts into thought.\n\n AMY\n Is that all, Mr. Barnes?", "He freezes, taking in the scene: Amy reclining on the couch; \n Norville standing in front of her with his pants around his \n ankles, still breathing heavily; the bottle of whiskey in \n his own hand.", "He swings around to kick the door shut. We see that the \n lettering on the door is now terribly smudged; we also see,", "He is holding aloft a letter.\n\n He takes loping drawf strides down the aisle.\n\n CLOSEUP - LETTER", "He swivels around to face Norville, who stands deferentially \n at the door. Still listening at the phone, Mussburger waves \n Norville forward.", "We are in Mussburger's office. Mussburger is seated at his \n desk looking at the file picture and clipping; the sign", "A PULL BACK FROM the EXTREME CLOSE SHOT REVEALS, however, \n that Norville's arms are now wrapped around -- emptiness.\n\n Mussburger's legs are gone.", "CLOSE ON MUSSBURGER\n\n Staring. Holding a just-lighted but forgotten cigar in one \n hand, and a still burning match in the other.", "PAN UP FURTHER to reveal that the machine is in Mussburger's \n office. At the far end of the room, behind his desk, \n Mussburger laughs as he looks at a newspaper." ], [ "Mussburger still sits frozen in his chair. Outside the great \n arched window Hudsucker rises, through the falling snow, on \n his way back to the heavens.", "MUSSBURGER\n Norville Barnes, allow me to introduce \n Mr. Zebulon Cardozo, one of Hudsucker \n Industries largest and most loyal \n stockholders.", "right, Waring Hudsucker! It's \n addressed to Sid Mussburger! \n Hudsucker's right-hand man! It's a", "Sidney J. Mussburger President Norville Barnes and The Board \n of Hudsucker Industries CORDIALLY INVITE YOU TO The Annual", "MUSSBURGER\n ...It's genius. It's just exactly \n what Hudsucker needs at this juncture.", "MUSSBURGER\n You mean to tell me that any slob in \n a smelly T-shirt will be able to buy \n Hudsucker stock?\n\n Stillson shrugs.", "MUSSBURGER\n (at ticker tape machine)\n It's working already. Waring Hudsucker", "The board turns expectantly to Hudsucker, who sits in the \n f.g. Beyond him is the length of the board table and the", "Hudsucker takes one puff from his cigar and carefully sets \n it in his ashtray.\n\n EXECUTIVE (O.S.)\n ...new record in after-tax profit...", "NARRATOR (V.O.)\n ...That office he jes stepped out of \n is the office of the president of \n Hudsucker Industries. It's his \n office...", "MUSSBURGER\n Up on your feet! We don't crawl at \n Hudsucker Industries!", "Hudsucker looks up from his watch, smiles, runs his palms \n back over his fringe of hair.\n\n EXECUTIVE (O.S.)\n ...new record in gross...", "in the company, and my seat on the \n board, to whomever is Hudsucker's \n most recent employee at the time of", "Norville is interrupted by loud blubbering. He looks up.\n\n Hudsucker is weeping loudly into a white handkerchief.", "As Hudsucker shoots past the window, his draft sends the \n stack of papers wafting this way and that. As the secretary", "The passerby reacts to the approaching yell, looking up just \n as Hudsucker ENTERS FRAME.", "Hudsucker is FRAMED FROM MID-TORSO DOWN. He shakes the tension \n loose from each leg, then waggles both arms dangling at his \n sides, like an athlete preparing for a sprint.", "REPORTER #2\n Ho-leeee!\n\n REPORTER #3\n Mr. Barnes, whither Hudsucker?\n Whither Norville Barnes?", "As Norville reads Hudsucker casually examines his fingernails, \n then pats down a yawn.", "CLOSE SHOT - WARING HUDSUCKER\n\n As the Executive drones on, O.S., Hudsucker is carefully \n winding his wristwatch." ], [ "AMY\n Sez me! Amy Archer. Why is he an \n Idea Man -- because Hudsucker says", "AMY\n I'm telling you, Smitty, the board \n of Hudsucker is up to something --\n\n SMITTY\n (into phone)\n Yeah.", "AMY\n Your i --\n\n NORVILLE\n We have to be realistic, Amy. You \n know things have slowed down a little \n here at Hudsucker --", "Hudsucker takes one puff from his cigar and carefully sets \n it in his ashtray.\n\n EXECUTIVE (O.S.)\n ...new record in after-tax profit...", "Mussburger still sits frozen in his chair. Outside the great \n arched window Hudsucker rises, through the falling snow, on \n his way back to the heavens.", "CLOSE SHOT - PICTURE OF AMY\n\n PULL BACK SHOWS it to be her identification in her Hudsucker \n personnel file.", "NARRATOR (V.O.)\n ...That office he jes stepped out of \n is the office of the president of \n Hudsucker Industries. It's his \n office...", "Somewhere in the Hudsucker Building. A secretary sits typing \n next to an open window, finished pages sitting stacked beside \n her. As we hear ANOTHER TOLL of the CLOCK.", "Hudsucker looks up from his watch, smiles, runs his palms \n back over his fringe of hair.\n\n EXECUTIVE (O.S.)\n ...new record in gross...", "AMY\n (calls after him)\n I'm plenty happy!\n\n She is answered only by WHIRRING MACHINERY.\n\n MOSES", "As Hudsucker shoots past the window, his draft sends the \n stack of papers wafting this way and that. As the secretary", "THE FUTURE IS NOW.\n Start building yours at Hudsucker Industries.\n Low pay. Long Hours.", "THE FUTURE IS NOW.\n Start building yours at Hudsucker Industries.\n Low pay. Long Hours.", "Hudsucker. Why, in New York alone \n that means eighteen hundred people \n out of work, people with wives and \n children and families --", "The Hudsucker Building lists up into the distance. A woman \n in a fancy fruited hat with a black veil rises INTO FRAME AT", "Hudsucker pulls his sleeve cuffs to expose just the right \n amount under the suit.\n\n EXECUTIVE (O.S.)\n ...new record in pre-tax earnings...", "in the company, and my seat on the \n board, to whomever is Hudsucker's \n most recent employee at the time of", "HIS POV\n\n The massive Hudsucker Building looms dizzily up towards the \n stars, capped by the huge Hudsucker Clock.", "NORVILLE\n ...I designed it myself and this is \n just the sweet baby that can put \n Hudsucker right back on top.", "ANOTHER ANGLE\n\n Picture dissolves to a pan up the Hudsucker Building." ], [ "Mussburger still sits frozen in his chair. Outside the great \n arched window Hudsucker rises, through the falling snow, on \n his way back to the heavens.", "NARRATOR (V.O.)\n ...That office he jes stepped out of \n is the office of the president of \n Hudsucker Industries. It's his \n office...", "Hudsucker takes one puff from his cigar and carefully sets \n it in his ashtray.\n\n EXECUTIVE (O.S.)\n ...new record in after-tax profit...", "Hudsucker looks up from his watch, smiles, runs his palms \n back over his fringe of hair.\n\n EXECUTIVE (O.S.)\n ...new record in gross...", "Hudsucker is FRAMED FROM MID-TORSO DOWN. He shakes the tension \n loose from each leg, then waggles both arms dangling at his \n sides, like an athlete preparing for a sprint.", "Hudsucker. Why, in New York alone \n that means eighteen hundred people \n out of work, people with wives and \n children and families --", "HIS POV\n\n The massive Hudsucker Building looms dizzily up towards the \n stars, capped by the huge Hudsucker Clock.", "ANOTHER ANGLE\n\n Picture dissolves to a pan up the Hudsucker Building.", "The board turns expectantly to Hudsucker, who sits in the \n f.g. Beyond him is the length of the board table and the", "Hudsucker pulls his sleeve cuffs to expose just the right \n amount under the suit.\n\n EXECUTIVE (O.S.)\n ...new record in pre-tax earnings...", "Sidney J. Mussburger President Norville Barnes and The Board \n of Hudsucker Industries CORDIALLY INVITE YOU TO The Annual", "In the skyline we can see the Hudsucker building topped by \n the Hudsucker clock.", "As Hudsucker shoots past the window, his draft sends the \n stack of papers wafting this way and that. As the secretary", "THE FUTURE IS NOW.\n Start building yours at Hudsucker Industries.\n Low pay. Long Hours.", "THE FUTURE IS NOW.\n Start building yours at Hudsucker Industries.\n Low pay. Long Hours.", "On his desk the perpetual ballbearings swing; outside his \n window the sweep second hand of the Hudsucker clock rumbles \n by, sweeping a shadow across the floor. Evil prevails.", "Looking up the length of the Hudsucker Building. Someone or \n something wrapped in white is flying toward us, coming down \n from the stars.\n\n We can make out a male voice, accompanied by STRUMMING:", "CLOSE SHOT - WARING HUDSUCKER\n\n As the Executive drones on, O.S., Hudsucker is carefully \n winding his wristwatch.", "PAN UP his arm TO the newspaper and, BEYOND it, the towering \n Hudsucker Building.\n\n All of the above --\n\n DISSOLVING WITH:", "in the company, and my seat on the \n board, to whomever is Hudsucker's \n most recent employee at the time of" ], [ "Heck, if working at the Argus doesn't \n make me an expert then my name isn't \n Amy Archer and I've never won the", "He gives a low whistle under his breath as a woman enters \n from the street and hesitates by the door, looking around. \n Still attractive but looking somewhat down-at-the-heels, it \n is Amy Archer.", "We are in Mussburger's office. Mussburger is seated at his \n desk looking at the file picture and clipping; the sign", "This last voice and supered face is Mussburger's.\n\n Norville DISSOLVES away to leave us ON Sidney in the:\n\n INT. BOARDROOM", "Of all the irresponsible... Amy, \n take this down: Dear Miss Archer. I \n call you 'Miss' because you seem to", "Mussburger perches on the board table by his own chair.\n\n He reaches over to pluck the smoking cigar from the suicide's \n ashtray.", "PAN UP FURTHER to reveal that the machine is in Mussburger's \n office. At the far end of the room, behind his desk, \n Mussburger laughs as he looks at a newspaper.", "Norville, undaunted, holds up the paper since Mussburger \n will not take it. Mussburger doesn't even look at it; his \n eyes are locked on Norville's. Mussburger smolders.", "He thrusts his face into Norville's, whose head moves \n reflexively back. Mussburger's nose is almost touching \n Norville's, his eyes are burning, searching, studying, \n evaluating.", "Two secretaries are in Mussburger's outer reception office. \n The first is a filing secretary who stands frozen in the", "AMY\n Yeah, and I'll bet his initials are \n Sidney J. Mussburger!", "He freezes, taking in the scene: Amy reclining on the couch; \n Norville standing in front of her with his pants around his \n ankles, still breathing heavily; the bottle of whiskey in \n his own hand.", "CARDOZO\n ...We'll see who's yella!!\n\n His WIFE, a small wiry woman, steps in as Mussburger starts \n dragging Norville away.", "As she rolls the pack gently across his eye:\n\n AMY\n Norville... there's something I have \n to tell you. You see, I'm not really \n a secretary.", "He swivels around to face Norville, who stands deferentially \n at the door. Still listening at the phone, Mussburger waves \n Norville forward.", "AMY\n (calls after him)\n I'm plenty happy!\n\n She is answered only by WHIRRING MACHINERY.\n\n MOSES", "In the b.g., brilliantly spotlit, Vic Tenetta continues his \n song.\n\n As Mussburger joins them:", "We hear a LOUD TEARING sound O.S. Mussburger drops a few \n inches.\n\n QUICK WIPE TO:", "Mussburger strides across the room from the still CHATTERING \n TICKER TAPE MACHINE and lowers himself into Waring Hudsucker's", "MUSSBURGER\n Why you nitwit. You almost destroyed \n the most sensitive deal of my career!\n\n NORVILLE\n Oh my God, sir!" ], [ "He opens his eyes and looks stuporously about.\n\n Buzz is grinning down at him in his little pillbox elevator \n cap.", "He pauses to belch.\n\n NORVILLE\n ...say, the hula hoop such a success.\n\n BUZZ\n But, buddy --", "It is Buzz, the elevator boy, dressed in an ill-fitting tuxedo \n and a conical party hat. Za-Za is on his arm, towering over \n him, leering at Norville.", "BUZZ\n Say, that was a swell idea!\n\n NORVILLE\n But, Buzz, you know I never --", "NORVILLE\n Oh, uh... Buzz... Is it important?\n\n BUZZ\n I like to think so! It's this little \n idea I been working on!", "He holds out his hand but as Norville reaches to shake it he \n snaps it away and pats down his crewcut:\n\n BUZZ\n ...Hang it up to dry.", "Buzz swings and Norville hits the snow hard.\n\n BUZZ\n Think about that, idea man!!\n\n Norville groggily raises his head.", "BUZZ\n But he told me you stole that swell \n hoop idea from me. What gives!\n\n NORVILLE\n But, Buzz --", "BUZZ\n Looks like ya nodded off there, buddy! \n Say, ya got a minute?\n\n Norville clears his throat.", "Buzz has already thrown the doors shut and sent the elevator \n into its power-rise. Norville, bracing himself now, sinks \n only a little under the G-force.", "Sweeping open to reveal the leering face of Buzz, the elevator \n gnat.\n\n BUZZ\n Say, buddy! Where'd ya get the new \n duds?", "Buzz starts giving chase, followed by the braver souls, \n followed by the entire mob.\n\n NORVILLE\n\n runs, gasping, turning a corner.", "Norville gazes stupidly at the circle.\n\n BUZZ\n ...Ya get it, buddy? Incredibly \n convenient, isn't it? Ya see --", "BUZZ\n ...and I'll tell your secretary you're \n not to be disturbed. Yowzuh!!\n\n He snaps the elastic strap under his chin.", "BUZZ\n Aw, please, sir -- this job, it's \n all I got!\n\n NORVILLE\n Get up!", "BUZZ\n Aw, buddy, I don't care about that.\n\n Norville is stunned.\n\n NORVILLE\n ...You don't?", "BUZZ\n And Sid says you stole it!\n\n NORVILLE\n But Buzz --", "Buzz looks over his shoulder, turns back to Norville.\n\n BUZZ\n Wuddya mean, buddy?", "The door sweeps shut. Norville looks nervously around.\n\n Behind him the elevator doors suddenly open again.\n\n BUZZ\n -- You'll need it!", "As Norville enters the elevators:\n\n BUZZ\n Hiya, buddy! The name is Buzz, I got \n the fuzz..." ], [ "As she rolls the pack gently across his eye:\n\n AMY\n Norville... there's something I have \n to tell you. You see, I'm not really \n a secretary.", "CHIEF\n Whatever! It's no dig on you, Archer, \n but this story is hot and you're no", "AMY\n Well that just about does it! I've \n seen Norville Barnes, the young man", "He gives a low whistle under his breath as a woman enters \n from the street and hesitates by the door, looking around. \n Still attractive but looking somewhat down-at-the-heels, it \n is Amy Archer.", "He freezes, taking in the scene: Amy reclining on the couch; \n Norville standing in front of her with his pants around his \n ankles, still breathing heavily; the bottle of whiskey in \n his own hand.", "NARRATOR (V.O.)\n ...This one's Norville Barnes.", "Heck, if working at the Argus doesn't \n make me an expert then my name isn't \n Amy Archer and I've never won the", "He drifts into thought.\n\n AMY\n Is that all, Mr. Barnes?", "HUTCHINSON\n ...Yeah, you! Barnes!\n\n As he points, the people around Norville shrink away.", "We PULL BACK to show that it is on the front page of the \n Manhattan Argus.\n\n The headline, in screaming nine-point type:\n\n FAKE!", "It is Buzz, the elevator boy, dressed in an ill-fitting tuxedo \n and a conical party hat. Za-Za is on his arm, towering over \n him, leering at Norville.", "Star reporter AMY ARCHER -- attractive, smartly-dressed.\n\n AMY\n I tell ya the guy's a phony.", "Of all the irresponsible... Amy, \n take this down: Dear Miss Archer. I \n call you 'Miss' because you seem to", "SMITTY\n Come on, Chief, that's a low blow.\n Archer's not gonna go goey for a \n corn-fed idiot.", "She realizes that, though shattered, he is still the simple \n innocent she loved --\n\n AMY\n ... Oh, Norville!\n\n -- and bursts into tears.", "He swivels around to face Norville, who stands deferentially \n at the door. Still listening at the phone, Mussburger waves \n Norville forward.", "This last voice and supered face is Mussburger's.\n\n Norville DISSOLVES away to leave us ON Sidney in the:\n\n INT. BOARDROOM", "MOSES (V.O.)\n ...An' that's the story of how \n Norville Barnes climbed away up to", "Mussburger's burning eyes finally shift momentarily to look \n at the crudely drawn circle; he looks back incredulously at \n Norville.", "On the white sofa cushion where he had been sitting is \n printed, in wet ink, right side around: NORVILLE BARNES, \n President." ] ]

[ "What is Norville assigned to deliver?", "Who does Norville have to deliver the \"Blue Letter\" to?", "Why do the executives want to produce Norville's invention?", "What did Mussburger convince a mob of?", "What does Amy do regarding Norville's new attitude?", "Where does Mussburger want Norville sent to?", "When does Buzz get fired?", "Who is sent to the asylum?", "What job does Norville take on after arriving in New York?", "What year did Norville Barnes move to New York in search of a job?", "What was Norville's first job in New York?", "What happened to the president of Hudsucker Industries?", "What is supposed to happen to Hudsucker's stock shares?", "What is Norville asked to deliver to Mussburger?", "Who thinks Norville is an idiot?", "Who does Mussburger believe should be committed to a psychiatric hospital?", "Who was in control of the giant clock?", "Who locked Norville out of the building?", "Who was ultimately sent to an asylum?", "Where was Barnes basically from?", "Why does Barnes struggle to get a job?", "How does Waring Hudsucker commit suicide?", "What does Barnes do instead of delivering the \"Blue Letter\" to Mussburger?", "Who does Mussburger select as Hudsucker's proxy?", "What job does Amy Archer find for herself at Hudsucker Industries?", "What does Moses do at Hudsucker Industries?", "What happens when Amy Archer tells about Mussburger's plan to her Chief?", "What did Barnes do when Buzz pitched his new invention?", "Who reveals Archer's real identity to Barnes?" ]

[ [ "A \"Blue Letter.\"", "A blue letter." ], [ "To Mussburger.", "Mussburger" ], [ "To depress the company stock.", "They hope it will fail." ], [ "That Norville stole the hula hoop idea.", "That Norville stole the idea of the hula hoop" ], [ "Breaks up with him.", "She leaves him." ], [ "The psychiatric hospital.", "a psychiatric hospital" ], [ "After he shows Norville his invention of the flexi-straw.", "After he pitches a flexi straw idea." ], [ "Mussburger.", "Mussburger." ], [ "Mailroom clerk.", "mailroom clerk" ], [ "1958", "December 1958" ], [ "A mailroom clerk", "mailroom clerk" ], [ "He committed suicide", "He committed suicide." ], [ "They will be sold to the public", "Be sold to the public." ], [ "A blue letter", "\"Blue Letter\" top secret communication. " ], [ "Mussburger", "Mussburger." ], [ "Norville", "Norville." ], [ "Moses", "Moses" ], [ "Aloysius", "Aloysius" ], [ "Mussburger", "Mussburger." ], [ "Barnes was from Muncie, Indiana.", "Muncie, Indiana" ], [ "Lack of experience", "Lack of experience." ], [ "Hudsucker jumps from the top-floor window", "jumps out of a window" ], [ "Barnes pitches his invention to Mussburger.", "Pitches his invention to Mussburger." ], [ "Barnes", "Norville Barnes" ], [ "Barnes' personal secretary", "Norville's personal secretary. " ], [ "Moses operates the giant clock ", "He operates the tower's giant clock." ], [ "The Chief does not believe it.", "He doesn't believe her." ], [ "Barnes fired Buzz", "Fired him." ], [ "Mussburger", "Mussburger" ] ]

[ [ "One of the soldiers smacks Algren in the chin with a rifle butt. Algren reels,\nand by the time he stands straight again, four others are pointing their\nba yonets at his face.", "BAGLEY\n They're looking to hire real American soldiers to\n create the first Japanese Imperial Army.\n\nAlgren looks at him.", "Algren is now surrounded by ten samurai. A man's heroic stand against\ncertain death is of great interest to them. As they begin to close in, Algren", "Yoritomo kneels across from Algren. He is impressed at the many battle\nwounds on Algren's body; the old bullet wounds and scars. In Japanese, he\nindicates his admiration.", "Algren sees samurai calmly walking among the injured and captured Imperial\nsoldiers .. killing them one by one with a single stroke.\n\nAlgren looks over the slaughter.", "About a thousand Japanese soldiers in baggy uniforms are milling around a large\nparade ground. Each has an old single shot rifle. Algren, Gant, and Yoshitaka\nlook down on them from a reviewing stand.", "GRAHAM\n Gentlemen, may I present General Yoshitaka.\n He will assist you in training the army.\n\n ALGREN\n General.", "The training continues. We see Gant, now sporting a black eye. Algren\nwalks with General Yoshitaka and Graham. Graham translates:", "It is the day of the battle. Algren is buttoning the long coat of his cavalry uniform.\n\nHe looks up to see Higen standing in the doorwa y, holding the breast-plate\nof his father's armor.", "Bagley is furious. Their fluid tactics have rendered his field artillery useless.\n\nKatsumoto and Algren share a look of grim satisfaction. They are leveling\nthe playing field.", "Most of these villagers have never seen a white face and gaze at Algren with\ncuriosity. And suspicion.", "We see Algren showing the Japanese how to fire in formation. The old single-shot\nrifles they carry make reloading a painfully slow process.\n\n 21.", "This time the opponent charges first, and Algren manages to parry one blow, before he is again bested.\n\nYoritomo bows happily and begins yammering in Japanese, clearly taking credit for Algren's progress.", "EXT. VILLAGE DAY\n\nAlgren trains with the other men. He attempts an attack, which is easily brushed aside by Nakao. Algren ends\nup in the dirt again.", "Algren, Katsumoto and the others are nearing the palace. Algren slows to a\nstop -- his path is toward the city. Katsumoto stops, looks at him, then does\nsomething absolutel y extraordinary.", "As Algren puzzles over this, he becomes aware that Katsumoto is now\nstanding next to him.\n\n KATSUMOTO\n They are training.", "Algren SCREAMS, distracting them just long enough for Katsumoto to take advantage and kill one.", "Algren watches from the window as the samurai train. It is like nothing else\nin the world. Part sacred ritual, part martial preparation, samurai training\ncom bines athletic prowess and graceful artistry into one effortless whole.", "Katsumoto dismounts in a large square, the rest of his men follow suit. A samurai\nhelps Algren painfully slide from his horse.", "The ever-enlarging crowd gasps as Algren once again struggles to his feet.\nThis time without hesitation, Uji o runs back and rains blows upon Algren's" ], [ "Algren is now surrounded by ten samurai. A man's heroic stand against\ncertain death is of great interest to them. As they begin to close in, Algren", "Algren, Katsumoto and the others are nearing the palace. Algren slows to a\nstop -- his path is toward the city. Katsumoto stops, looks at him, then does\nsomething absolutel y extraordinary.", "Algren goes to them. Silently begins to help them.\n\n\nINT. YORITOMO'S HOUSE DAYS LATER", "Algren and Yoritomo move out with Katsumoto, Ujio, Nakao and his bodyguard of several\ndozen Samurai.\n\nThe villagers bow and honor the warrior as they pass.", "This time the opponent charges first, and Algren manages to parry one blow, before he is again bested.\n\nYoritomo bows happily and begins yammering in Japanese, clearly taking credit for Algren's progress.", "Yoritomo kneels across from Algren. He is impressed at the many battle\nwounds on Algren's body; the old bullet wounds and scars. In Japanese, he\nindicates his admiration.", "About a thousand Japanese soldiers in baggy uniforms are milling around a large\nparade ground. Each has an old single shot rifle. Algren, Gant, and Yoshitaka\nlook down on them from a reviewing stand.", "Ujio walks forward and SCREAMS at Algren in Japanese. Algren doesn't\nmove. This only makes Ujio more angry. He paces back and forth like a\ncaged panther spitting invective at Algren.", "Algren sees samurai calmly walking among the injured and captured Imperial\nsoldiers .. killing them one by one with a single stroke.\n\nAlgren looks over the slaughter.", "Algren stands with Katsumoto and Ujio. Graham is nearby. They peer into the\nplain beyond.", "Meanwhile, Algren is working with Higen on the house.\n\nKatsumoto silently watches Algren working with the boy.\n\n KATSUMOTO\n Algren-san.", "Algren and Katsumoto wheel their horses and go.\n\nEXT. MOUNTAIN RIDGE DAY\n\n\nAlgren and Katsumoto ride.", "Katsumoto rides at the head of his samurai as they pass through the cherry\norchard. Then he reins his horse and falls in beside Algren.", "Algren is unconscious, tied to a horse.\n\nThe mounted samurai move up a treacherous mountain pass, disappearing\ninto the soaring mountains of Yoshino.", "Algren dodges one thrust, then parries another, as the boys begin to cheer.\n\nSuddenly, ever yone goes silent. Algren turns.\n\nUjio is standing behind him, arms folded.", "Algren leaves Graham and accompanies Taka toward the house.\n\nThey pass Higen and Toshiie, who sit with other children at the feet of the\nmassive Nakao, listening to a quiet story he tells,", "EXT. VILLAGE DAY\n\nAlgren trains with the other men. He attempts an attack, which is easily brushed aside by Nakao. Algren ends\nup in the dirt again.", "Algren notes some of the Japanese soldiers are literally shaking in fear.\n\nAlgren peers again into the fog. Nothing. But the sound is closer.\n\nThen the sound abruptly stops.", "Algren stands at the gangplank. Porters wait with his luggage. Algren looks\nback into the crowd and sees the ronin. They glare back, no longer trying to\nkeep out of sight.", "The ever-enlarging crowd gasps as Algren once again struggles to his feet.\nThis time without hesitation, Uji o runs back and rains blows upon Algren's" ], [ "As does SIMON GRAHAM, a dissipated Englishman who has lived in Japan\nfor many yean. Slender and pale, with an occasional consumptive cough, in", "He resists the temptation to confront them. Instead he climbs into the\nrickshaw and it starts off.\nBut a moment later, Graham has jogged alongside, huffing and puffing.", "Graham sits across the room talking quietly to the mammoth Nakao, taking\nnotes in a small notebook. Nakao has been brutally shorn of his top knot\nas well. His shame is apparent.", "Graham starts to go --\n\n ALGREN\n Mr. Graham ... Take this.\n\nFrom his coat, Algren takes his journal, hands it to Graham.", "ALGREN\n Name's Simon Graham. Wants to write a book\n about you.\n\n 93.", "GRAHAM\n Yes. Of course.\n\nBefore Algren can respond, Bagley has left the front lines with Graham in", "Graham shrinks away in fear. Nakao lifts him bodily, throws him out, and then follows.\n\nINT. CASTLE -- RECEPTION CHAMBER LATER", "Graham speaks to General Yoshitaka, then translates his response.", "Algren prepares himself.\n\nThey wait.\n\nGeneral Yoshitaka is suddenly alert. He speaks quietly to Graham.", "OMURA\n Captain Algren, this is Mr. Simon Graham. He\n will be your translator.", "Algren indicates for the bearer to stop. Graham tries to catch his breath.", "GRAHAM (V.O.)\n Some lay he died of his wounds, others that he\n returned to his own country...\n\nShe passes an old man teaching the Noh drama to a group of teenagers.", "Graham stands at a lectern on a book tour. A well-dressed audience listens\nattentivel y. A banner proclaims, \"The Last Samurai,\" by Simon Graham.", "Other samurai can be seen around the village, eating, singing, and playing\ninstruments. Tonight is for celebrating life.\n\nElsewhere, a flash as Graham takes a photograph of some children.", "Graham walks with Algren.", "Algren starts to walk faster, but Graham Stops him.", "ALGREN\n And this?\n\n\nHe points to a block of wood.\n\n GRAHAM\n Your pillow.", "GRAHAM (V.O.)\n ...And so the days of the samurai had ended.\n\nINT. LECTURE HALL (ENGLAND) DAY", "Graham would like to be brave enough to remain, but he is not a soldier.\n\n GRAHAM\n As you suggest.\n\n 107.", "GRAHAM\n That...is a samurai.\n\nINT. RESTAURANT NIGHT" ], [ "As the Emperor considers his guests, Omura whispers into his ear. Then:", "The Emperor is kneeling, tending to his iris garden. It is one of the wonders of the Palace: a\nsea of white, pink, blue, and purple blossoms.", "The Emperor gestures. A servant escorts Swanbeck to the exit. Omura takes a step\ncloser to the Emperor.", "The emperor laughs warmly, almost happy to be scolded as he once was.", "The young emperor is silent a moment.\n\n EMPEROR\n (subtitles)\n I am a living God only as long as I do what they\n think is right.", "Algren looks At the Emperor.\n\n ALGREN\n I will tell you how he lived.\n\nWe slowl y fade as Algren begins to speak...", "The cherry blossoms have emerged, creating a scene of intense col or, beauty,\nand serenity. The Emperor sits cross-legged next to a shrine. He is approached by Omura and two other\nadvisors. .", "EMPEROR\n My ancestors have ruled Japan for 2,000 years.\n And for all that time we have slept. During my", "The Emperor finally looks up from the sword.\n\n EMPEROR\n (subtitled)\n If your shame is too unbearable ... I offer you\n this sword.", "Algren enters with Graham. Algren carries something wrapped in a blanket.\nHe approaches the Emperor. Kneels and sets the bundle at the Emperor's feet.\nAlgren remains kneeling with his head bowed. He unwraps the bundle.", "the Emperor but he is now a traitor who leads a\n band of traitors. He must be punished.", "EMPEROR\n (subtitled)\n I hereby seize your family's assets and present them\n as my gift to the people.\n\nOmura looks at him, stunned.", "The Emperor interrupts him, speaking in English -- to ever yone's surprise.", "EMPEROR\n (subtitled)\n There is a small one called Taraku. A rock in the sea.", "Omura bows his head quickly and goes.\n\n\nSilence. The Emperor gazes at Katsumoto. Then:", "The Emperor ignores Omura, and gestures that the doors to the chamber be opened.", "Omura looks at him for a moment. Then bows tersely and goes.\n\nThe Emperor looks at Algren, still kneeling before him.", "Katsumoto begins to prostrate himself before the Emperor, the usual sign of extreme\nrespect -- but the Emperor stops him:", "The young Emperor sits on a dais off to the side, as befits his\nceremonial role in the proceedings.\n\nOmura is speaking ... be stops ... looking at something ... all the Council members turn ... and gape.", "Graham translates. The Emperor nods and smiles.\n\n EMPEROR\n (accented English)\n Thank... you... very ...much." ], [ "Algren finally wrenches himself from under his horse. He crawls to Gant,\nblood pouring from his own injured back and shoulder.\n\nGant is dead.", "Algren SCREAMS, distracting them just long enough for Katsumoto to take advantage and kill one.", "Algren's turn is no different than the others. He is declared dead and hoisted\nunceremoniously onto the pile of corpses.\n\nBack in the. hotel room.:", "killing Algren's attacker.", "Algren, barely conscious, hunches over his horse. He has lost a lot of blood.", "Algren manages to grab it and throw the rider to the ground, wrestling the\nlance from his grip and running him through.", "Algren sees samurai calmly walking among the injured and captured Imperial\nsoldiers .. killing them one by one with a single stroke.\n\nAlgren looks over the slaughter.", "Bullets rip into horse and rider alike. Algren falls, lifeless, into the mud.\n\nBack to the convention hall:", "Algren wields his saber in one hand and his revolver in the other, serving\ndeath on all sides.\n\n\nA soldier riding next to Davey is shot. A horse falls into a shellhole.", "But rather than give any quarter, Algren launches an attack. He kills one\nsamurai before he is RUN THROUGH, at the shoulder, by a lance.", "Algren sits hunched in a dark corner. His body is convulsed with shivering.\nHis withdrawal from alcohol, his wounds, his isolation and his imagined sins\nare devouring him. .", "Algren looks at him, murderously.\n\n ALGREN\n Yes, air.", "Algren watches, stunned.\n\nThen a terrible scream cuts through the battlefield.", "He walks away. Algren watches him go. His face darkens.", "On the wagon of dead bodies, Algren's eyes open to stare into the unblinking\neyes of his brother, Davey, half his face shot off. He tries to move but be is", "Algren moves down the line, bullets whizzing overhead. He kneels beside\nCOLONEL BAGLEY, his commanding officer.", "Algren notes some of the Japanese soldiers are literally shaking in fear.\n\nAlgren peers again into the fog. Nothing. But the sound is closer.\n\nThen the sound abruptly stops.", "Algren punches his shoulder and moves on down the line. Nearby, Algren's\nfriend, SERGEANT ZEBULAH GANT, though severel y wounded, reloads\nhis revolver with the last of his ammunition.", "Algren and the Ninja are in a death struggle, kneeing, gouging, butting. They awkwardly smash\nthrough a paper wall into the next room.", "Men and horses are torn apart -- they contort and writhe in agony ­ jerking\ngrotesquely as the bullets rip into them. Algren frantica1ly tries to locate the\nsource of this firepower. Then he sees:" ], [ "Algren enters with Graham. Algren carries something wrapped in a blanket.\nHe approaches the Emperor. Kneels and sets the bundle at the Emperor's feet.\nAlgren remains kneeling with his head bowed. He unwraps the bundle.", "Omura looks at him for a moment. Then bows tersely and goes.\n\nThe Emperor looks at Algren, still kneeling before him.", "Algren looks At the Emperor.\n\n ALGREN\n I will tell you how he lived.\n\nWe slowl y fade as Algren begins to speak...", "Algren tries to indicate that he would like pen and paper for himself. Toshiie\ngives him what he asks. Algren begins to write:", "Algren it now well enough to kneel at the table with the others. Taka treats\nhim with utter politeness and dignity. He watches her intently, seeking any\nsign of the animosity he's certain she must feel.", "Algren offers his hand. General Yoshitaka does not take it. He bowl his head and\nspeaks a few words. Graham translates:", "Algren and Gant are surprised to discover the living god is barely in his\ntwenties. The divine EMPEROR MEIJI is an intelligent and curious young man,\nyet there is a tentativeness about him.", "Toshiie bows. Algren bows and tucks the scroll into his coat.", "Algren finally wrenches himself from under his horse. He crawls to Gant,\nblood pouring from his own injured back and shoulder.\n\nGant is dead.", "Algren notes some of the Japanese soldiers are literally shaking in fear.\n\nAlgren peers again into the fog. Nothing. But the sound is closer.\n\nThen the sound abruptly stops.", "OMURA\n The Emperor is most interested in your American\n Indians, and wishes to know if you have seen\n them firsthand.\n\nAlgren looks at Graham, who nods. He may speak.", "Algren hands the sword back. Suddenly, Katsumoto swings the sword, cleanly splitting the table in two.\nSilence.", "Algren gently kneels with Katsumoto's body\n\nHe holds him for a moment and then turns to see what Katsumoto was looking at.\n\nCherry blossoms.", "Algren prepares himself.\n\nThey wait.\n\nGeneral Yoshitaka is suddenly alert. He speaks quietly to Graham.", "He turns to the bearer.\n\n ALGREN\n (subtitles)\n Take back to quarters. I walk.\n\nAnd Algren starts back into the city.", "Finally well enough to walk, Algren comes out onto the porch to watch the\nspectacle. In front of him, is a Kendo (The Way of the Sword) master\npractice with their long and short swords. They have incredible control.", "Graham starts to go --\n\n ALGREN\n Mr. Graham ... Take this.\n\nFrom his coat, Algren takes his journal, hands it to Graham.", "Algren looks at Katsumoto. He reaches into the pocket of his old uniform\nand takes out the Medal of Honor he received, long ago, at Sutter's Hill.\n\nHe affixes it to his old cavalry tunic.", "Algren shakes his head, and smiles for the first time in this stor y.\n\nYoritomo manages to quiet the boys. He points to himself.", "Algren stands at the gangplank. Porters wait with his luggage. Algren looks\nback into the crowd and sees the ronin. They glare back, no longer trying to\nkeep out of sight." ], [ "The Emperor looks up at the gathered dignitaries.\n .\n EMPEROR\n Ambassador Swanbeck I have concluded that your treaty\n is not in the best interests of my people.", "Ambassador Swanbeck, Omura, and a retinue of advisors are presenting the\ntreaty documents for the Emperor's signature. The Emperor sits restively\non his throne.", "The Emperor ignores Omura, and gestures that the doors to the chamber be opened.", "Katsumoto begins to prostrate himself before the Emperor, the usual sign of extreme\nrespect -- but the Emperor stops him:", "Omura looks at him for a moment. Then bows tersely and goes.\n\nThe Emperor looks at Algren, still kneeling before him.", "The Emperor speaks in Japanese. The advisors are non-plussed, and Omura leans down\nfor a moment to confer with him, then smiles indulgently:", "As the Emperor considers his guests, Omura whispers into his ear. Then:", "AMBASSADOR SWANBECK\n ...will usher in an era of unprecedented prosperity\n and cooperation between our two great nations.\nA servant comes and whispers into the Emperor's ear.", "The Emperor gestures. A servant escorts Swanbeck to the exit. Omura takes a step\ncloser to the Emperor.", "One last time, Katsumoto meets the Emperor's eye.\n\n KATSUMOTO\n Then, with great regret, I must refuse to give up my\n sword.", "The Emperor finally looks up from the sword.\n\n EMPEROR\n (subtitled)\n If your shame is too unbearable ... I offer you\n this sword.", "Algren enters with Graham. Algren carries something wrapped in a blanket.\nHe approaches the Emperor. Kneels and sets the bundle at the Emperor's feet.\nAlgren remains kneeling with his head bowed. He unwraps the bundle.", "Algren offers his hand. General Yoshitaka does not take it. He bowl his head and\nspeaks a few words. Graham translates:", "Retainers and servants stand at a distance. One holds a standard with the Imperial seal: a yellow\nchrysanthemum.\n\nOmura sees Katsumoto making his way toward them. He talks a bit more quickly to the Emperor.", "The cherry blossoms have emerged, creating a scene of intense col or, beauty,\nand serenity. The Emperor sits cross-legged next to a shrine. He is approached by Omura and two other\nadvisors. .", "Graham translates. The Emperor nods and smiles.\n\n EMPEROR\n (accented English)\n Thank... you... very ...much.", "The emperor laughs warmly, almost happy to be scolded as he once was.", "a samurai revolt, creating a need for the weapons.\n The Emperor sees that the weapons are needed\n so he agrees to the entire treaty, giving your", "Omura bows his head quickly and goes.\n\n\nSilence. The Emperor gazes at Katsumoto. Then:", "The Emperor is kneeling, tending to his iris garden. It is one of the wonders of the Palace: a\nsea of white, pink, blue, and purple blossoms." ], [ "He walks away. Algren watches him go. His face darkens.", "He turns to the bearer.\n\n ALGREN\n (subtitles)\n Take back to quarters. I walk.\n\nAnd Algren starts back into the city.", "Algren, barely conscious, hunches over his horse. He has lost a lot of blood.", "Algren sits alone on the bed. He takes out a leather-bound journal and begins to write.", "Algren sits hunched in a dark corner. His body is convulsed with shivering.\nHis withdrawal from alcohol, his wounds, his isolation and his imagined sins\nare devouring him. .", "Algren finally wrenches himself from under his horse. He crawls to Gant,\nblood pouring from his own injured back and shoulder.\n\nGant is dead.", "Algren looks up to see the battle is lost. The Japanese soldiers have fled.\nOr are surrendering, injured or dead.", "Finally well enough to walk, Algren comes out onto the porch to watch the\nspectacle. In front of him, is a Kendo (The Way of the Sword) master\npractice with their long and short swords. They have incredible control.", "Algren's turn is no different than the others. He is declared dead and hoisted\nunceremoniously onto the pile of corpses.\n\nBack in the. hotel room.:", "Algren stands at the gangplank. Porters wait with his luggage. Algren looks\nback into the crowd and sees the ronin. They glare back, no longer trying to\nkeep out of sight.", "A somber mood has descended. Algren sits and writes in his journal.", "Algren is back in the hotel room. From his small suitcase, he takes the\nMedal of Honor, looks at it for a long moment.", "As Algren walks, he becomes aware that he is being followed. Two dark figures\nlurk some distance behind him. After a few moments, he whips around to face\nthem. They stand for a moment, then melt away into the shadows.", "Algren senses someone behind him and turns. The woman is standing across\nthe hall. Their eyes meet. She turn, and walks away.\n\nEXT. VILLAGE NIGHT", "He goes. Algren immediately starts counting the cash.\n\nINT. SEEDY HOTEL ROOM NIGHT", "Bullets rip into horse and rider alike. Algren falls, lifeless, into the mud.\n\nBack to the convention hall:", "8.\nAlgren looks up. He knows that voice. He carefully puts the revolver back into the suitcase and shuts it before\nopening the door.", "ALGREN\n No. Maybe I survived just to live this one last day.\n\nAlgren looks at him.", "Algren sits, staring into the middle distance.\n\n ALGREN (V.O.)\n Is this why they gave their lives? So that I might\n disgrace their memory?", "Taka stops. Watching. We follow her gaze to discover:\n\nAlgren, sitting alone. Gazing peacefully sat the cherry bl ossoms." ], [ "Katsumoto removes a piece of shattered armor from his left forearm, a\nbullet wound beneath. Algren looks over the barricade.", "Algren gently kneels with Katsumoto's body\n\nHe holds him for a moment and then turns to see what Katsumoto was looking at.\n\nCherry blossoms.", "Katsumoto wipes his sword on a nearby corpse, replaces it in its sheath. He sits beside\nAlgren on a stair. Both men are exhausted. Bloodied. Alive.", "Katsumoto, breathing heavily, his kimono shredded and bloody, is fending off the Ninjas' increasingly\nsavage attacks as Algren enters.", "A dreadful beat as Gant stands, pathetically trying to hold his guts in. Then he\nsinks to his knees.\n\nKatsumoto turns, leaps back onto his horse and trots off.", "KATSUMOTO\n We will ride together again.\n\nKatsumoto embraces Algren firmly -- the sma1l sword impales him", "Katsumoto hears the scream. A look of disbelief spreads over his face.\nThen the beginnings of a smile. Without a second look, be leaps out the\nwindow. Ujio follows.", "A charging soldier thrust s his bayonet into Katsumoto's arm - Katsumoto kills,\nthe soldier with his short sword but is awkwardly tangled with his body, a second", "Katsumoto turns and walks into his house. Uji o follows him. Algren collapses.\n\nFade to black.\n\nAs Algren begins his time at the heart of the samurai world.", "Omura sees all the samurai are dead or dying.\n\nBut he also sees Algren kneeling by Katsumoto, dragging him awa y. He\nscreams at the Japanese officer to resume fire!", "Algren holds him tightly. Katsumoto is looking over Algren's shoulder as he dies.\n\nKatsumoto sees something. A look of joy and absolute peace comes to his features.", "Yoritomo kneels across from Algren. He is impressed at the many battle\nwounds on Algren's body; the old bullet wounds and scars. In Japanese, he\nindicates his admiration.", "Katsumoto stares at him for a long moment, then smiles and spurs his horse. Algren follows.", "Nearby, a Ninja hurls a throwing star at Katsumoto. With blind instinct Katsumoto\nturns and takes the blade in the meat of his arm.", "Katsumoto rides at the head of his samurai as they pass through the cherry\norchard. Then he reins his horse and falls in beside Algren.", "Sensing that he is about to be killed, Algren pulls himself t o his knees, and SWINGS his saber at Katsumoto.\nWith blinding speed, Katsumoto pulls his katana from its scabbard.", "KATSUMOTO\n Because I do not wish you to be m y enemy again.\n\nKatsumoto returns to his poem, he does not look up.", "Katsumoto rides to Yoshitaka. A few serious words are exchanged. Katsumoto bows his bead in respect, seems\nto agree to something.", "Algren looks at him, deeply moved. Katsumoto manages to pull out his short sword.\n\n KATSUMOTO\n You must help me. Hold it firmly...", "General Yoshitaka quickly and calmly pulls himself on to the blade, plunging\nit into his stomach, embracing Katsumoto.\n\nIt is seppuku -- the traditional form of samurai suicide." ], [ "Colonel Bagley, Omura, several German advisors and Japanese officers ride\nat the head of the Imperial Army. .\n\nBagley sees something, raises a hand. The troops halt.", "BAGLEY\n (MORE)\n only, advisors to the Japanese officers. Help\n them with training, ordinance and the like.", "BAGLEY\n They're looking to hire real American soldiers to\n create the first Japanese Imperial Army.\n\nAlgren looks at him.", "BAGLEY\n You think we're the only country interested in\n Japan?! You don't think the Germans and the\n French would like to oversee the new army?", "BEHIND THE IMPERIAL ARMY\n\nColonel Bagley and Omura watch, transfixed. There is something\napproaching admiration on Omura's face. On Bagley's, there is only malice.", "BAGLEY\n Captain... (to Katsumoto)... Sir, the Imperial\n Army of Japan demands your surrender. If you\n and your fellows lay down your arms you will\n not be harmed.", "Bagley is furious. Their fluid tactics have rendered his field artillery useless.\n\nKatsumoto and Algren share a look of grim satisfaction. They are leveling\nthe playing field.", "New German advisors are barking commands. Colonel Bagley sees him.\n\n BAGLEY\n Algren? My God, you never cease to astonish.", "BAGLEY\n Japan's got it in mind to become a civilized\n country and they're willing to spend what it takes\n to hire white experts to do the job right.", "Algren and Bagley, on horseback, wait with Graham. General Yoshitaka and\na few Japanese Commanders are mounted as well. The thousand strong\nJapanese Army is on foot They stand, rifles ready. ,", "BAGLEY\n Sit down. This is Mr. Omura, from Japan, and\n his two associates who, so far as I can tell, don't\n have names...", "Bagley directs the artillery to be re-targeted, It is a laborious, clumsy\nprocess. They fire again. Another command. The Samurai change\nposition again.", "Colonel Bagley, Omura, several German advisers and Japanese Officers\nwatch through binoculars. Stunned. As the First Wave is routed.\n\n HAGLEY\n What the hell?", "About a thousand Japanese soldiers in baggy uniforms are milling around a large\nparade ground. Each has an old single shot rifle. Algren, Gant, and Yoshitaka\nlook down on them from a reviewing stand.", "BAGLEY\n ...Heard you were leaving, actually?\n\n ALGREN\n Why would I do that? Omura wants me to train his\n personal guard.", "GRAHAM\n Colonel Bagley requires you.\n\nINT. TENT DAY\n\n\nColonel Bagley and Algren stand at a map. Omura sits.", "Algren walks onto the parade ground. The change he sees could not be more remarkable.\nThousands of new Japanese troops are drilling with new bolt-action Mausers. They", "Bagley and Omura watch as the samurai fall, one by one.\n\nWITH THE CHARGE", "Bagley runs over, hand extended, but Algren turns to look at the troops.\n\n ALGREN\n They have new weapons.", "BAGLEY\n Oughtta shave more often, Algren. Becomes you.\n\n ALGREN\n Thought I would follow the Japanese fashion." ], [ "Algren's mind. The real battle of Sutter's Hill. The grim reality is ver y\ndifferent from the dashing tale. Union soldiers scream in agony. Those\nhorses still alive buck and froth at their tether. .", "Algren sits hunched in a dark corner. His body is convulsed with shivering.\nHis withdrawal from alcohol, his wounds, his isolation and his imagined sins\nare devouring him. .", "Algren, barely conscious, hunches over his horse. He has lost a lot of blood.", "Algren notes some of the Japanese soldiers are literally shaking in fear.\n\nAlgren peers again into the fog. Nothing. But the sound is closer.\n\nThen the sound abruptly stops.", "Algren finally wrenches himself from under his horse. He crawls to Gant,\nblood pouring from his own injured back and shoulder.\n\nGant is dead.", "Algren, a lieutenant then, moves among the panicked, bloody men. He stops beside a\nPRIVATE, his brother, DAVID ALGREN, 19, blonde, not much more than a boy.", "Algren smiles, sits.\n ALGREN\n I studied war at a place called West Point. They", "Algren sits in his tent, writing in his journal. Outside, the Japanese are being taught\nthe basics of firing tactics.", "Algren watches, stunned.\n\nThen a terrible scream cuts through the battlefield.", "Men and horses are torn apart -- they contort and writhe in agony ­ jerking\ngrotesquely as the bullets rip into them. Algren frantica1ly tries to locate the\nsource of this firepower. Then he sees:", "Finally well enough to walk, Algren comes out onto the porch to watch the\nspectacle. In front of him, is a Kendo (The Way of the Sword) master\npractice with their long and short swords. They have incredible control.", "On the wagon of dead bodies, Algren's eyes open to stare into the unblinking\neyes of his brother, Davey, half his face shot off. He tries to move but be is", "Algren twirls his sword in a fancy cavalry \"fl ourish.\" The pride he has alwa ys taken in his\nswordsmanship has been restored. He bows to Uji o.", "Algren's turn is no different than the others. He is declared dead and hoisted\nunceremoniously onto the pile of corpses.\n\nBack in the. hotel room.:", "He walks away. Algren watches him go. His face darkens.", "Algren looks up to see the battle is lost. The Japanese soldiers have fled.\nOr are surrendering, injured or dead.", "Algren sits alone on the bed. He takes out a leather-bound journal and begins to write.", "OMURA\n The Emperor is most interested in your American\n Indians, and wishes to know if you have seen\n them firsthand.\n\nAlgren looks at Graham, who nods. He may speak.", "Algren sits, staring into the middle distance.\n\n ALGREN (V.O.)\n Is this why they gave their lives? So that I might\n disgrace their memory?", "Algren carries water from the river through a riot of spring wild-flowers. Something\nmakes him stop, and see the sunlit clouds in the deep blue sky, the colors around him, hear the" ], [ "Algren leaves Graham and accompanies Taka toward the house.\n\nThey pass Higen and Toshiie, who sit with other children at the feet of the\nmassive Nakao, listening to a quiet story he tells,", "As does SIMON GRAHAM, a dissipated Englishman who has lived in Japan\nfor many yean. Slender and pale, with an occasional consumptive cough, in", "Algren prepares himself.\n\nThey wait.\n\nGeneral Yoshitaka is suddenly alert. He speaks quietly to Graham.", "Graham starts to go --\n\n ALGREN\n Mr. Graham ... Take this.\n\nFrom his coat, Algren takes his journal, hands it to Graham.", "Algren considers this as he pours another cup of sake.\n .\n ALGREN\n This is sake?\n\n GRAHAM\n Sake. Rice wine.", "Algren watches Gant march beside the Japanese. They are illuminated by the\nmajestic red sunset\n\n ALGREN\n (to Graham)\n Ask him if they have a flag.", "Algren stands with Katsumoto and Ujio. Graham is nearby. They peer into the\nplain beyond.", "GRAHAM\n Yes. Of course.\n\nBefore Algren can respond, Bagley has left the front lines with Graham in", "Graham walks with Algren.", "Tokyo is a city in chaos. Everything seems out of balance. Dystopic. A\ncollision of Eastern and Western. Algren and Gant watch as Graham prepares\nto take a photograph of an old merchant in front of his store.", "Algren and Bagley, on horseback, wait with Graham. General Yoshitaka and\na few Japanese Commanders are mounted as well. The thousand strong\nJapanese Army is on foot They stand, rifles ready. ,", "Finally well enough to walk, Algren comes out onto the porch to watch the\nspectacle. In front of him, is a Kendo (The Way of the Sword) master\npractice with their long and short swords. They have incredible control.", "Algren sits in his tent, writing in his journal. Outside, the Japanese are being taught\nthe basics of firing tactics.", "Algren enters with Graham. Algren carries something wrapped in a blanket.\nHe approaches the Emperor. Kneels and sets the bundle at the Emperor's feet.\nAlgren remains kneeling with his head bowed. He unwraps the bundle.", "Algren his no idea what Yoritomo is saying. Finally he interrupts with the\nonly Japanese word he has bothered to learn:\n\n ALGREN\n Sake.", "Algren and Bagley sit with Graham in an ornate carriage as they cross the\nmoat and enter the ancestral palace of the Shoguns.", "OMURA\n Captain Algren, this is Mr. Simon Graham. He\n will be your translator.", "(Algren smiles)\n Do you know wh y you were sent here? To\n Yoshino.", "GRAHAM\n He is samurai.\n\n\nAlgren looks at Yoshitaka with new eyes.\n\nEXT. TOKYO ­ STREET NIGHT", "Algren is escorted in. Katsumoto kneels at a table. Preparing the traditional Japanese tea ceremony.\n\n KATSUMOTO\n Sit, Captain." ], [ "Algren gently kneels with Katsumoto's body\n\nHe holds him for a moment and then turns to see what Katsumoto was looking at.\n\nCherry blossoms.", "Meanwhile, Algren is working with Higen on the house.\n\nKatsumoto silently watches Algren working with the boy.\n\n KATSUMOTO\n Algren-san.", "Katsumoto is on stage at the center of the village square, enthusiastically\nperforming a Noh drama. Algren sits with Toshiie and Taka in the audience,\nenjoying Katsumoto's theatrics.", "Algren and Katsumoto perch on a precipice, looking down into a valley.\n\nIt is a beautiful setting. Towering peaks and peaceful valleys. It is here that\nthe final act of the inevitable drama will play out.", "encourages him to join him. Algren resists. Toshiie prods him. Algren\nsurrenders and joins Katsumoto on the stage. The villagers are delighted.", "Algren looks at him, deeply moved. Katsumoto manages to pull out his short sword.\n\n KATSUMOTO\n You must help me. Hold it firmly...", "Algren holds him tightly. Katsumoto is looking over Algren's shoulder as he dies.\n\nKatsumoto sees something. A look of joy and absolute peace comes to his features.", "Algren kneels by Yoritomo. Yoritomo looks up at him. There are tears in\nhis eyes.\n\nEXT. KATSUMOTO'S HOUSE DUSK", "Algren walking with Katsumoto -- they are deep in conversation.\n\n ALGREN (V.O.)\n And yet the more time I spend here, the less I understand them.", "Katsumoto rides at the head of his samurai as they pass through the cherry\norchard. Then he reins his horse and falls in beside Algren.", "Algren, now dressed in the kimono, finds Katsumoto carefully dropping little\nleaves of incense into a small flame that simmers inside his battle helmet.", "Algren, Katsumoto and the others are nearing the palace. Algren slows to a\nstop -- his path is toward the city. Katsumoto stops, looks at him, then does\nsomething absolutel y extraordinary.", "KATSUMOTO\n \"I belong to the warrior in whom the old ways\n have joined the new.\"\n\nAlgren is moved beyond words. He bows.", "Algren is escorted in. Katsumoto kneels at a table. Preparing the traditional Japanese tea ceremony.\n\n KATSUMOTO\n Sit, Captain.", "Yoritomo kneels across from Algren. He is impressed at the many battle\nwounds on Algren's body; the old bullet wounds and scars. In Japanese, he\nindicates his admiration.", "Katsumoto turns and walks into his house. Uji o follows him. Algren collapses.\n\nFade to black.\n\nAs Algren begins his time at the heart of the samurai world.", "Algren is led past baldheaded monks into an ancient shrine. Katsumoto\nkneels before a small altar. He doesn't seem aware that Algren is present.", "Algren goes to them. Silently begins to help them.\n\n\nINT. YORITOMO'S HOUSE DAYS LATER", "Algren stands with Katsumoto and Ujio. Graham is nearby. They peer into the\nplain beyond.", "Algren SCREAMS, distracting them just long enough for Katsumoto to take advantage and kill one." ], [ "KATSUMOTO\n The Emperor has requested my presence.\n We leave tomorrow. You will be released in Tokyo.\n\nHe goes. Algren stands, not sure how to react.", "Katsumoto begins to prostrate himself before the Emperor, the usual sign of extreme\nrespect -- but the Emperor stops him:", "Katsumoto's house on the outskirts of Tokyo is spacious and\nharmonious. Utterly Japanese. Samurai guards in full regalia, stand\nmenacingly outside.", "ALGREN\n ... The Emperor sends a message for you to return\n to Tokyo, and you go?\n\n KATSUMOTO\n Yes.", "Katsumoto hears the scream. A look of disbelief spreads over his face.\nThen the beginnings of a smile. Without a second look, be leaps out the\nwindow. Ujio follows.", "Katsumoto rides to Yoshitaka. A few serious words are exchanged. Katsumoto bows his bead in respect, seems\nto agree to something.", "One last time, Katsumoto meets the Emperor's eye.\n\n KATSUMOTO\n Then, with great regret, I must refuse to give up my\n sword.", "KATSUMOTO\n I do not tell the emperor what to do.\n\n ALGREN\n Then what do you hope to accomplish?", "Katsumoto slowl y looks around at the Members of the Council, but his words are addressed\nto the Emperor.", "A boy working in the fields see Katsumoto approaching. He doesn't believe\nit -- the Great Katsumoto. He drops his hoe and races awa y, calling out.", "Retainers and servants stand at a distance. One holds a standard with the Imperial seal: a yellow\nchrysanthemum.\n\nOmura sees Katsumoto making his way toward them. He talks a bit more quickly to the Emperor.", "KATSUMOTO\n Against the Emperor? Never. I serve him. As\n I have alwa ys done. .\n\n ALGREN\n I don't understand.", "Katsumoto completes the tea ceremony. He pours a cup for Algren. Bows his head and offers it to him.\n\n ALGREN\n And you will tell the emperor to stop them?", "Katsumoto kneels in a cramped cell. A sound draws his attention. He rises\nand looks out a barred window.\n\nBel ow he sees two rickshaws moving up the twisting road to the castle.", "KATSUMOTO\n Our Emperor is young, and there are things I must\n sa y to him.\n\n ALGREN\n But ever yone around him wants you dead.", "Algren, Katsumoto and the others are nearing the palace. Algren slows to a\nstop -- his path is toward the city. Katsumoto stops, looks at him, then does\nsomething absolutel y extraordinary.", "KATSUMOTO\n Not for pride. For the emperor.\n\n ALGREN\n But the emperor is the one signing the agreement.", "KATSUMOTO\n That is what will happen to my village if we do\n not stand and fight.\n (looks at him)\n No. We serve the Emperor here.", "Katsumoto rides at the head of his samurai as they pass through the cherry\norchard. Then he reins his horse and falls in beside Algren.", "Katsumoto stares at him for a long moment, then smiles and spurs his horse. Algren follows." ], [ "Katsumoto rides to Yoshitaka. A few serious words are exchanged. Katsumoto bows his bead in respect, seems\nto agree to something.", "Katsumoto kneels in a cramped cell. A sound draws his attention. He rises\nand looks out a barred window.\n\nBel ow he sees two rickshaws moving up the twisting road to the castle.", "Katsumoto hears the scream. A look of disbelief spreads over his face.\nThen the beginnings of a smile. Without a second look, be leaps out the\nwindow. Ujio follows.", "KATSUMOTO\n The Emperor has requested my presence.\n We leave tomorrow. You will be released in Tokyo.\n\nHe goes. Algren stands, not sure how to react.", "KATSUMOTO\n Not for pride. For the emperor.\n\n ALGREN\n But the emperor is the one signing the agreement.", "Katsumoto stares at him for a long moment, then smiles and spurs his horse. Algren follows.", "Katsumoto begins to prostrate himself before the Emperor, the usual sign of extreme\nrespect -- but the Emperor stops him:", "KATSUMOTO\n We will ride together again.\n\nKatsumoto embraces Algren firmly -- the sma1l sword impales him", "KATSUMOTO\n Against the Emperor? Never. I serve him. As\n I have alwa ys done. .\n\n ALGREN\n I don't understand.", "Katsumoto turns and walks into his house. Uji o follows him. Algren collapses.\n\nFade to black.\n\nAs Algren begins his time at the heart of the samurai world.", "KATSUMOTO\n Because I do not wish you to be m y enemy again.\n\nKatsumoto returns to his poem, he does not look up.", "... Most of the samurai accepted the new laws.\n But some didn't. Or couldn't. Like Katsumoto.", "ALGREN\n No. Wait...!\n\nKatsumoto glares at him harshly, furious to have his concentration disturbed\nat such a moment.", "One last time, Katsumoto meets the Emperor's eye.\n\n KATSUMOTO\n Then, with great regret, I must refuse to give up my\n sword.", "KATSUMOTO\n That is what will happen to my village if we do\n not stand and fight.\n (looks at him)\n No. We serve the Emperor here.", "KATSUMOTO\n \"I belong to the warrior in whom the old ways\n have joined the new.\"\n\nAlgren is moved beyond words. He bows.", "Katsumoto, breathing heavily, his kimono shredded and bloody, is fending off the Ninjas' increasingly\nsavage attacks as Algren enters.", "KATSUMOTO\n I do not tell the emperor what to do.\n\n ALGREN\n Then what do you hope to accomplish?", "Katsumoto is on stage at the center of the village square, enthusiastically\nperforming a Noh drama. Algren sits with Toshiie and Taka in the audience,\nenjoying Katsumoto's theatrics.", "Katsumoto completes the tea ceremony. He pours a cup for Algren. Bows his head and offers it to him.\n\n ALGREN\n And you will tell the emperor to stop them?" ], [ "GRAHAM\n Yes. Of course.\n\nBefore Algren can respond, Bagley has left the front lines with Graham in", "BAGLEY\n Fire! Fire, dammit!!!!!", "Bagley and Omura watch as the samurai fall, one by one.\n\nWITH THE CHARGE", "BAGLEY\n They know I was your commanding officer.\n Yes.\n\nAlgren glares at Bagley, then stands.\n\n 12.", "Bagley and Omura watch the battle through binoculars.\n\n BAGLEY\n A classic \"V\" ambush. Sonofabitcb is using\n Welt Point tactics.", "Bagley is furious. Their fluid tactics have rendered his field artillery useless.\n\nKatsumoto and Algren share a look of grim satisfaction. They are leveling\nthe playing field.", "BAGLEY\n (panicking)\n We need a flag. Find me a goddamn white flag!\n\n ALGREN\n What are you talking about?!", "Algren moves down the line, bullets whizzing overhead. He kneels beside\nCOLONEL BAGLEY, his commanding officer.", "BAGLEY\n Mr. Graham, you will accompany me to the rear.\n I want to be certain we are protected from any\n surprise assault.", "13.\nColonel Bagley stands looking down at him.", "BAGLEY\n Sir, this man was left for dead at Sutter's Hill.\n Doct ors swore his heart had stopped beating,", "BAGLEY\n ... 1 don't know what to say, sir. I never would\n have thought him capable of treason.", "BAGLEY\n Surrender, damn it! That's an order!\n\nBack to the convention hall:", "Algren looks pointedly at Bagley.\n\n ALGREN\n You told them about our experiences together\n on Sutter's Hill, did you, Colonel?", "Bagley looks at Algren. Do as he asks. He leaves A1gren alone with Omura.\n\n 78.\n\n OMURA\n Cigarette?", "BAGLEY\n Sit down. This is Mr. Omura, from Japan, and\n his two associates who, so far as I can tell, don't\n have names...", "OMURA\n I know you have little sympathy for Colonel Bagley.\n\n ALGREN\n He is.... unsympathetic.\n\nOmura smiles.", "ALGREN\n Excuse me, gentlemen. I need some air.\n (to Omura)\n I'm sure Colonel Bagley can amuse you with\n more stories of patriotic gore.", "Colonel Bagley, Omura, several German advisors and Japanese officers ride\nat the head of the Imperial Army. .\n\nBagley sees something, raises a hand. The troops halt.", "BAGLEY\n Captain Algren, we will show no quarter. You\n ride against us and you are the same as they are." ], [ "Katsumoto begins to prostrate himself before the Emperor, the usual sign of extreme\nrespect -- but the Emperor stops him:", "KATSUMOTO\n (whispers)\n It is perfect... They are all perfect.\n\nHis eyes cl ose. He is dead.", "Katsumoto looks to the Emperor, as murmurs fill the room.", "Katsumoto slowl y looks around at the Members of the Council, but his words are addressed\nto the Emperor.", "Katsumoto hears the scream. A look of disbelief spreads over his face.\nThen the beginnings of a smile. Without a second look, be leaps out the\nwindow. Ujio follows.", "KATSUMOTO\n Our Emperor is young, and there are things I must\n sa y to him.\n\n ALGREN\n But ever yone around him wants you dead.", "One last time, Katsumoto meets the Emperor's eye.\n\n KATSUMOTO\n Then, with great regret, I must refuse to give up my\n sword.", "KATSUMOTO\n No, I honor his memory as my kinsman.\n\n ALGREN\n That why you helped him kill himself?", "KATSUMOTO\n Against the Emperor? Never. I serve him. As\n I have alwa ys done. .\n\n ALGREN\n I don't understand.", "KATSUMOTO\n The Emperor has requested my presence.\n We leave tomorrow. You will be released in Tokyo.\n\nHe goes. Algren stands, not sure how to react.", "Katsumoto lies in bed listening to the night bird. It stops singing. Katsumoto smiles sadly. He\ndecides to give up on sleep, leans forward to rise.\n\nThis act saves his life.", "KATSUMOTO\n Not for pride. For the emperor.\n\n ALGREN\n But the emperor is the one signing the agreement.", "Katsumoto simply looks at him.\n\n ALGREN\n And my wife is dead.\n\n KATSUMOTO\n Mine, too.", "KATSUMOTO\n That is what will happen to my village if we do\n not stand and fight.\n (looks at him)\n No. We serve the Emperor here.", "Algren holds him tightly. Katsumoto is looking over Algren's shoulder as he dies.\n\nKatsumoto sees something. A look of joy and absolute peace comes to his features.", "Katsumoto is looking at Ujio's body nearby.\n\n KATSUMOTO\n He was Kaishaku ... my trusted friend.", "KATSUMOTO\n And you were sad to see them die in the winter.\n\nA beat. Something flickers in Algren's eyes.", "KATSUMOTO\n I do not tell the emperor what to do.\n\n ALGREN\n Then what do you hope to accomplish?", "KATSUMOTO\n We will ride together again.\n\nKatsumoto embraces Algren firmly -- the sma1l sword impales him", "KA TSUMOTO\n And if the Emperor desires, I will take my own life at his\n command.\n\nHe spurs his horse and rides on. A1gren watches him." ], [ "GRAHAM\n Nathan. I wanted to leave, too. For three years.\n You must believe me there is a majest y about", "DAVEY\n They're coming, Nate.\n\nHe looks over the wall. Rebel troops are moving up the hill.", "He looks down at the little metal soldiers and begins to tell the story of the\nbattle that made him famous. His narration is halting, unsteady:", "but before they could bury him, he came back to\n life. After the war he fought the Sioux, the Cree,\n and the Blackfoot.", "9.\nhas his eye on a political future.\n\n BAGLEY\n Nathan, good to see you.", "Nakao fights his wa y up beside him, desperately trying to reach Katsumoto's room. Using\nonly his bare hands he catches a Ninja's wrist and hurls him over the railing.", "As he smokes a cigar, barely listening. CAPTAIN _NATHAN ALGREN,", "Algren's mind. The real battle of Sutter's Hill. The grim reality is ver y\ndifferent from the dashing tale. Union soldiers scream in agony. Those\nhorses still alive buck and froth at their tether. .", "Algren, barely conscious, hunches over his horse. He has lost a lot of blood.", "Algren and the Ninja are in a death struggle, kneeing, gouging, butting. They awkwardly smash\nthrough a paper wall into the next room.", "Graham sits across the room talking quietly to the mammoth Nakao, taking\nnotes in a small notebook. Nakao has been brutally shorn of his top knot\nas well. His shame is apparent.", "To those who honor the old ways, he's a hero. His\n force is estimated at about five hundred and growing\n by the day. All samurai.", "Algren is once again among the training warriors. He and another man face off, each waiting for the other to\nattack with his wooden sword.", "KATSUMOTO\n Everything.\n\n ALGREN\n Everything about the civil war?", "Finally well enough to walk, Algren comes out onto the porch to watch the\nspectacle. In front of him, is a Kendo (The Way of the Sword) master\npractice with their long and short swords. They have incredible control.", "Nakao is like a cornered bear, arcing his two swords wildly around him. He\nis shot in the chest, and staggers a moment before continuing. Another", "The battle swirls ever ywhere around us. Fleeing soldiers are run through by\nlances, run down and trampled by horses.", "115.\nThen a soldier near him does the same thing. Then another and another.\nAnd then by the thousands.\n\nThey kneel and touch their heads to the dirt.", "And we cut to --\n\nEXT. INN NIGHT\n\nOutside of the inn, we slowl y pull away...\n\nThe sounds of the battle gradually fade...", "Algren, a lieutenant then, moves among the panicked, bloody men. He stops beside a\nPRIVATE, his brother, DAVID ALGREN, 19, blonde, not much more than a boy." ], [ "GRAHAM\n Nathan. I wanted to leave, too. For three years.\n You must believe me there is a majest y about", "DAVEY\n They're coming, Nate.\n\nHe looks over the wall. Rebel troops are moving up the hill.", "9.\nhas his eye on a political future.\n\n BAGLEY\n Nathan, good to see you.", "He looks down at the little metal soldiers and begins to tell the story of the\nbattle that made him famous. His narration is halting, unsteady:", "Algren, a lieutenant then, moves among the panicked, bloody men. He stops beside a\nPRIVATE, his brother, DAVID ALGREN, 19, blonde, not much more than a boy.", "Graham sits across the room talking quietly to the mammoth Nakao, taking\nnotes in a small notebook. Nakao has been brutally shorn of his top knot\nas well. His shame is apparent.", "As he smokes a cigar, barely listening. CAPTAIN _NATHAN ALGREN,", "Nakao is standing proudly, his massive arms folded across his chest. We\npull back: Graham is bunched behind his photographic equipment. A flash\nof phosphorous and the moment is immortalized.", "Then raised voices from across the street stop them.\n\nThey see Yoritomo surrounded by four Imperial Army soldiers. The soldiers\nare rough and imperious, drunk with power. They carry gleaming rifle..", "115.\nThen a soldier near him does the same thing. Then another and another.\nAnd then by the thousands.\n\nThey kneel and touch their heads to the dirt.", "U.S. Army, ret, 36 years old and looking every da y of it. His eyes are lined\nand saddened. He takes a swig from a flask. He is BACKSTAGE at:", "Algren prepares himself.\n\nThey wait.\n\nGeneral Yoshitaka is suddenly alert. He speaks quietly to Graham.", "A tree branch knocks Davey from his horse. He sits, dazed, on the ground.\nAlgren kills a rebel soldier just as be is about to fire on him.", "soldier shoots him in the arm at point blank range. Nakao', sword goes fl ying,\nso the giant Samurai leaps forward and picks up the shooter bodily, twirling", "BAGLEY\n Would you rather I hadn't recommended you\n for the medal. Nathan? Is that it?", "GANT\n I mean a real job. Back in uniform.\n\n ALGREN\n I' m retired.", "Algren smiles, sits.\n ALGREN\n I studied war at a place called West Point. They", "Algren and the Ninja are in a death struggle, kneeing, gouging, butting. They awkwardly smash\nthrough a paper wall into the next room.", "On the wagon of dead bodies, Algren's eyes open to stare into the unblinking\neyes of his brother, Davey, half his face shot off. He tries to move but be is", "Algren sits in his tent, writing in his journal. Outside, the Japanese are being taught\nthe basics of firing tactics." ], [ "GRAHAM\n Nathan. I wanted to leave, too. For three years.\n You must believe me there is a majest y about", "9.\nhas his eye on a political future.\n\n BAGLEY\n Nathan, good to see you.", "Graham sits across the room talking quietly to the mammoth Nakao, taking\nnotes in a small notebook. Nakao has been brutally shorn of his top knot\nas well. His shame is apparent.", "Nakao is standing proudly, his massive arms folded across his chest. We\npull back: Graham is bunched behind his photographic equipment. A flash\nof phosphorous and the moment is immortalized.", "DAVEY\n They're coming, Nate.\n\nHe looks over the wall. Rebel troops are moving up the hill.", "As he smokes a cigar, barely listening. CAPTAIN _NATHAN ALGREN,", "Algren prepares himself.\n\nThey wait.\n\nGeneral Yoshitaka is suddenly alert. He speaks quietly to Graham.", "GRAHAM\n That \"pup\" runs the country no more than I do.\n He was installed as a figurehead at age twelve", "Algren sees a stairway leading to a higher 1evel, barks out a command. As Nakao drags\nYoritomo toward the stairs-- the others bolt a heavy SIEGE DOOR ­\ndesigned to keep attackers at bay.", "GENERAL YOSHITAKA appears. He is a seasoned soldier in his 40's. A\ndecent man. He stops before them, bows quickly.", "As the Emperor considers his guests, Omura whispers into his ear. Then:", "Then raised voices from across the street stop them.\n\nThey see Yoritomo surrounded by four Imperial Army soldiers. The soldiers\nare rough and imperious, drunk with power. They carry gleaming rifle..", "BAGLEY\n Would you rather I hadn't recommended you\n for the medal. Nathan? Is that it?", "Algren keeps the others out of sight and lowers his head to whisper with\nUjio. Ujio nods, then walks into sight and calmly approaches the guards.", "Algren leaves Graham and accompanies Taka toward the house.\n\nThey pass Higen and Toshiie, who sit with other children at the feet of the\nmassive Nakao, listening to a quiet story he tells,", "Graham shrinks away in fear. Nakao lifts him bodily, throws him out, and then follows.\n\nINT. CASTLE -- RECEPTION CHAMBER LATER", "The Emperor gestures. A servant escorts Swanbeck to the exit. Omura takes a step\ncloser to the Emperor.", "General Yoshitaka speaks up. Graham translates:", "We will meet him again later, he is UJIO. A terse, grim man in his 40's. His\nproud gait and rigid, imperious manner intrigue Algren.", "He looks down at the little metal soldiers and begins to tell the story of the\nbattle that made him famous. His narration is halting, unsteady:" ], [ "DAVEY\n They're coming, Nate.\n\nHe looks over the wall. Rebel troops are moving up the hill.", "GRAHAM\n Nathan. I wanted to leave, too. For three years.\n You must believe me there is a majest y about", "Nakao fights his wa y up beside him, desperately trying to reach Katsumoto's room. Using\nonly his bare hands he catches a Ninja's wrist and hurls him over the railing.", "9.\nhas his eye on a political future.\n\n BAGLEY\n Nathan, good to see you.", "Algren's mind. The real battle of Sutter's Hill. The grim reality is ver y\ndifferent from the dashing tale. Union soldiers scream in agony. Those\nhorses still alive buck and froth at their tether. .", "Algren, barely conscious, hunches over his horse. He has lost a lot of blood.", "This evocation of the Civil War is not lost on Algren.\n\n ALGREN\n Who are we supposed to be fighting against?", "but before they could bury him, he came back to\n life. After the war he fought the Sioux, the Cree,\n and the Blackfoot.", "As he smokes a cigar, barely listening. CAPTAIN _NATHAN ALGREN,", "He looks down at the little metal soldiers and begins to tell the story of the\nbattle that made him famous. His narration is halting, unsteady:", "Algren wields his saber in one hand and his revolver in the other, serving\ndeath on all sides.\n\n\nA soldier riding next to Davey is shot. A horse falls into a shellhole.", "113.\nAlgren and Katsumoto charge side by side. Alive. Warriors.\n\nBEHIND THE IMPERIAL ARMY", "Graham sits across the room talking quietly to the mammoth Nakao, taking\nnotes in a small notebook. Nakao has been brutally shorn of his top knot\nas well. His shame is apparent.", "We are back on Sutter's Hill. Algren's slaughtered cavalry litter the bloody\nground, dead to the last man. A rebel army surgeon gives a cursory look at\neach body before it is loaded onto a wagon.", "KATSUMOTO\n Everything.\n\n ALGREN\n Everything about the civil war?", "Nakao is like a cornered bear, arcing his two swords wildly around him. He\nis shot in the chest, and staggers a moment before continuing. Another", "Algren, a lieutenant then, moves among the panicked, bloody men. He stops beside a\nPRIVATE, his brother, DAVID ALGREN, 19, blonde, not much more than a boy.", "Then raised voices from across the street stop them.\n\nThey see Yoritomo surrounded by four Imperial Army soldiers. The soldiers\nare rough and imperious, drunk with power. They carry gleaming rifle..", "Algren and the Ninja are in a death struggle, kneeing, gouging, butting. They awkwardly smash\nthrough a paper wall into the next room.", "KA TSUMOTO\n To fight in your American civil war.\n\n ALGREN\n Yes." ], [ "DAVEY\n They're coming, Nate.\n\nHe looks over the wall. Rebel troops are moving up the hill.", "Algren prepares himself.\n\nThey wait.\n\nGeneral Yoshitaka is suddenly alert. He speaks quietly to Graham.", "BAGLEY\n They know I was your commanding officer.\n Yes.\n\nAlgren glares at Bagley, then stands.\n\n 12.", "GRAHAM\n Nathan. I wanted to leave, too. For three years.\n You must believe me there is a majest y about", "Algren moves down the line, bullets whizzing overhead. He kneels beside\nCOLONEL BAGLEY, his commanding officer.", "Then raised voices from across the street stop them.\n\nThey see Yoritomo surrounded by four Imperial Army soldiers. The soldiers\nare rough and imperious, drunk with power. They carry gleaming rifle..", "Graham sits across the room talking quietly to the mammoth Nakao, taking\nnotes in a small notebook. Nakao has been brutally shorn of his top knot\nas well. His shame is apparent.", "A Japanese Officer shouts out an order -- the Gatling Guns stop.\n\nOmura screams at him to continue firing!\n\nThe Japanese officer barks out response. Refusing.", "Nakao is standing proudly, his massive arms folded across his chest. We\npull back: Graham is bunched behind his photographic equipment. A flash\nof phosphorous and the moment is immortalized.", "As he smokes a cigar, barely listening. CAPTAIN _NATHAN ALGREN,", "Algren and Bagley, on horseback, wait with Graham. General Yoshitaka and\na few Japanese Commanders are mounted as well. The thousand strong\nJapanese Army is on foot They stand, rifles ready. ,", "Algren sees a stairway leading to a higher 1evel, barks out a command. As Nakao drags\nYoritomo toward the stairs-- the others bolt a heavy SIEGE DOOR ­\ndesigned to keep attackers at bay.", "GENERAL YOSHITAKA appears. He is a seasoned soldier in his 40's. A\ndecent man. He stops before them, bows quickly.", "Across the street, Uji o barks out some harsh commands to the two\nJapanese men. They laugh in response. Then one of the men raises a hand\nand barks some clearly disrespectful words back--", "Nakao fights his wa y up beside him, desperately trying to reach Katsumoto's room. Using\nonly his bare hands he catches a Ninja's wrist and hurls him over the railing.", "Algren keeps the others out of sight and lowers his head to whisper with\nUjio. Ujio nods, then walks into sight and calmly approaches the guards.", "He looks down at the little metal soldiers and begins to tell the story of the\nbattle that made him famous. His narration is halting, unsteady:", "Colonel Bagley, Omura, several German advisors and Japanese officers ride\nat the head of the Imperial Army. .\n\nBagley sees something, raises a hand. The troops halt.", "9.\nhas his eye on a political future.\n\n BAGLEY\n Nathan, good to see you.", "And he sees one other thing. General Yoshitaka is still on his horse,\nhead down. He has not pulled his sword. He has not been hurt." ], [ "BAGLEY\n They know I was your commanding officer.\n Yes.\n\nAlgren glares at Bagley, then stands.\n\n 12.", "13.\nColonel Bagley stands looking down at him.", "Colonel Bagley, Omura, several German advisors and Japanese officers ride\nat the head of the Imperial Army. .\n\nBagley sees something, raises a hand. The troops halt.", "BAGLEY\n Get him in front of the troops, you'll see. Top\n of his class at West Point. Brilliant tactician.\n Even wrote a book.", "GRAHAM\n Yes. Of course.\n\nBefore Algren can respond, Bagley has left the front lines with Graham in", "BAGLEY\n Mr. Graham, you will accompany me to the rear.\n I want to be certain we are protected from any\n surprise assault.", "Algren moves down the line, bullets whizzing overhead. He kneels beside\nCOLONEL BAGLEY, his commanding officer.", "BAGLEY\n ... 1 don't know what to say, sir. I never would\n have thought him capable of treason.", "BAGLEY\n Fire! Fire, dammit!!!!!", "Algren takes a slow lip of whiskey.\n\n BAGLEY\n Sergeant Gant has already agreed to serve. You\n would be m y second-in-command.", "Algren looks pointedly at Bagley.\n\n ALGREN\n You told them about our experiences together\n on Sutter's Hill, did you, Colonel?", "BAGLEY\n (MORE)\n only, advisors to the Japanese officers. Help\n them with training, ordinance and the like.", "BAGLEY\n Sit down. This is Mr. Omura, from Japan, and\n his two associates who, so far as I can tell, don't\n have names...", "Bagley and Omura watch the battle through binoculars.\n\n BAGLEY\n A classic \"V\" ambush. Sonofabitcb is using\n Welt Point tactics.", "Algren and Bagley, on horseback, wait with Graham. General Yoshitaka and\na few Japanese Commanders are mounted as well. The thousand strong\nJapanese Army is on foot They stand, rifles ready. ,", "Bagley is furious. Their fluid tactics have rendered his field artillery useless.\n\nKatsumoto and Algren share a look of grim satisfaction. They are leveling\nthe playing field.", "BAGLEY\n (panicking)\n We need a flag. Find me a goddamn white flag!\n\n ALGREN\n What are you talking about?!", "ALGREN\n (stunned)\n Colonel Bagley...", "4.\n\nThe wounded Sergeant Gant pulls himself up, waves his cap and yells.\n\nBagley remains cowering behind the stone wall.", "New German advisors are barking commands. Colonel Bagley sees him.\n\n BAGLEY\n Algren? My God, you never cease to astonish." ], [ "BAGLEY\n The rebels don't have a single rifle. They're\n savages with bows and arrows. You get up there\n and show 'em how it', done.", "BAGLEY\n They're looking to hire real American soldiers to\n create the first Japanese Imperial Army.\n\nAlgren looks at him.", "BAGLEY\n (MORE)\n only, advisors to the Japanese officers. Help\n them with training, ordinance and the like.", "Colonel Bagley, Omura, several German advisors and Japanese officers ride\nat the head of the Imperial Army. .\n\nBagley sees something, raises a hand. The troops halt.", "9.\nhas his eye on a political future.\n\n BAGLEY\n Nathan, good to see you.", "BAGLEY\n You think we're the only country interested in\n Japan?! You don't think the Germans and the\n French would like to oversee the new army?", "Bagley is furious. Their fluid tactics have rendered his field artillery useless.\n\nKatsumoto and Algren share a look of grim satisfaction. They are leveling\nthe playing field.", "BAGLEY\n ...Heard you were leaving, actually?\n\n ALGREN\n Why would I do that? Omura wants me to train his\n personal guard.", "Bagley runs over, hand extended, but Algren turns to look at the troops.\n\n ALGREN\n They have new weapons.", "GRAHAM\n Yes. Of course.\n\nBefore Algren can respond, Bagley has left the front lines with Graham in", "BAGLEY\n Mr. Graham, you will accompany me to the rear.\n I want to be certain we are protected from any\n surprise assault.", "BAGLEY\n Get him in front of the troops, you'll see. Top\n of his class at West Point. Brilliant tactician.\n Even wrote a book.", "BAGLEY\n Would you rather I hadn't recommended you\n for the medal. Nathan? Is that it?", "Algren and Bagley, on horseback, wait with Graham. General Yoshitaka and\na few Japanese Commanders are mounted as well. The thousand strong\nJapanese Army is on foot They stand, rifles ready. ,", "BAGLEY\n Captain Algren, have you posted a rear guard to\n protect our supply train?\n\n ALGREN\n Yes.", "BAGLEY\n Fire! Fire, dammit!!!!!", "BAGLEY\n They know I was your commanding officer.\n Yes.\n\nAlgren glares at Bagley, then stands.\n\n 12.", "Bagley directs the artillery to be re-targeted, It is a laborious, clumsy\nprocess. They fire again. Another command. The Samurai change\nposition again.", "BAGLEY\n Who is overseeing their deployment?\n\nAlgren is somewhat confused by the question.\n\n ALGREN\n No one.", "GRAHAM\n Colonel Bagley requires you.\n\nINT. TENT DAY\n\n\nColonel Bagley and Algren stand at a map. Omura sits." ], [ "Finally the Imperial soldiers are in rifle range. They stop to fi re a volley.\n\nBullets begin hitting among the samurai. Many fall.", "It is the end of the samurai.\n\nThey charge forward, their war cries echoing in the canyon.", "To those who honor the old ways, he's a hero. His\n force is estimated at about five hundred and growing\n by the day. All samurai.", "The samurai, meanwhile, have taken cover behind a second barricade that\nhad been hidden from the Imperial soldiers' view. Now safel y behind\nthe second barricade, Katsumoto calls out a command and--", "... Most of the samurai accepted the new laws.\n But some didn't. Or couldn't. Like Katsumoto.", "Samurai are blown to pieces as they bravel y stand and await\ndeath. Katsumoto BARKS a command to Ujio.", "Katsumoto leads his samurai into the village. As he passes, ever y person in\nthe village touches his or her forehead to the ground to show respect.", "The other samurai watch. Amazed.", "Torches illuminate a small stage in the center of the village square. Several\nsamurai perform a ritualistic Noh drama. (A form which, by the wa y, the\nsamurai invented.) Others play flutes and large steel drums.", "Then raised voices from across the street stop them.\n\nThey see Yoritomo surrounded by four Imperial Army soldiers. The soldiers\nare rough and imperious, drunk with power. They carry gleaming rifle..", "The Imperial Army has been trained to keep firing on the run. The waiting\nSamurai will be decimated, except --\n\nFrom the hills on either side", "Algren is now surrounded by ten samurai. A man's heroic stand against\ncertain death is of great interest to them. As they begin to close in, Algren", "Algren and Yoritomo move out with Katsumoto, Ujio, Nakao and his bodyguard of several\ndozen Samurai.\n\nThe villagers bow and honor the warrior as they pass.", "Algren joins the line of samurai leaving the village. It is the first time we have\nseen them in their full battle armor since the battle in the fog.", "Yoritomo pulls himself erect. Draws his two samurai swords.\n\nA beat. He closes his eyes. Smiles.\n\nThen he opens his eyes and hurls himself down the stairs--", "Bagley and Omura watch as the samurai fall, one by one.\n\nWITH THE CHARGE", "GRAHAM\n General Yoshitaka bids you to remember that\n the word samurai means \"one who serves.\" Their\n whole existence is based on serving their\n country as warriors.", "EXT. VILLAGE NIGHT\nIt is the eve of battle. And the samurai rejoice.", "Katsumoto rides at the head of his samurai as they pass through the cherry\norchard. Then he reins his horse and falls in beside Algren.", "Bagley directs the artillery to be re-targeted, It is a laborious, clumsy\nprocess. They fire again. Another command. The Samurai change\nposition again." ], [ "Katsumoto stares at him for a long moment, then smiles and spurs his horse. Algren follows.", "Katsumoto rides to Yoshitaka. A few serious words are exchanged. Katsumoto bows his bead in respect, seems\nto agree to something.", "One last time, Katsumoto meets the Emperor's eye.\n\n KATSUMOTO\n Then, with great regret, I must refuse to give up my\n sword.", "Algren gently kneels with Katsumoto's body\n\nHe holds him for a moment and then turns to see what Katsumoto was looking at.\n\nCherry blossoms.", "Katsumoto hears the scream. A look of disbelief spreads over his face.\nThen the beginnings of a smile. Without a second look, be leaps out the\nwindow. Ujio follows.", "KATSUMOTO\n Because I do not wish you to be m y enemy again.\n\nKatsumoto returns to his poem, he does not look up.", "Algren holds him tightly. Katsumoto is looking over Algren's shoulder as he dies.\n\nKatsumoto sees something. A look of joy and absolute peace comes to his features.", "Katsumoto takes this in.\n\nEXT. VALLEY DAY", "Katsumoto begins to prostrate himself before the Emperor, the usual sign of extreme\nrespect -- but the Emperor stops him:", "Katsumoto rides at the head of his samurai as they pass through the cherry\norchard. Then he reins his horse and falls in beside Algren.", "Katsumoto looks at him deepl y.", "Algren and Katsumoto perch on a precipice, looking down into a valley.\n\nIt is a beautiful setting. Towering peaks and peaceful valleys. It is here that\nthe final act of the inevitable drama will play out.", "Katsumoto wipes his sword on a nearby corpse, replaces it in its sheath. He sits beside\nAlgren on a stair. Both men are exhausted. Bloodied. Alive.", "Katsumoto lies in bed listening to the night bird. It stops singing. Katsumoto smiles sadly. He\ndecides to give up on sleep, leans forward to rise.\n\nThis act saves his life.", "ALGREN\n No. Wait...!\n\nKatsumoto glares at him harshly, furious to have his concentration disturbed\nat such a moment.", "KATSUMOTO\n No, I honor his memory as my kinsman.\n\n ALGREN\n That why you helped him kill himself?", "Katsumoto sits impassively, staring at the altar.\n\n ALGREN\n That would take a year.", "Katsumoto slowl y looks around at the Members of the Council, but his words are addressed\nto the Emperor.", "KATSUMOTO\n Go home Captain ... Anshinritsumai. I wish you peace.\n\nAlgren waits but Katsumoto just continues to work on his poem.", "Katsumoto turns and walks into his house. Uji o follows him. Algren collapses.\n\nFade to black.\n\nAs Algren begins his time at the heart of the samurai world." ], [ "The Emperor looks up at the gathered dignitaries.\n .\n EMPEROR\n Ambassador Swanbeck I have concluded that your treaty\n is not in the best interests of my people.", "As the Emperor considers his guests, Omura whispers into his ear. Then:", "The Emperor ignores Omura, and gestures that the doors to the chamber be opened.", "The Emperor finally looks up from the sword.\n\n EMPEROR\n (subtitled)\n If your shame is too unbearable ... I offer you\n this sword.", "The Emperor gestures. A servant escorts Swanbeck to the exit. Omura takes a step\ncloser to the Emperor.", "Omura looks at him for a moment. Then bows tersely and goes.\n\nThe Emperor looks at Algren, still kneeling before him.", "AMBASSADOR SWANBECK\n ...will usher in an era of unprecedented prosperity\n and cooperation between our two great nations.\nA servant comes and whispers into the Emperor's ear.", "The Emperor speaks in Japanese. The advisors are non-plussed, and Omura leans down\nfor a moment to confer with him, then smiles indulgently:", "The emperor laughs warmly, almost happy to be scolded as he once was.", "Katsumoto begins to prostrate himself before the Emperor, the usual sign of extreme\nrespect -- but the Emperor stops him:", "Algren enters with Graham. Algren carries something wrapped in a blanket.\nHe approaches the Emperor. Kneels and sets the bundle at the Emperor's feet.\nAlgren remains kneeling with his head bowed. He unwraps the bundle.", "Graham translates. The Emperor nods and smiles.\n\n EMPEROR\n (accented English)\n Thank... you... very ...much.", "EMPEROR\n (subtitled)\n I hereby seize your family's assets and present them\n as my gift to the people.\n\nOmura looks at him, stunned.", "Algren offers his hand. General Yoshitaka does not take it. He bowl his head and\nspeaks a few words. Graham translates:", "Ambassador Swanbeck, Omura, and a retinue of advisors are presenting the\ntreaty documents for the Emperor's signature. The Emperor sits restively\non his throne.", "Omura bows his head quickly and goes.\n\n\nSilence. The Emperor gazes at Katsumoto. Then:", "The Emperor interrupts him, speaking in English -- to ever yone's surprise.", "The Emperor is kneeling, tending to his iris garden. It is one of the wonders of the Palace: a\nsea of white, pink, blue, and purple blossoms.", "Retainers and servants stand at a distance. One holds a standard with the Imperial seal: a yellow\nchrysanthemum.\n\nOmura sees Katsumoto making his way toward them. He talks a bit more quickly to the Emperor.", "The young Emperor sits on a dais off to the side, as befits his\nceremonial role in the proceedings.\n\nOmura is speaking ... be stops ... looking at something ... all the Council members turn ... and gape." ] ]

[ "What army is Captain Algren hired to train?", "Who goes to Japan with Captain Algren?", "What is Simon Graham's profession?", "What is the name of the Emperor?", "Who does Algren kill?", "What does Algren give the Emperor?", "Does the emperor reject the trade treaty?", "Where does Algren go at the end?", "What does Katsumoto do after he is wounded?", "Who does Bagley ask to train the new Japanese Imperial Army?", "What effect did the American Indian War have on Algren?", "What is the purpose of Simon Graham's accompaniment of Algren to Japan? ", "Who does Algren become close to during his time at Katsumoto's village? ", "What does Katsumoto discover on his trip to Tokyo to see the Emperor? ", "Why is Katsumoto arrested? ", "Who kills Bagley?", "How does Katsumotos death effect the Emperor? ", "What war did Nathan fight in?", "What branch of the military was Nathan in?", "What was Nathan's rank?", "Which side of the war did Nathan fight on?", "Who was Nathan's commanding officer?", "What was Bagley's rank?", "What army does Bagley want Nathan to train?", "Who do the samurais rebel against?", "What does Katsumoto contemplate?", "What does the emporer do with the trade offer?" ]

[ [ "The Japanese Imperial Army", "The Imperial Japanese Army" ], [ "Zebulon Gant", "Sergeant Zebulon Gant and Simon Graham" ], [ "Translator", "He's a translator" ], [ "Meiji", "Meiji" ], [ "Bagley", "several Samurai" ], [ "Katsumoto's Sword", "katsumoto's sword" ], [ "He rejects it", "yes" ], [ "The village of Taka", "Algren returns to the village Taka" ], [ "He commits Seppuku", "Seppuku" ], [ "Nathan Algren", "Nathan Algren" ], [ "He has become a bitter alcoholic.", "He was guilty about the atrocities that he committed." ], [ "To translate and provide knowledge about the Samurai. ", "He is a friend, translator, and cultural guide. " ], [ "Taka, Katsumoto's sister and wife of a man that he killed.", "Taka" ], [ "That Meiji is a puppet of Omura", "Emperor has become a puppet of Omura." ], [ "For carrying a sword in public", "He is carrying a sword in public" ], [ "Nathan Algren", "Algren" ], [ "He realizes that Japan must remember her culture and history.", "The Emperor confiscates Omura's property and give it to the poor" ], [ "American-Indian War", "American Indian Wars." ], [ "Army", "Army" ], [ "Captain", "Army captain." ], [ "American", "after living with them , he joins the samurai" ], [ "Bagley", "Bagley" ], [ "Colonel", "Colonel" ], [ "Japanese Imperial Army", "the imperial army" ], [ "the new emporer", "Japan's emperor" ], [ "seppuko", "Seppuku." ], [ "rejects it", "rejects it" ] ]

[ [ "Halfdan's ship. As he does so, Erik has to", "of Asgaard... then another... and another... Erik stares as", "</p><p><p ID=\"act\">As he says this Erik's eyes turn again towards Helga. He is clearly thinking at least there are compensations... Odin, however, is laughing again.", "</p><p><p ID=\"act\">Odin starts to laugh. All the other children start to laugh... so do the dead heroes. Erik and his men look round uneasily.", "</p><p><P ID=\"speaker\">ERIK\n<P ID=\"dia\">Asgaard!\n</p><p><P ID=\"speaker\">HARALD MISSIONARY", "</p><p><P ID=\"speaker\">SVEN\n<P ID=\"dia\">Only the dead reach Asgaard, Erik.\n</p><p><P ID=\"speaker\">ERIK", "</p><p><P ID=\"speaker\">ERIK\n<P ID=\"spkdir\">(shouting across)\n<P ID=\"dia\">Odin!", "</p><p><P ID=\"speaker\">ERIK\n<P ID=\"dia\">Valhalla...\n</p><p><p ID=\"act\">Sven turns on Harald.", "<P ID=\"dia\">Erik's right! We'll all meet in Valhalla.\n</p><p><P ID=\"speaker\">IVAR", "</p><p><p ID=\"act\">Above them the Aurora Borealis stretches up, magnificent and awesome in the sky. Erik makes his way through the other Vikings.\n</p><p><P ID=\"speaker\">ERIK", "<P ID=\"dia\">The second not to wake the Gods...\n</p><p><p ID=\"act\">Erik kneels in front of the Horn.", "slinks away. Odin turns to Erik as the howling", "</p><p><p ID=\"act\">Erik looks out across the bleak and gloomy landscape and the black, boiling clouds in the sky.\n</p><p><P ID=\"speaker\">ERIK", "journey. Erik addresses the villagers.", "<P ID=\"dia\">Bring the Age of Ragnarok to an end and stop all this fighting and bloodshed. Harald looks around at the Vikings in increasing desperation.", "<P ID=\"dia\">YOU still want to go to Asgaard?\n</p><p><P ID=\"speaker\">ERIK\n<P ID=\"dia\">Of course.", "</p><p><P ID=\"speaker\">ERIK\n<P ID=\"dia\">Do YOU know the way to Asgaard, Sven?", "</p><p><P ID=\"speaker\">FREYA\n<P ID=\"dia\">The Gods are asleep, Erik.\n</p><p><P ID=\"speaker\">ERIK", "</p><p><p ID=\"act\">Suddenly the note from Ivar's horn rings out across from the bay. Erik rushes to the window and looks out to see what Ivar saw previously: a black ship approaching on the horizon.", "</p><p><p ID=\"act\">Ivar, meanwhile, is recovering from the amazement that has immobilized him. He taps Erik on the shoulder. Erik turns and he, too, gasps." ], [ "</p><p><p ID=\"act\">Keitel is overcome b the power of Loki's will, but he is deeply ashamed of his complicity in Loki's deeds. Snorri gazes at Keitel with growing suspicion.", "</p><p><p ID=\"act\">Keitel is about to reply and say he's been having second thoughts about it, but somehow he can't. Loki has such power over him.", "</p><p><p ID=\"act\">Keitel thinks. This is true.\n</p><p><P ID=\"speaker\">LOKI\n<P ID=\"dia\">It must go far out to sea.", "<P ID=\"dia\">By YOU - Keitel Blacksmith! Don't you know, Erik, that is why he went with you? Ragnarok was good for his business...", "</p><p><p ID=\"act\">Loki presses the mouthpiece on Keitel. Keitel takes it, but reluctantly. Another Viking stirs.", "</p><p><p ID=\"act\">Erik looks at Keitel with a certain amount of contempt. Keitel is not renowned even amongst these Vikings for his brain-power.", "</p><p><P ID=\"speaker\">ERIK\n<P ID=\"dia\">You will have Keitel's assistant, Loki, to do all that.", "</p><p><p ID=\"act\">Keitel goes back to his forge and pulls out a fresh dollop of white-hot ore. Loki comes up behind him.\n</p><p><P ID=\"speaker\">LOKI", "knife. As Keitel and Loki watch Snorri die,", "</p><p><p ID=\"act\">Keitel opens his eyes and finds Loki close beside him.\n</p><p><P ID=\"speaker\">LOKI", "</p><p><P ID=\"speaker\">LOKI\n<P ID=\"dia\">Are you going to let Erik wake the Gods?\n</p><p><P ID=\"speaker\">KEITEL", "<P ID=\"dia\">We came to stop you waking the Gods, Erik! But I didn't want anyone to get hurt!\n</p><p><P ID=\"speaker\">LOKI", "</p><p><p ID=\"act\">Loki grabs Keitel round the neck.\n</p><p><P ID=\"speaker\">KEITEL\n<P ID=\"dia\">Let go!", "</p><p><P ID=\"speaker\">ERIK\n<P ID=\"dia\">But -\n</p><p><P ID=\"speaker\">LOKI", "</p><p><P ID=\"speaker\">LOKI\n<P ID=\"dia\">Wasn't it, Keitel?\n</p><p><P ID=\"speaker\">KEITEL", "</p><p><P ID=\"speaker\">KEITEL\n<P ID=\"dia\">Help!\n</p><p><P ID=\"speaker\">LOKI", "</p><p><p ID=\"act\">Keitel laughs a little hysterically. Aud turns urgently to Erik.\n</p><p><P ID=\"speaker\">AUD", "</p><p><p ID=\"act\">Loki smiles. He has Keitel playing", "</p><p><P ID=\"speaker\">KEITEL\n<P ID=\"dia\">Made by YOU, Loki!\n</p><p><P ID=\"speaker\">LOKI", "<P ID=\"dia\">They chase Fenrir the Wolf from the sky...\n</p><p><P ID=\"speaker\">LOKI\n<P ID=\"dia\">The Age of Ragnarok ends..." ], [ "</p><p><p ID=\"act\">She throws a shabby bit of cloth over Erik and at that moment the door bursts open, and King Arnulf enters.", "</p><p><p ID=\"act\">The King starts prowling round the chamber. Erik stands there, naked and petrified, with the cloak hanging over his head, just where it landed.", "</p><p><p ID=\"act\">King arnulf claps his hands. Erik rushes over to him, anxious to avoid another Hy-Brasilian concert.\n</p><p><P ID=\"speaker\">ERIK", "</p><p><p ID=\"act\">Aud motions him to be quiet, but it's too late. The King spins round to see who she is signalling to. The King appears to be looking straight at Erik. Erik can hardly bear the suspense.", "</p><p><p ID=\"act\">King Arnulf flings the chest open. revealing nothing but clothes. He is baffled. He reluctantly starts to leave.\n</p><p><P ID=\"speaker\">AUD", "</p><p><p ID=\"act\">They both look at King Arnulf. The King thinks.\n</p><p><P ID=\"speaker\">ERIK", "</p><p><p ID=\"act\">Erik struggles.\n</p><p><P ID=\"speaker\">KING ARNULF\n<P ID=\"spkdir\">(to musicians)", "</p><p><p ID=\"act\">They have reached a cell. The musicians starts to chain Erik up.\n</p><p><P ID=\"speaker\">KING ARNULF", "</p><p><p ID=\"act\">Cut to big close-up of King Arnulf.\n</p><p><P ID=\"speaker\">KING ARNULF", "</p><p><p ID=\"act\">The King manhandles Erik away from", "</p><p><p ID=\"act\">Erik opens his eyes and, for an instant, he sees Helga. He blinks and realizes it is Aud who is calling him back to consciousness. Suddenly coloured lights begin to play to his face.", "</p><p><p ID=\"act\">She rushes to the window in time to see Erik parachuting down, holding the four corners of the cloak. Erik lands safely and waves with the cloak.", "</p><p><P ID=\"speaker\">ERIK\n<P ID=\"dia\">No.\n</p><p><P ID=\"speaker\">KING ARNULF", "Halfdan's ship. As he does so, Erik has to", "Arnulf beams at Erik.", "</p><p><p ID=\"act\">There is a pause. Erik looks up at Helga. Why has she saved his face by telling this lie? Jennifer the Viking turns to Erik.", "</p><p><p ID=\"act\">King Arnulf beams rapturously at the Vikings, expecting them to be overjoyed. Instead they are horrified.", "Cut to Erik. He is deeply in love.", "</p><p><p ID=\"act\">Suddenly the note from Ivar's horn rings out across from the bay. Erik rushes to the window and looks out to see what Ivar saw previously: a black ship approaching on the horizon.", "</p><p><p ID=\"act\">Erik dashes to his sea-chest under the mast and pulls out the pillow.\n</p><p><P ID=\"speaker\">THORFINN" ], [ "There is little doubt that the whole of Hy-Brasil is", "<P ID=\"dia\">The Gods decreed that if ever sword spills human blood upon these shores, the whole of Hy-Brasil will sink beneath the waves.", "of Hy-Brasil. Aud sits beside her father the King.", "</p><p><P ID=\"speaker\">ERIK\n<P ID=\"dia\">Is THIS Hy-Brasil?\n</p><p><P ID=\"speaker\">AUD", "it Hy-Brasil. There you will find a horn that", "</p><p><P ID=\"speaker\">ERIK\n<P ID=\"dia\">Save yourselves! Hy-Brasil... is sinking.", "</p><p><p ID=\"act\">King arnulf claps his hands. Erik rushes over to him, anxious to avoid another Hy-Brasilian concert.\n</p><p><P ID=\"speaker\">ERIK", "<P ID=\"dia\">Well, EVERYONE is friends here on Hy-Brasil.\n</p><p><P ID=\"speaker\">SVEN\n<P ID=\"dia\">Hy-Brasil?", "city of Hy-Brasil. Erik races into the Forum and gazes", "assured, Hy-Brasil is NOT sinking. Repeat, NOT sinking.", "</p><p><P ID=\"speaker\">AUD\n<P ID=\"dia\">It's sinking! Hy-Brasil is sinking!", "<P ID=\"dia\">The wonderful blessing under which we live here on Hy-Brasil!", "<P ID=\"dia\">Listen! Maybe we won't get to Hy-Brasil! Maybe we won't find the Horn Resounding... but at least we've tried... and at least we shall have died like men.", "</p><p><P ID=\"speaker\">KEITEL\n<P ID=\"dia\">He killed Snorri! He caused the land of Hy-Brasil to sink! SHE knew!", "</p><p><p ID=\"act\">Suddenly the Dragon's head appears out of the mists above them once again. There is panic amongst the Vikings as some start to row faster than others. Screams.", "</p><p><p ID=\"act\">Suddenly the note from Ivar's horn rings out across from the bay. Erik rushes to the window and looks out to see what Ivar saw previously: a black ship approaching on the horizon.", "DRAGON and swings across onto Halfdan's ship. The Vikings", "of jaws. The Vikings see it and panic.", "window. He looks out. Halfdan's ship is even closer.", "</p><p><p ID=\"act\">Suddenly the girl stirs again in her sleep. The Vikings retreat several paces and grip their weapons, and glance around as if expecting an ambush." ], [ "</p><p><P ID=\"speaker\">LOKI\n<P ID=\"dia\">Take this and throw it from the cliff heights. They'll never make the Horn Resounding sound without it.", "<P ID=\"dia\">How can we stops him now?\n</p><p><p ID=\"act\">Loki looks around and then opens his hand in front of Keitel. In it is the mouthpiece from the Horn Resounding.", "</p><p><P ID=\"speaker\">ERIK\n<P ID=\"dia\">We must find the Horn Resounding!\n</p><p><p ID=\"act\">The King glares at Erik.", "<P ID=\"dia\">We blew the Horn Resounding.\n</p><p><P ID=\"speaker\">LOKI", "</p><p><P ID=\"speaker\">ERIK\n<P ID=\"dia\">Oh, no no no! It's just the Horn Resounding is...", "</p><p><P ID=\"speaker\">ERIK\n<P ID=\"dia\">But -\n</p><p><P ID=\"speaker\">LOKI", "</p><p><P ID=\"speaker\">LOKI\n<P ID=\"dia\">Are you going to let Erik wake the Gods?\n</p><p><P ID=\"speaker\">KEITEL", "<P ID=\"dia\">The second not to wake the Gods...\n</p><p><p ID=\"act\">Erik kneels in front of the Horn.", "</p><p><p ID=\"act\">Odin starts to laugh. All the other children start to laugh... so do the dead heroes. Erik and his men look round uneasily.", "Halfdan's ship. As he does so, Erik has to", "</p><p><p ID=\"act\">Suddenly the note from Ivar's horn rings out across from the bay. Erik rushes to the window and looks out to see what Ivar saw previously: a black ship approaching on the horizon.", "</p><p><P ID=\"speaker\">ERIK\n<P ID=\"dia\">You will have Keitel's assistant, Loki, to do all that.", "</p><p><p ID=\"act\">Aud crosses to the Horn and inserts the mouthpiece. Loki glances at Keitel. He hadn't bargained for this!", "<P ID=\"dia\">We came to stop you waking the Gods, Erik! But I didn't want anyone to get hurt!\n</p><p><P ID=\"speaker\">LOKI", "</p><p><p ID=\"act\">The dog-soldier pulls his mask off to reveal he is, in fact, Loki. Erik is totally non-plussed.\n</p><p><P ID=\"speaker\">ERIK", "</p><p><p ID=\"act\">The horn sounds again. Erik is about to argue this point when Thorfinn suddenly bursts in.\n</p><p><P ID=\"speaker\">THORFINN", "</p><p><p ID=\"act\">As he says this Erik's eyes turn again towards Helga. He is clearly thinking at least there are compensations... Odin, however, is laughing again.", "</p><p><p ID=\"act\">Keitel is about to reply and say he's been having second thoughts about it, but somehow he can't. Loki has such power over him.", "</p><p><p ID=\"act\">Erik has meanwhile been joined by the remaining comrades.\n</p><p><P ID=\"speaker\">LOKI", "his lips to the Horn Resounding. He blows. There is" ], [ "his lips to the Horn Resounding. He blows. There is", "is blowing the Horn Resounding.", "<P ID=\"dia\">Well, it's not called the Horn Resounding for nothing.\n<P ID=\"spkdir\">(aside)", "</p><p><P ID=\"speaker\">ERIK\n<P ID=\"dia\">Oh, no no no! It's just the Horn Resounding is...", "is called Resounding. You must take the Horn", "<P ID=\"dia\">We blew the Horn Resounding.\n</p><p><P ID=\"speaker\">LOKI", "the Horn Resounding is dropped. It bounces", "</p><p><p ID=\"act\">The other men look up at the Horn Resounding, and begin to feel a bit nervous.\n</p><p><P ID=\"speaker\">ERIK", "</p><p><p ID=\"act\">Suddenly the note from Ivar's horn rings out across from the bay. Erik rushes to the window and looks out to see what Ivar saw previously: a black ship approaching on the horizon.", "and Harald swim round the corner, pushing the Horn Resounding.", "</p><p><P ID=\"speaker\">ERIK\n<P ID=\"dia\">We must find the Horn Resounding!\n</p><p><p ID=\"act\">The King glares at Erik.", "<P ID=\"spkdir\">(continuing)... but just lending us the....\n<P ID=\"dia\">um... the, well, to be quite blunt... the Horn Resounding.", "<P ID=\"dia\">We must blow the first note... he note that will take us to Asgaard...\n</p><p><P ID=\"speaker\">SVEN", "carrying their belongings and the Horn Resounding, while the citizen", "Resounding, and three times you must blow it. The", "and the note gets louder... the ship starts", "</p><p><p ID=\"act\">Resounding.\n</p><p><P ID=\"speaker\">KEITEL\n<P ID=\"spkdir\">(shouting)", "<P ID=\"dia\">Blow the third note! The note to take us home!\n</p><p><P ID=\"speaker\">ERIK", "</p><p><P ID=\"speaker\">AUD\n<P ID=\"dia\">The second note.\n</p><p><P ID=\"speaker\">ERIK", "</p><p><p ID=\"act\">GOLDEN DRAGON spins alone in the wide ocean. Fade. Fade up some time later. They are all gathered in front of the Horn Resounding." ], [ "</p><p><p ID=\"act\">Suddenly the note from Ivar's horn rings out across from the bay. Erik rushes to the window and looks out to see what Ivar saw previously: a black ship approaching on the horizon.", "Halfdan's ship. As he does so, Erik has to", "<P ID=\"dia\">Blow the third note! The note to take us home!\n</p><p><P ID=\"speaker\">ERIK", "</p><p><p ID=\"act\">The other men look up at the Horn Resounding, and begin to feel a bit nervous.\n</p><p><P ID=\"speaker\">ERIK", "</p><p><P ID=\"speaker\">ERIK\n<P ID=\"dia\">We must find the Horn Resounding!\n</p><p><p ID=\"act\">The King glares at Erik.", "</p><p><p ID=\"act\">Erik turns to see Sven and Keitel trembling... They hold onto the sides of the ship but their legs can barely support them.\n</p><p><P ID=\"speaker\">SVEN", "they are lost. Suddenly Erik sees something ahead.", "</p><p><p ID=\"act\">The ship creaks and starts to go under. Erik picks his up his sword. The others follow suit.\n</p><p><P ID=\"speaker\">ERIK", "Erik and his men getting into GOLDEN DRAGON. Erik notices", "</p><p><p ID=\"act\">He throws up. Meanwhile Erik is in the stern, gazing out behind them.\n</p><p><P ID=\"speaker\">ERIK", "</p><p><p ID=\"act\">The King starts prowling round the chamber. Erik stands there, naked and petrified, with the cloak hanging over his head, just where it landed.", "</p><p><p ID=\"act\">Erik grins and then leans on the steering oar. GOLDEN DRAGON curves around to its left. Then Erik lays his hand on Ivar's drum and silences it.", "mist ahead of them. Erik flings himself at the steering", "</p><p><p ID=\"act\">The horn sounds again. Erik is about to argue this point when Thorfinn suddenly bursts in.\n</p><p><P ID=\"speaker\">THORFINN", "sounds for a third time. Erik races to the", "Erik is thrown clear of the hull by the force", "Suddenly Erik points above them. The others look up too.", "</p><p><p ID=\"act\">They have reached a cell. The musicians starts to chain Erik up.\n</p><p><P ID=\"speaker\">KING ARNULF", "</p><p><p ID=\"act\">Erik looks around at his paralysed crew. He realizes he is the only one who can save the situation.\n</p><p><P ID=\"speaker\">ERIK", "</p><p><p ID=\"act\">They start to haul the sail up. Ropes are released. The boat rocks. Suddenly a voice cuts through the crowd. It is Erik's mother." ], [ "Halfdan's ship. As he does so, Erik has to", "Halfdan win\" but he knows he can't let", "</p><p><P ID=\"speaker\">ERIK\n<P ID=\"dia\">So Halfdan the Black's using magic, is he? Well, I have a magic", "<P ID=\"dia\">Who?\n</p><p><P ID=\"speaker\">ERIK\n<P ID=\"dia\">Halfdan the Black.", "<P ID=\"dia\">Halfdan the Black's here!\n</p><p><P ID=\"speaker\">ERIK\n<P ID=\"dia\">I know!", "</p><p><P ID=\"speaker\">ERIK\n<P ID=\"dia\">Oh, no! Halfdan!\n</p><p><p ID=\"act\">There is more banging on the bedroom door.", "<P ID=\"dia\">Nothing... Halfdan the Black chopped his hand off last night.\n</p><p><P ID=\"speaker\">ERIK\n<P ID=\"dia\">HE was lucky...", "</p><p><P ID=\"speaker\">ERIK\n<P ID=\"dia\">You don't know Halfdan the Black.\n</p><p><P ID=\"speaker\">KING ARNULF", "</p><p><p ID=\"act\">Halfdan grabs a sword off one of his dead dog-soldiers and thrusts it into the unwilling hands of his military adviser, Eilif.", "</p><p><p ID=\"act\">At this point Halfdan's ship suddenly", "Halfdan coming after them.", "non-plussed. Erik grimaces at Halfdan's men, and does", "The others follow suit. Halfdan watches. His men stand", "</p><p><P ID=\"speaker\">THORFINN\n<P ID=\"dia\">It's Halfdan the Black!\n</p><p><P ID=\"speaker\">ERIK", "</p><p><p ID=\"act\">Suddenly Halfdan's ship rises up out", "<P ID=\"dia\">No. It's YOU who doesn't understand, Aud. Halfdan has come to\n</p><p><p ID=\"act\">kill and destroy. We brought him here. We must stop him.", "</p><p><P ID=\"speaker\">ERIK\n<P ID=\"dia\">They'll be more than \"hurt\" if Halfdan the Black lands! Ow!", "<P ID=\"dia\">Halfdan nods again and another order is rapped", "Halfdan smiles to himself. The battle is going his", "<P ID=\"dia\">Halfdan wanted to stop you waking the Gods... so... I disguised\n</p><p><p ID=\"act\">myself to sabotage their plans." ], [ "his lips to the Horn Resounding. He blows. There is", "is blowing the Horn Resounding.", "<P ID=\"dia\">Well, it's not called the Horn Resounding for nothing.\n<P ID=\"spkdir\">(aside)", "<P ID=\"dia\">We blew the Horn Resounding.\n</p><p><P ID=\"speaker\">LOKI", "</p><p><P ID=\"speaker\">ERIK\n<P ID=\"dia\">Oh, no no no! It's just the Horn Resounding is...", "is called Resounding. You must take the Horn", "Resounding, and three times you must blow it. The", "the Horn Resounding is dropped. It bounces", "<P ID=\"dia\">We must blow the first note... he note that will take us to Asgaard...\n</p><p><P ID=\"speaker\">SVEN", "<P ID=\"spkdir\">(continuing)... but just lending us the....\n<P ID=\"dia\">um... the, well, to be quite blunt... the Horn Resounding.", "</p><p><p ID=\"act\">The other men look up at the Horn Resounding, and begin to feel a bit nervous.\n</p><p><P ID=\"speaker\">ERIK", "<P ID=\"dia\">Blow the third note! The note to take us home!\n</p><p><P ID=\"speaker\">ERIK", "carrying their belongings and the Horn Resounding, while the citizen", "</p><p><p ID=\"act\">Suddenly the note from Ivar's horn rings out across from the bay. Erik rushes to the window and looks out to see what Ivar saw previously: a black ship approaching on the horizon.", "and Harald swim round the corner, pushing the Horn Resounding.", "will awaken the Gods, and the third note", "</p><p><P ID=\"speaker\">ERIK\n<P ID=\"dia\">We must find the Horn Resounding!\n</p><p><p ID=\"act\">The King glares at Erik.", "and the note gets louder... the ship starts", "<P ID=\"spkdir\">(screaming and pointing an accusing finger at Aud)\n<P ID=\"dia\">SHE blew the Horn", "is getting louder and the Horn begins to vibrate" ], [ "his lips to the Horn Resounding. He blows. There is", "is blowing the Horn Resounding.", "<P ID=\"dia\">Well, it's not called the Horn Resounding for nothing.\n<P ID=\"spkdir\">(aside)", "is called Resounding. You must take the Horn", "</p><p><P ID=\"speaker\">ERIK\n<P ID=\"dia\">Oh, no no no! It's just the Horn Resounding is...", "<P ID=\"dia\">We blew the Horn Resounding.\n</p><p><P ID=\"speaker\">LOKI", "the Horn Resounding is dropped. It bounces", "Resounding, and three times you must blow it. The", "</p><p><P ID=\"speaker\">AUD\n<P ID=\"dia\">The second note.\n</p><p><P ID=\"speaker\">ERIK", "<P ID=\"spkdir\">(continuing)... but just lending us the....\n<P ID=\"dia\">um... the, well, to be quite blunt... the Horn Resounding.", "<P ID=\"dia\">Blow the third note! The note to take us home!\n</p><p><P ID=\"speaker\">ERIK", "</p><p><p ID=\"act\">The other men look up at the Horn Resounding, and begin to feel a bit nervous.\n</p><p><P ID=\"speaker\">ERIK", "carrying their belongings and the Horn Resounding, while the citizen", "and the note gets louder... the ship starts", "will awaken the Gods, and the third note", "<P ID=\"dia\">We must blow the first note... he note that will take us to Asgaard...\n</p><p><P ID=\"speaker\">SVEN", "and Harald swim round the corner, pushing the Horn Resounding.", "<P ID=\"dia\">The second not to wake the Gods...\n</p><p><p ID=\"act\">Erik kneels in front of the Horn.", "</p><p><P ID=\"speaker\">ERIK\n<P ID=\"dia\">We must find the Horn Resounding!\n</p><p><p ID=\"act\">The King glares at Erik.", "</p><p><p ID=\"act\">Suddenly the note from Ivar's horn rings out across from the bay. Erik rushes to the window and looks out to see what Ivar saw previously: a black ship approaching on the horizon." ], [ "his lips to the Horn Resounding. He blows. There is", "is blowing the Horn Resounding.", "Resounding, and three times you must blow it. The", "<P ID=\"dia\">Well, it's not called the Horn Resounding for nothing.\n<P ID=\"spkdir\">(aside)", "<P ID=\"dia\">Blow the third note! The note to take us home!\n</p><p><P ID=\"speaker\">ERIK", "<P ID=\"dia\">We blew the Horn Resounding.\n</p><p><P ID=\"speaker\">LOKI", "</p><p><P ID=\"speaker\">ERIK\n<P ID=\"dia\">Oh, no no no! It's just the Horn Resounding is...", "will awaken the Gods, and the third note", "is called Resounding. You must take the Horn", "the Horn Resounding is dropped. It bounces", "<P ID=\"spkdir\">(continuing)... but just lending us the....\n<P ID=\"dia\">um... the, well, to be quite blunt... the Horn Resounding.", "</p><p><P ID=\"speaker\">AUD\n<P ID=\"dia\">Listen! LISTEN! The third note!", "</p><p><p ID=\"act\">The other men look up at the Horn Resounding, and begin to feel a bit nervous.\n</p><p><P ID=\"speaker\">ERIK", "<P ID=\"dia\">We must blow the first note... he note that will take us to Asgaard...\n</p><p><P ID=\"speaker\">SVEN", "carrying their belongings and the Horn Resounding, while the citizen", "</p><p><p ID=\"act\">Suddenly the note from Ivar's horn rings out across from the bay. Erik rushes to the window and looks out to see what Ivar saw previously: a black ship approaching on the horizon.", "</p><p><P ID=\"speaker\">ERIK\n<P ID=\"dia\">We must find the Horn Resounding!\n</p><p><p ID=\"act\">The King glares at Erik.", "and Harald swim round the corner, pushing the Horn Resounding.", "and the note gets louder... the ship starts", "sounds for a third time. Erik races to the" ], [ "</p><p><p ID=\"act\">Freya turns and looks at him. She clearly enjoys his earnest enthusiasm, but is afraid he doesn't know what he is talking about.", "</p><p><p ID=\"act\">Freya doesn't reply. Instead she walks", "</p><p><p ID=\"act\">Freya thinks for some moments. The she speaks.\n</p><p><P ID=\"speaker\">FREYA", "</p><p><p ID=\"act\">Freya puts her face close to Erik's and peers into his eyes.\n</p><p><P ID=\"speaker\">FREYA", "</p><p><p ID=\"act\">Freya turns to go back into the cave.\n</p><p><P ID=\"speaker\">ERIK\n<P ID=\"dia\">Wait, Freya!", "</p><p><p ID=\"act\">There is a bundle of rags behind Erik. A head rises from it. This is Freya.\n</p><p><P ID=\"speaker\">FREYA", "</p><p><P ID=\"speaker\">ERIK\n<P ID=\"dia\">Freya!\n</p><p><p ID=\"act\">Erik looks around him and calls out again.", "</p><p><P ID=\"speaker\">FREYA\n<P ID=\"dia\">The Gods are asleep, Erik.\n</p><p><P ID=\"speaker\">ERIK", "</p><p><P ID=\"speaker\">ERIK\n<P ID=\"dia\">It is day, of course, Freya.\n</p><p><P ID=\"speaker\">FREYA", "<P ID=\"dia\">That's right!\n</p><p><p ID=\"act\">For a split second Erik is distracted. He looks across at Aud and for a moment he sees Freya standing there.", "</p><p><P ID=\"speaker\">FREYA\n<P ID=\"dia\">Now what CAN you want with me, Erik the \"Viking\"?", "</p><p><P ID=\"speaker\">ERIK\n<P ID=\"dia\">The winter is past, thank goodness, Freya. It is summer.", "</p><p><P ID=\"speaker\">FREYA\n<P ID=\"dia\">What do you see, Erik?\n</p><p><P ID=\"speaker\">ERIK", "<P ID=\"dia\">And will the dead ever return, Freya?\n</p><p><P ID=\"speaker\">FREYA\n<P ID=\"dia\">That I cannot tell you.", "</p><p><p ID=\"act\">As he says this Erik's eyes turn again towards Helga. He is clearly thinking at least there are compensations... Odin, however, is laughing again.", "</p><p><P ID=\"speaker\">ERIK\n<P ID=\"dia\">Tell me what I must do, Freya!", "</p><p><P ID=\"speaker\">FREYA\n<P ID=\"dia\">Once you are in the spell of the Horn, hatred will destroy you...", "<P ID=\"dia\">Is it summer or winter, Erik?\n</p><p><p ID=\"act\">Erik looks round at the snowy wastes and ten back at Freya, puzzled.", "<P ID=\"dia\">They will make fun of you for listening to an old woman's stories?\n</p><p><p ID=\"act\">Erik doesn't reply. Freya watches him craftily.", "</p><p><p ID=\"act\">Erik opens his eyes and, for an instant, he sees Helga. He blinks and realizes it is Aud who is calling him back to consciousness. Suddenly coloured lights begin to play to his face." ], [ "Wolf would swallow the sun, and a Great Winter would", "<P ID=\"dia\">Fenrir the Wolf covers the sun - men fight and kill each other\n</p><p><p ID=\"act\">the whole time.", "<P ID=\"dia\">They chase Fenrir the Wolf from the sky...\n</p><p><P ID=\"speaker\">LOKI\n<P ID=\"dia\">The Age of Ragnarok ends...", "</p><p><P ID=\"speaker\">ERIK\n<P ID=\"spkdir\">(hardly daring to breathe)\n<P ID=\"dia\">So THAT is what the sun looks like!", "They look back at their now jawless monster. Harald Missionary", "changes magically into the moon. There is a series of", "</p><p><P ID=\"speaker\">ODIN\n<P ID=\"dia\">Fenrir the Wolf has gone, Erik. But will men cease fighting each other? THAT is not in our power...", "never seen the sun before. Erik looks around and sees", "around its tooth. Sven instantly slices through it with", "<P ID=\"dia\">The sun is up beyond the clouds - where it always is.\n</p><p><P ID=\"speaker\">FREYA", "</p><p><p ID=\"act\">As the Dragon of the North Sea rises up again, however, its jaw apparently drops off and falls to the deck, and lands on Snorri.", "</p><p><p ID=\"act\">He tosses it back amongst his terrifies companions. Suddenly there is an incredibly loud clap of thunder and flames shoot out of the mist.\n</p><p><P ID=\"speaker\">SVEN", "\"sun\" suddenly lurches down on them", "the others. Aud follows. The stars have fallen to", "a sausage. The Dragon gives an agonized roar and", "way. Thorfinn meanwhile is fighting two dog- soldiers", "</p><p><P ID=\"speaker\">VIKINGS\n<P ID=\"dia\">It's not the sun! It's not the sun!", "</p><p><p ID=\"act\">Suddenly there is a howl... a bitter", "</p><p><p ID=\"act\">Erik swallows hard.\n</p><p><P ID=\"speaker\">ERIK\n<P ID=\"dia\">No.", "slinks away. Odin turns to Erik as the howling" ], [ "</p><p><P ID=\"speaker\">ERIK\n<P ID=\"dia\">We must find the Horn Resounding!\n</p><p><p ID=\"act\">The King glares at Erik.", "</p><p><p ID=\"act\">Freya turns to go back into the cave.\n</p><p><P ID=\"speaker\">ERIK\n<P ID=\"dia\">Wait, Freya!", "</p><p><P ID=\"speaker\">ERIK\n<P ID=\"dia\">Tell me what I must do, Freya!", "</p><p><P ID=\"speaker\">ERIK\n<P ID=\"dia\">Freya!\n</p><p><p ID=\"act\">Erik looks around him and calls out again.", "</p><p><p ID=\"act\">Freya puts her face close to Erik's and peers into his eyes.\n</p><p><P ID=\"speaker\">FREYA", "</p><p><P ID=\"speaker\">FREYA\n<P ID=\"dia\">The Gods are asleep, Erik.\n</p><p><P ID=\"speaker\">ERIK", "</p><p><P ID=\"speaker\">ERIK\n<P ID=\"dia\">It is day, of course, Freya.\n</p><p><P ID=\"speaker\">FREYA", "</p><p><P ID=\"speaker\">FREYA\n<P ID=\"dia\">What do you see, Erik?\n</p><p><P ID=\"speaker\">ERIK", "</p><p><p ID=\"act\">Suddenly the note from Ivar's horn rings out across from the bay. Erik rushes to the window and looks out to see what Ivar saw previously: a black ship approaching on the horizon.", "Halfdan's ship. As he does so, Erik has to", "</p><p><P ID=\"speaker\">ERIK\n<P ID=\"dia\">Valhalla...\n</p><p><p ID=\"act\">Sven turns on Harald.", "</p><p><P ID=\"speaker\">FREYA\n<P ID=\"dia\">Now what CAN you want with me, Erik the \"Viking\"?", "</p><p><p ID=\"act\">There is a bundle of rags behind Erik. A head rises from it. This is Freya.\n</p><p><P ID=\"speaker\">FREYA", "</p><p><P ID=\"speaker\">ERIK\n<P ID=\"dia\">Asgaard!\n</p><p><P ID=\"speaker\">HARALD MISSIONARY", "<P ID=\"dia\">That's right!\n</p><p><p ID=\"act\">For a split second Erik is distracted. He looks across at Aud and for a moment he sees Freya standing there.", "</p><p><P ID=\"speaker\">ERIK\n<P ID=\"spkdir\">(shouting across)\n<P ID=\"dia\">Odin!", "</p><p><p ID=\"act\">Freya turns and looks at him. She clearly enjoys his earnest enthusiasm, but is afraid he doesn't know what he is talking about.", "<P ID=\"dia\">But, Keitel, if Erik ever finds the Horn Resounding... if he ever crosses Bi-Frost, the Rainbow Bridge... if he ever wakens the gods..", "</p><p><P ID=\"speaker\">ERIK\n<P ID=\"dia\">The winter is past, thank goodness, Freya. It is summer.", "</p><p><p ID=\"act\">As he says this Erik's eyes turn again towards Helga. He is clearly thinking at least there are compensations... Odin, however, is laughing again." ], [ "</p><p><p ID=\"act\">King Arnulf thinks for a moment and then speaks.\n</p><p><P ID=\"speaker\">KING ARNULF", "</p><p><p ID=\"act\">King Arnulf beams rapturously at the Vikings, expecting them to be overjoyed. Instead they are horrified.", "King Arnulf sinks down in despair.", "and then we Cut to a close-up of King Arnulf.", "</p><p><P ID=\"speaker\">KING ARNULF\n<P ID=\"dia\">Don't talk nonsense.\n</p><p><P ID=\"speaker\">ERIK", "</p><p><p ID=\"act\">Cut to big close-up of King Arnulf.\n</p><p><P ID=\"speaker\">KING ARNULF", "</p><p><P ID=\"speaker\">KING ARNULF\n<P ID=\"dia\">Don't be silly.\n</p><p><P ID=\"speaker\">CHAMBERLAIN", "them. The cheerful figure of King Arnulf appears", "</p><p><P ID=\"speaker\">KING ARNULF\n<P ID=\"dia\">You're just saying that.\n</p><p><P ID=\"speaker\">SVEN", "</p><p><p ID=\"act\">They both look at King Arnulf. The King thinks.\n</p><p><P ID=\"speaker\">ERIK", "</p><p><p ID=\"act\">King Arnulf hesitates - he bites his lip and then takes the plunge.\n</p><p><P ID=\"speaker\">KING ARNULF", "</p><p><P ID=\"speaker\">ERIK\n<P ID=\"dia\">No.\n</p><p><P ID=\"speaker\">KING ARNULF", "</p><p><p ID=\"act\">King Arnulf flings the chest open. revealing nothing but clothes. He is baffled. He reluctantly starts to leave.\n</p><p><P ID=\"speaker\">AUD", "</p><p><p ID=\"act\">King Arnulf looks around the", "</p><p><P ID=\"speaker\">KING ARNULF\n<P ID=\"dia\">It's yours.", "</p><p><P ID=\"speaker\">KING ARNULF\n<P ID=\"dia\">And you're not just saying it because you think we want you to?", "<P ID=\"dia\">He wants to kill US!\n</p><p><P ID=\"speaker\">KING ARNULF\n<P ID=\"dia\">Not when we explain about the Great Blessing.", "spreads to the other Vikings. King Arnulf notices", "<P ID=\"dia\">No sirreeeee!\n</p><p><p ID=\"act\">They hold the note while King Arnulf looks anxiously at the Vikings.", "<P ID=\"dia\">Quite... yes... we understand....\n</p><p><P ID=\"speaker\">KING ARNULF" ], [ "Cut to Erik. He is deeply in love.", "</p><p><p ID=\"act\">King arnulf claps his hands. Erik rushes over to him, anxious to avoid another Hy-Brasilian concert.\n</p><p><P ID=\"speaker\">ERIK", "on top of Helga. Without a moment's hesitation, Erik", "</p><p><p ID=\"act\">She rushes to the window in time to see Erik parachuting down, holding the four corners of the cloak. Erik lands safely and waves with the cloak.", "</p><p><P ID=\"speaker\">ERIK\n<P ID=\"dia\">Is THIS Hy-Brasil?\n</p><p><P ID=\"speaker\">AUD", "</p><p><p ID=\"act\">Erik opens his eyes and, for an instant, he sees Helga. He blinks and realizes it is Aud who is calling him back to consciousness. Suddenly coloured lights begin to play to his face.", "city of Hy-Brasil. Erik races into the Forum and gazes", "Halfdan's ship. As he does so, Erik has to", "</p><p><P ID=\"speaker\">ERIK\n<P ID=\"dia\">Save yourselves! Hy-Brasil... is sinking.", "Erik. It is Helga, whom Erik accidentally killed in Scene", "<P ID=\"dia\">Well, EVERYONE is friends here on Hy-Brasil.\n</p><p><P ID=\"speaker\">SVEN\n<P ID=\"dia\">Hy-Brasil?", "and lays her out cold. Erik reacts with disgust. His", "Helga. Erik turns white, and pulls out his sword. Ernest", "<P ID=\"dia\">That's right!\n</p><p><p ID=\"act\">For a split second Erik is distracted. He looks across at Aud and for a moment he sees Freya standing there.", "There is little doubt that the whole of Hy-Brasil is", "As they fall, Erik manages to smash his", "out to sea. She is brooding in Erik's imminent", "</p><p><p ID=\"act\">Aud kisses Erik, who then turns and climbs out of GOLDEN DRAGON and sets off across the ice. Sven follows.", "the girl. This Viking, I'm afraid, is Erik. We", "of Hy-Brasil. Aud sits beside her father the King." ], [ "the King's nubile daughter, Aud.", "of Hy-Brasil. Aud sits beside her father the King.", "<P ID=\"dia\">Harald Missionary has put his arm around Aud in a fatherly way.\n</p><p><P ID=\"speaker\">HARALD MISSIONARY", "</p><p><p ID=\"act\">This conversation has woken the girl, Aud.\n</p><p><P ID=\"speaker\">AUD\n<P ID=\"dia\">Welcome!", "</p><p><P ID=\"speaker\">KING ARNULF (v/o)\n<P ID=\"dia\">Aud! You've got someone in there again, haven't you?", "<P ID=\"dia\">Ah! It's my father!\n</p><p><P ID=\"speaker\">KING ARNULF (v/o)", "</p><p><p ID=\"act\">And the rest - including Aud - soon", "<P ID=\"dia\">There is no magic, Father... My mother had no magic...\n</p><p><P ID=\"speaker\">KING ARNULF", "throat clearing. Aud, the King's daughter, gives", "<P ID=\"dia\">Oh no! NO! Out them down! PUT THEM DOWN!\n</p><p><p ID=\"act\">The Vikings gradually cease their mock battles and turn to look at Aud with incredulity.", "</p><p><p ID=\"act\">Aud runs to his side and puts her arms around him.\n</p><p><P ID=\"speaker\">AUD", "</p><p><p ID=\"act\">Erik looks around and notices for the first time the magnificent flights of stairs leading up to the top of Aud's tower.", "</p><p><p ID=\"act\">Aud motions him to be quiet, but it's too late. The King spins round to see who she is signalling to. The King appears to be looking straight at Erik. Erik can hardly bear the suspense.", "<P ID=\"dia\">No. It's YOU who doesn't understand, Aud. Halfdan has come to\n</p><p><p ID=\"act\">kill and destroy. We brought him here. We must stop him.", "</p><p><p ID=\"act\">it?\n</p><p><p ID=\"act\">Aud keeps mum.\n</p><p><P ID=\"speaker\">KING ARNULF", "at Aud's success, begin to get rather alarmed. Louder and", "</p><p><p ID=\"act\">Aud instantly recoils with terror.\n</p><p><P ID=\"speaker\">AUD", "Snorri. Cut to Aud on the shore, gazing moodily", "<P ID=\"dia\">Not quite...\n</p><p><p ID=\"act\">Aud looks at him.\n</p><p><P ID=\"speaker\">AUD", "<P ID=\"spkdir\">(pointing at Aud)\n<P ID=\"dia\">She wants to kill us!\n</p><p><P ID=\"speaker\">KEITEL" ], [ "of the dead. He grabs Erik and tries to", "Erik. It is Helga, whom Erik accidentally killed in Scene", "in death, the spear-wound still fresh. Erik raises", "As they fall, Erik manages to smash his", "and lays her out cold. Erik reacts with disgust. His", "</p><p><p ID=\"act\">The faces of the village-folk turn towards him. There are many moist eyes. Erik's mother starts to cry.\n</p><p><P ID=\"speaker\">ERIK", "Cut to Erik. He is deeply in love.", "</p><p><p ID=\"act\">By this time most of the village is blubbering profusely. Cut to Harald Missionary. He has his arm round his weeping girlfriend.", "</p><p><p ID=\"act\">Poor Erik is still up the", "</p><p><p ID=\"act\">Erik smiles broadly and waves. The entire village stares back at him with tears in their eyes, and biting their lips. Suddenly one mother can't hold it back any more.", "</p><p><p ID=\"act\">Helga looks up at him, but dies in his arms, without ever saying her name.\n</p><p><P ID=\"speaker\">ERIK", "Halfdan's ship. As he does so, Erik has to", "</p><p><p ID=\"act\">Erik stops in his tracks - as if brought up short by the horror of what he has done.\n</p><p><P ID=\"speaker\">ERIK", "</p><p><p ID=\"act\">Erik opens his eyes and, for an instant, he sees Helga. He blinks and realizes it is Aud who is calling him back to consciousness. Suddenly coloured lights begin to play to his face.", "ale over Thorfinn. He is shocked, but after", "</p><p><p ID=\"act\">Erik turns towards Helga, who is still standing at her trough of dough with her arms up to her elbows in flour. Aud watches Erik with sadness in her heart.", "</p><p><p ID=\"act\">Now Erik finally turns and looks at what everyone else is looking at. Erik's jaw drops. Everyone in the court beams at Erik,except Aud who is looking sad and disappointed.", "</p><p><P ID=\"speaker\">ERIK\n<P ID=\"dia\">Scream.\n</p><p><P ID=\"speaker\">HELGA", "</p><p><p ID=\"act\">The King starts prowling round the chamber. Erik stands there, naked and petrified, with the cloak hanging over his head, just where it landed.", "Erik and cheer. Shot of Erik. He doesn't look too" ], [ "Wolf would swallow the sun, and a Great Winter would", "<P ID=\"dia\">Fenrir the Wolf covers the sun - men fight and kill each other\n</p><p><p ID=\"act\">the whole time.", "</p><p><P ID=\"speaker\">ERIK\n<P ID=\"spkdir\">(hardly daring to breathe)\n<P ID=\"dia\">So THAT is what the sun looks like!", "\"sun\" suddenly lurches down on them", "They look back at their now jawless monster. Harald Missionary", "<P ID=\"dia\">The sun is up beyond the clouds - where it always is.\n</p><p><P ID=\"speaker\">FREYA", "never seen the sun before. Erik looks around and sees", "</p><p><p ID=\"act\">Erik swallows hard.\n</p><p><P ID=\"speaker\">ERIK\n<P ID=\"dia\">No.", "Then the monstrous head disappears back into the mist", "</p><p><p ID=\"act\">He tosses it back amongst his terrifies companions. Suddenly there is an incredibly loud clap of thunder and flames shoot out of the mist.\n</p><p><P ID=\"speaker\">SVEN", "whole pillow disappears right up the Dragon's nose.", "<P ID=\"dia\">Have you ever seen the sun, Erik?\n</p><p><P ID=\"speaker\">ERIK", "sun rising. The villagers gasp in wonder. They've", "</p><p><p ID=\"act\">As the Dragon of the North Sea rises up again, however, its jaw apparently drops off and falls to the deck, and lands on Snorri.", "the others. Aud follows. The stars have fallen to", "around its tooth. Sven instantly slices through it with", "changes magically into the moon. There is a series of", "<P ID=\"dia\">...though we may be swallowed by the Dragon of the North Sea or fall off the Edge of the World... don't cry.\n</p><p><p ID=\"act\">More crying.", "his stomach. Unn winces. Finally, amidst much giggling, Ivar", "<P ID=\"dia\">The sun! That's it!" ], [ "Halfdan's ship. As he does so, Erik has to", "of Asgaard... then another... and another... Erik stares as", "</p><p><p ID=\"act\">As he says this Erik's eyes turn again towards Helga. He is clearly thinking at least there are compensations... Odin, however, is laughing again.", "</p><p><P ID=\"speaker\">ERIK\n<P ID=\"spkdir\">(shouting across)\n<P ID=\"dia\">Odin!", "</p><p><p ID=\"act\">Odin starts to laugh. All the other children start to laugh... so do the dead heroes. Erik and his men look round uneasily.", "</p><p><P ID=\"speaker\">ERIK\n<P ID=\"dia\">Asgaard!\n</p><p><P ID=\"speaker\">HARALD MISSIONARY", "<P ID=\"dia\">The second not to wake the Gods...\n</p><p><p ID=\"act\">Erik kneels in front of the Horn.", "</p><p><P ID=\"speaker\">ERIK\n<P ID=\"dia\">Valhalla...\n</p><p><p ID=\"act\">Sven turns on Harald.", "</p><p><P ID=\"speaker\">SVEN\n<P ID=\"dia\">Only the dead reach Asgaard, Erik.\n</p><p><P ID=\"speaker\">ERIK", "<P ID=\"dia\">YOU still want to go to Asgaard?\n</p><p><P ID=\"speaker\">ERIK\n<P ID=\"dia\">Of course.", "</p><p><P ID=\"speaker\">FREYA\n<P ID=\"dia\">The Gods are asleep, Erik.\n</p><p><P ID=\"speaker\">ERIK", "journey. Erik addresses the villagers.", "slinks away. Odin turns to Erik as the howling", "<P ID=\"dia\">Erik's right! We'll all meet in Valhalla.\n</p><p><P ID=\"speaker\">IVAR", "</p><p><P ID=\"speaker\">ERIK\n<P ID=\"dia\">Do YOU know the way to Asgaard, Sven?", "</p><p><p ID=\"act\">Above them the Aurora Borealis stretches up, magnificent and awesome in the sky. Erik makes his way through the other Vikings.\n</p><p><P ID=\"speaker\">ERIK", "</p><p><p ID=\"act\">Erik looks out across the bleak and gloomy landscape and the black, boiling clouds in the sky.\n</p><p><P ID=\"speaker\">ERIK", "<P ID=\"dia\">Bring the Age of Ragnarok to an end and stop all this fighting and bloodshed. Harald looks around at the Vikings in increasing desperation.", "</p><p><p ID=\"act\">Suddenly the note from Ivar's horn rings out across from the bay. Erik rushes to the window and looks out to see what Ivar saw previously: a black ship approaching on the horizon.", "</p><p><p ID=\"act\">Ivar, meanwhile, is recovering from the amazement that has immobilized him. He taps Erik on the shoulder. Erik turns and he, too, gasps." ], [ "</p><p><P ID=\"speaker\">ERIK\n<P ID=\"dia\">We must find the Horn Resounding!\n</p><p><p ID=\"act\">The King glares at Erik.", "</p><p><P ID=\"speaker\">ERIK\n<P ID=\"dia\">Oh, no no no! It's just the Horn Resounding is...", "</p><p><p ID=\"act\">Suddenly the note from Ivar's horn rings out across from the bay. Erik rushes to the window and looks out to see what Ivar saw previously: a black ship approaching on the horizon.", "Halfdan's ship. As he does so, Erik has to", "his lips to the Horn Resounding. He blows. There is", "is called Resounding. You must take the Horn", "</p><p><P ID=\"speaker\">ERIK\n<P ID=\"dia\">Valhalla...\n</p><p><p ID=\"act\">Sven turns on Harald.", "</p><p><p ID=\"act\">The other men look up at the Horn Resounding, and begin to feel a bit nervous.\n</p><p><P ID=\"speaker\">ERIK", "but resolute. Erik glances round. Then slowly he advances on", "<P ID=\"dia\">The second not to wake the Gods...\n</p><p><p ID=\"act\">Erik kneels in front of the Horn.", "journey. Erik addresses the villagers.", "<P ID=\"dia\">But, Keitel, if Erik ever finds the Horn Resounding... if he ever crosses Bi-Frost, the Rainbow Bridge... if he ever wakens the gods..", "</p><p><p ID=\"act\">King arnulf claps his hands. Erik rushes over to him, anxious to avoid another Hy-Brasilian concert.\n</p><p><P ID=\"speaker\">ERIK", "</p><p><p ID=\"act\">The horn sounds again. Erik is about to argue this point when Thorfinn suddenly bursts in.\n</p><p><P ID=\"speaker\">THORFINN", "</p><p><p ID=\"act\">Erik looks out across the bleak and gloomy landscape and the black, boiling clouds in the sky.\n</p><p><P ID=\"speaker\">ERIK", "</p><p><p ID=\"act\">The King starts prowling round the chamber. Erik stands there, naked and petrified, with the cloak hanging over his head, just where it landed.", "</p><p><p ID=\"act\">But Erik cannot hear her. He is already racing back to his ship. Back on GOLDEN DRAGON, Thorfinn is taking \"Being Scared\" lessons from Ivar the Boneless.", "of the dead. He grabs Erik and tries to", "of Asgaard... then another... and another... Erik stares as", "</p><p><p ID=\"act\">Erik looks around at his terror-stricken" ], [ "his lips to the Horn Resounding. He blows. There is", "is blowing the Horn Resounding.", "<P ID=\"dia\">Well, it's not called the Horn Resounding for nothing.\n<P ID=\"spkdir\">(aside)", "<P ID=\"dia\">We blew the Horn Resounding.\n</p><p><P ID=\"speaker\">LOKI", "<P ID=\"dia\">The second not to wake the Gods...\n</p><p><p ID=\"act\">Erik kneels in front of the Horn.", "is called Resounding. You must take the Horn", "<P ID=\"spkdir\">(continuing)... but just lending us the....\n<P ID=\"dia\">um... the, well, to be quite blunt... the Horn Resounding.", "</p><p><P ID=\"speaker\">ERIK\n<P ID=\"dia\">Oh, no no no! It's just the Horn Resounding is...", "Resounding, and three times you must blow it. The", "the Horn Resounding is dropped. It bounces", "</p><p><p ID=\"act\">The other men look up at the Horn Resounding, and begin to feel a bit nervous.\n</p><p><P ID=\"speaker\">ERIK", "and Harald swim round the corner, pushing the Horn Resounding.", "</p><p><p ID=\"act\">Suddenly the note from Ivar's horn rings out across from the bay. Erik rushes to the window and looks out to see what Ivar saw previously: a black ship approaching on the horizon.", "</p><p><P ID=\"speaker\">ERIK\n<P ID=\"dia\">We must find the Horn Resounding!\n</p><p><p ID=\"act\">The King glares at Erik.", "<P ID=\"dia\">Blow the third note! The note to take us home!\n</p><p><P ID=\"speaker\">ERIK", "<P ID=\"dia\">We must blow the first note... he note that will take us to Asgaard...\n</p><p><P ID=\"speaker\">SVEN", "<P ID=\"spkdir\">(screaming and pointing an accusing finger at Aud)\n<P ID=\"dia\">SHE blew the Horn", "</p><p><p ID=\"act\">The King thinks some more. The horn sounds", "<P ID=\"dia\">Of course I'm not. I never lose my temper...\n</p><p><p ID=\"act\">Ivar's horn sounds again. A shadow passes over King Arnulf's face.", "carrying their belongings and the Horn Resounding, while the citizen" ], [ "oar. Keitel has meanwhile joined them. He, too, stares", "</p><p><p ID=\"act\">Keitel leaps to his feet and joins in the attack. Erik, meanwhile, is swinging across the deck from a rope.\n</p><p><P ID=\"speaker\">ERIK", "into his hands, although Keitel doesn't realize", "</p><p><p ID=\"act\">Keitel laughs a little hysterically. Aud turns urgently to Erik.\n</p><p><P ID=\"speaker\">AUD", "</p><p><p ID=\"act\">Erik looks at Keitel with a certain amount of contempt. Keitel is not renowned even amongst these Vikings for his brain-power.", "</p><p><p ID=\"act\">Keitel is thinking: \"Maybe I should let", "</p><p><p ID=\"act\">Keitel is overcome b the power of Loki's will, but he is deeply ashamed of his complicity in Loki's deeds. Snorri gazes at Keitel with growing suspicion.", "</p><p><P ID=\"speaker\">KEITEL\n<P ID=\"dia\">Wait, Erik!\n</p><p><P ID=\"speaker\">ERIK", "<P ID=\"dia\">By YOU - Keitel Blacksmith! Don't you know, Erik, that is why he went with you? Ragnarok was good for his business...", "</p><p><P ID=\"speaker\">ERIK\n<P ID=\"dia\">You will have Keitel's assistant, Loki, to do all that.", "</p><p><p ID=\"act\">Keitel nervously picks it up and holds it", "<P ID=\"dia\">But...\n</p><p><p ID=\"act\">Keitel shrugs and turns to take up his rowing position. He is still a little confused by this turn of events. Erik confronts Thorfinn.", "</p><p><p ID=\"act\">Erik turns to see Sven and Keitel trembling... They hold onto the sides of the ship but their legs can barely support them.\n</p><p><P ID=\"speaker\">SVEN", "</p><p><p ID=\"act\">Keitel is about to reply and say he's been having second thoughts about it, but somehow he can't. Loki has such power over him.", "</p><p><P ID=\"speaker\">ERIK\n<P ID=\"dia\">I MUST look! Keitel! Hold this!", "</p><p><P ID=\"speaker\">ERIK\n<P ID=\"dia\">And you, Keitel Blacksmith.\n</p><p><P ID=\"speaker\">KEITEL", "</p><p><p ID=\"act\">Keitel start to laugh.\n</p><p><P ID=\"speaker\">KEITEL", "<P ID=\"dia\">It was my master Keitel's idea.\n</p><p><p ID=\"act\">All eyes turn on Keitel who looks very uncomfortable.", "Keitel. Suddenly a voice comes from the shadows:", "and finally comes to rest on Keitel Blacksmith. He is" ], [ "Cut to Erik. He is deeply in love.", "Erik. It is Helga, whom Erik accidentally killed in Scene", "</p><p><p ID=\"act\">Erik opens his eyes and, for an instant, he sees Helga. He blinks and realizes it is Aud who is calling him back to consciousness. Suddenly coloured lights begin to play to his face.", "the girl. This Viking, I'm afraid, is Erik. We", "</p><p><p ID=\"act\">Aud kisses Erik, who then turns and climbs out of GOLDEN DRAGON and sets off across the ice. Sven follows.", "</p><p><p ID=\"act\">Aud motions him to be quiet, but it's too late. The King spins round to see who she is signalling to. The King appears to be looking straight at Erik. Erik can hardly bear the suspense.", "</p><p><p ID=\"act\">She throws a shabby bit of cloth over Erik and at that moment the door bursts open, and King Arnulf enters.", "</p><p><p ID=\"act\">Now Erik finally turns and looks at what everyone else is looking at. Erik's jaw drops. Everyone in the court beams at Erik,except Aud who is looking sad and disappointed.", "and lays her out cold. Erik reacts with disgust. His", "Halfdan's ship. As he does so, Erik has to", "</p><p><p ID=\"act\">Erik turns towards Helga, who is still standing at her trough of dough with her arms up to her elbows in flour. Aud watches Erik with sadness in her heart.", "</p><p><p ID=\"act\">There is a pause. Erik looks up at Helga. Why has she saved his face by telling this lie? Jennifer the Viking turns to Erik.", "<P ID=\"dia\">Ah... Erik... Erik the \"Viking\"...\n</p><p><p ID=\"act\">It is not clear whether her words are not a little mocking.", "</p><p><p ID=\"act\">They start to march Erik through the palace.\n</p><p><P ID=\"speaker\">ERIK\n<P ID=\"dia\">Let me go!", "</p><p><p ID=\"act\">Erik looks at her... for a moment... But he knows he has no choice.\n</p><p><P ID=\"speaker\">SVEN", "As they fall, Erik manages to smash his", "</p><p><p ID=\"act\">The King starts prowling round the chamber. Erik stands there, naked and petrified, with the cloak hanging over his head, just where it landed.", "Helga. Erik turns white, and pulls out his sword. Ernest", "</p><p><p ID=\"act\">Erik leaps out of the window. For a moment Aud is surprised and then alarmed as she realizes he's jumped out of the window, which is some forty feet off the ground.", "</p><p><P ID=\"speaker\">ERIK\n<P ID=\"dia\">Here! Here is the magic from the King's daughter!" ], [ "<P ID=\"dia\">The Gods decreed that if ever sword spills human blood upon these shores, the whole of Hy-Brasil will sink beneath the waves.", "<P ID=\"dia\">Oh no! NO! Out them down! PUT THEM DOWN!\n</p><p><p ID=\"act\">The Vikings gradually cease their mock battles and turn to look at Aud with incredulity.", "</p><p><p ID=\"act\">The Vikings look at each other amidst the roaring waters and the thick spray. Erik holds his bleeding arm and looks at Aud. Should he trust her or not? Suddenly he turns on the others.", "of Hy-Brasil. Aud sits beside her father the King.", "<P ID=\"dia\">No. It's YOU who doesn't understand, Aud. Halfdan has come to\n</p><p><p ID=\"act\">kill and destroy. We brought him here. We must stop him.", "by Aud. As the Vikings scramble", "<P ID=\"dia\">Bring the Age of Ragnarok to an end and stop all this fighting and bloodshed. Harald looks around at the Vikings in increasing desperation.", "</p><p><P ID=\"speaker\">ERIK\n<P ID=\"dia\">Save yourselves! Hy-Brasil... is sinking.", "</p><p><p ID=\"act\">King arnulf claps his hands. Erik rushes over to him, anxious to avoid another Hy-Brasilian concert.\n</p><p><P ID=\"speaker\">ERIK", "</p><p><P ID=\"speaker\">AUD\n<P ID=\"dia\">It's sinking! Hy-Brasil is sinking!", "</p><p><p ID=\"act\">The Vikings react with terror, take a step back and raise their swords and axes.\n</p><p><P ID=\"speaker\">ERIK", "of jaws. The Vikings see it and panic.", "</p><p><p ID=\"act\">Suddenly the girl stirs again in her sleep. The Vikings retreat several paces and grip their weapons, and glance around as if expecting an ambush.", "</p><p><P ID=\"speaker\">ERIK\n<P ID=\"dia\">They'll be more than \"hurt\" if Halfdan the Black lands! Ow!", "</p><p><P ID=\"speaker\">KEITEL\n<P ID=\"dia\">He killed Snorri! He caused the land of Hy-Brasil to sink! SHE knew!", "them. The Vikings are uneasy, sensing a storm brewing.", "</p><p><p ID=\"act\">Aud catches Erik's eye and gives him a dangerously slow wink. A pause of disbelief from the Vikings.\n</p><p><P ID=\"speaker\">SVEN", "</p><p><P ID=\"speaker\">THORFINN\n<P ID=\"dia\">Not death by the sword! It means I shall drink in Valhalla with the great warriors.", "<P ID=\"dia\">Listen! Maybe we won't get to Hy-Brasil! Maybe we won't find the Horn Resounding... but at least we've tried... and at least we shall have died like men.", "</p><p><p ID=\"act\">Odin starts to laugh. All the other children start to laugh... so do the dead heroes. Erik and his men look round uneasily." ], [ "<P ID=\"dia\">Fenrir the Wolf covers the sun - men fight and kill each other\n</p><p><p ID=\"act\">the whole time.", "<P ID=\"dia\">They chase Fenrir the Wolf from the sky...\n</p><p><P ID=\"speaker\">LOKI\n<P ID=\"dia\">The Age of Ragnarok ends...", "</p><p><P ID=\"speaker\">ODIN\n<P ID=\"dia\">Fenrir the Wolf has gone, Erik. But will men cease fighting each other? THAT is not in our power...", "Wolf would swallow the sun, and a Great Winter would", "</p><p><P ID=\"speaker\">ERIK\n<P ID=\"dia\">It is day, of course, Freya.\n</p><p><P ID=\"speaker\">FREYA", "</p><p><p ID=\"act\">Odin starts to laugh. All the other children start to laugh... so do the dead heroes. Erik and his men look round uneasily.", "</p><p><p ID=\"act\">Thorfinn's mental powers find it hard to articulate any proposition on such a vast metaphysical concept. Sven comes to his rescue.", "</p><p><P ID=\"speaker\">ERIK\n<P ID=\"spkdir\">(shouting across)\n<P ID=\"dia\">Odin!", "</p><p><p ID=\"act\">He tosses it back amongst his terrifies companions. Suddenly there is an incredibly loud clap of thunder and flames shoot out of the mist.\n</p><p><P ID=\"speaker\">SVEN", "</p><p><P ID=\"speaker\">ERIK\n<P ID=\"spkdir\">(hardly daring to breathe)\n<P ID=\"dia\">So THAT is what the sun looks like!", "<P ID=\"dia\">The sun is up beyond the clouds - where it always is.\n</p><p><P ID=\"speaker\">FREYA", "around its tooth. Sven instantly slices through it with", "</p><p><p ID=\"act\">Freya turns to go back into the cave.\n</p><p><P ID=\"speaker\">ERIK\n<P ID=\"dia\">Wait, Freya!", "slinks away. Odin turns to Erik as the howling", "</p><p><P ID=\"speaker\">ERIK\n<P ID=\"dia\">The winter is past, thank goodness, Freya. It is summer.", "</p><p><p ID=\"act\">As he says this Erik's eyes turn again towards Helga. He is clearly thinking at least there are compensations... Odin, however, is laughing again.", "</p><p><p ID=\"act\">The Dragon's jaws open. Flame licks out, and down the centre of the vessel. There are screams as the Vikings leap out of the way. Sven goes berserk again.", "</p><p><P ID=\"speaker\">THORFINN\n<P ID=\"dia\">You won, Sven.\n</p><p><P ID=\"speaker\">LOKI", "</p><p><p ID=\"act\">As Odin says this there is a roaring", "<P ID=\"dia\">Yes!\n</p><p><P ID=\"speaker\">THORFINN\n<P ID=\"dia\">He MUST kill me!" ], [ "Halfdan's ship. As he does so, Erik has to", "The others follow suit. Halfdan watches. His men stand", "</p><p><p ID=\"act\">At this point Halfdan's ship suddenly", "Halfdan coming after them.", "men. Halfdan and his cronies no longer look", "</p><p><p ID=\"act\">Suddenly Halfdan's ship rises up out", "</p><p><p ID=\"act\">Halfdan grabs a sword off one of his dead dog-soldiers and thrusts it into the unwilling hands of his military adviser, Eilif.", "they do? Half Halfdan's men are aiming", "and square on top of Halfdan and", "</p><p><p ID=\"act\">Then he turns and is off. Halfdan turns to his aides.\n</p><p><P ID=\"speaker\">HALFDAN\n<P ID=\"dia\">What?", "window. He looks out. Halfdan's ship is even closer.", "DRAGON and swings across onto Halfdan's ship. The Vikings", "Halfdan smiles to himself. The battle is going his", "<P ID=\"dia\">Halfdan nods again and another order is rapped", "<P ID=\"dia\">Nothing... Halfdan the Black chopped his hand off last night.\n</p><p><P ID=\"speaker\">ERIK\n<P ID=\"dia\">HE was lucky...", "</p><p><P ID=\"speaker\">ERIK\n<P ID=\"dia\">Oh, no! Halfdan!\n</p><p><p ID=\"act\">There is more banging on the bedroom door.", "of Halfdan's drum getting closer and closer. At the final", "<P ID=\"dia\">No. It's YOU who doesn't understand, Aud. Halfdan has come to\n</p><p><p ID=\"act\">kill and destroy. We brought him here. We must stop him.", "</p><p><P ID=\"speaker\">THORFINN\n<P ID=\"dia\">It's Halfdan the Black!\n</p><p><P ID=\"speaker\">ERIK", "right up to Halfdan himself. He whisks the Cloak Invisible" ] ]

[ "Where does Erik travel to in order to petition the gods to end Ragnarok?", "Why do Keitel and Loki oppose Erik's plan to petition the gods for the end of Ragnarok?", "What does Erik use to hide from King Arnulf during one of his romantic encounters with the king's daughter?", "Who attacks the island of Hy-Brasil?", "How does Loki plan to keep Erik from being able to use the Horn Resounding?", "Who sounds the first note on the Horn Resounding?", "Where do Erik and his crew end up after the third note is sounded on the Horn?", "Why did Halfdan want Erik to fail?", "What will the first note blown on the Horn Resounding do?", "What will the second note blown on the Horn Resounding do?", "What will the third note blown on the Horn Resounding do?", "Who is Freya?", "What is the name of the wolf who swallows the sun?", "Where does Freya tell Erik he must go to seek the Horn Resounding? ", "What does King Arnulf refuse to believe?", "Who does Erik fall in love with immediately after arriving at the land of Hy-Brasil?", "Who is Princess Aud's father?", "Over whose death does Eric suffer?", "Who swallowed the sun?", "Where does Erik travel to petition the gods to stop the Ragnarok?", "Erik must seek the Horn Resounding in what land?", "What will the second blow upon the Horn do?", "Why does Keitel join Eriks crew?", "Who is the princess Erik falls in love with?", "What does Aud warn the Vikings will happen if blood if shed in Hy-Brasil?", "Who persuades Fenrir to spit out the sun?", "How are Halfdan and his men killed?" ]

[ [ "Asgard", "Erik travels to Asgard." ], [ "Peace would mean the end of demand for Keitel's swords.", "Peace would mean that Keitel's swords wouldn't be needed. " ], [ "a magic cloak of invisibility", "cloak of invisitbility" ], [ "Halfdan", "Hafdan " ], [ "He steals its mouthpiece.", "She steals the horn's mouthpiece." ], [ "Aud", "Aud." ], [ "their home village", "back in their home village" ], [ "He was afraid that peace would mean the end of his reign.", "He is afraid that peace will mean the end of his reign." ], [ "It will take Erik and his crew to Asgard.", "Take Erik and his crew to Asgard." ], [ "It will awaken the gods.", "Awaken the gods " ], [ "It will bring Erik and his crew home.", "Bring the crew home." ], [ "A wise woman.", "wise woman" ], [ "Fenrir.", "Fenrir" ], [ "The land of Hy-Brasil.", "In the land of Hy-Brasil." ], [ "That the land, the island, is sinking.", "He refuses to believe that the island is even sinking." ], [ "Princess Aud.", "Princess Aud" ], [ "King Arnulf.", "daughter of king arnault" ], [ "Helga", "Helga" ], [ "Fenrir the wolf", "Fenrir." ], [ "Asgard", "Asguad" ], [ "Hy-Brasil", "Hy-Brasil " ], [ "Waken the gods.", "It will awaken the gods." ], [ "To ruin Eriks plans.", "To sabotage Erik's plan." ], [ "Princess Aud", "Aud." ], [ "The island would sink.", "The entire island would sink beneath the waves." ], [ "Odin", "Odin" ], [ "By Erik's ship falling on them.", "island sinks" ] ]

[ [ "He had seen the murderer leaving the scene of the crime, and the man\nhe had seen was in the courtroom today, watching Chandler's own trial.", "Chandler caught his lawyer by the arm and jerked him away from staring\nat the scene. All of a sudden he was alive again. \"You, damn it.\nListen! The jury acquitted me, right?\"", "Because of the crowd they held Chandler's trial in the all-purpose room\nof the high school. It smelled of leather and stale sweat. He walked up", "The bailiff ordered Chandler to stand and informed him that he was\naccused of having, on the seventeenth day of June last, committed on", "prosecutor allowed her to stammer out her observation that the girl had\nclearly been raped. And she had seen Chandler laughing and breaking up\nthe place, throwing racks of cultures through the windows, upsetting", "The judge was having a long mumble with the court stenographer\napparently about something which had happened in the Union House the\nnight before. Chandler knew Judge Ellithorp slightly. He did not", "The odd thing about Chandler's dilemma was not merely that he was\ninnocent--in a way, that is--but that many who were guilty (in a way;", "Chandler's own lawyer had pointed that out to him the day before the\ntrial. \"If it was anywhere but at the McKelvey plant, all right, but", "disappointment if Chandler had pleaded guilty. They wanted to see\none of the vilest criminals in contemporary human society caught,\nexposed, convicted and punished; they did not want to miss a step of", "and unconscious later. The plant police testified to having arrested\nChandler; a doctor described in chaste medical words the derangements", "It was like an electric shock--the touch of her fingers and the touch\nof reality at once. Chandler said stiffly, \"My brand. But I thought you\nwere there at the trial.\"", "The lawyer came back, with the expression of a man who has won a\nvictory he did not expect, and did not want. \"Your last chance,\nChandler. Change your plea to guilty.\"\n\n\"But--\"", "His attorney asked him the question he had been waiting for: \"Tell\nus, in your own words, what happened.\" Chandler opened his mouth, and", "Chandler's lawyer tapped him on the shoulder. \"Last chance to change\nyour mind,\" he said.\n\n\"No. I'm not guilty, and that's the way I want to plead.\"", "With unexpected clarity Chandler realized he was on trial for his life.\n\"Cook? No, I'm afraid not. I mean, I can boil eggs,\" he said. \"Nothing\nfancy.\"", "of almost any community in the world in those years; Chandler's was not\nunique. What had put Chandler in the dock was not what his body had", "Chandler hesitated. \"Make up your mind! The best I can do otherwise is\na mistrial, and that means you'll get convicted by another jury next\nweek.\"", "question. Chandler did not hope to pretend that he had not ravished and\nnearly killed one girl, then done his best to repeat the process on\nanother. Sitting there as the doctor testified, Chandler was able to", "\"What case?\" Chandler demanded. \"I never denied the acts. What else did\nthey prove?\"", "Chandler protested that he didn't have to commit rape. He'd been a\nwidower for a year, but--" ], [ "She talked of her life on the stage, the excitement of a performance,\nthe entertainers she had known. Her conversation was one long", "She hesitated, and did not go on. \"You know,\" she said, \"I came here\nthe same way you did. Kidnaped off the stage of the Winter Garden. Of", "\"No, no! You're supposed to say, 'Why, the original-cast album from\n_Hi There_.' Or anything else I starred in.\" She shook her head", "9:23 PM, E.S.T.: Rosalie Pan, musical-comedy star, jumps off stage,\nruns up center aisle and vanishes in cab, wearing beaded bra, G-string", "was talking about the night New York was bombed. \"I was in the middle\nof the big first-act curtain number when--\" her face was strained,", "been fun. My name's Bradley. I always think people ought to know each\nother's names in cases like this. Imagine sharing a grave with some\nutter stranger!\"", "Chandler said, smiling, and almost relaxed, \"I'm sorry, but musical\ncomedies weren't my strong point. I did see you once, though, on", "He caught a second's glimpse of someone just beside him, whirled and\nsaw the girl, Ellen Braisted, limping swiftly toward him with her", "(\"All saved, all of us saved,\" rolled a murmur from the congregation.)\nA lean, red-headed man bounded to the platform and fussed with the\nstand of spotlights, turning one of them full on Chandler.", "visited, but he recognized the names. Rosie had been married once to\nan English actor whose movies Chandler had made a point of watching on", "He looked at Chandler without much interest. \"Vot's your name?\" he\nwheezed. He had a heavy, ineradicable accent, like a Hapsburg or a", "They were songs from Rosalie's own musical comedies. Even with so poor\nan instrument as Chandler's voice to work with, she sang well enough to", "She wore a coronet like the fat man's, intertwined in a complicated\nhairdo, and she got right down to business. \"Chandler, is it? All", "You'd be astonished, really.\" She mentioned several names, world-famous\nscientists, musicians, writers. \"Of course, not everybody can qualify", "He saw girls he had dated in high school, long before he met Margot;\nmen he worked with at the plant. They all glanced at him, but he was", "Ellen Braisted raised her face from her hands and, her eyes streaming,\nquietly stood up and followed. The old lady with the arthritis", "Ellen Braisted had given him was beginning to hurt badly. If only these\npeople were not such obvious _nuts_, he thought, he would feel a lot", "She was tall, dark and not quite young. Chandler, struck by her beauty,\nwas sure that he had seen her, somewhere, but could not place her face.", "Chandler shifted uncomfortably, while an old woman crippled by\narthritis began fumbling a tune out of an electric organ. The burn", "\"You must have had some friends,\" Chandler began, and let it trail off.\nSo did the girl. After a moment she began to talk about the scenery" ], [ "The scream became a word, in many voices chorused: _Possessed!_ And\nbeyond doubt the woman was. The men around her hurled themselves away,", "She didn't like to talk about it, that was clear, but that was the\nreason. She had been possessed. When the teen-ager trapped her car the", "ready to pray a possessing spirit out. Chandler, who kept an open mind,\nhad considerable doubt of the effectiveness of all the amulets and", "They seemed, in fact, to have worked out, on whatever crazed foundation\nof philosophy, some practical methods for coping with possession. He\ndecided to stay, wait and see.", "trays. Of course she had crossed herself and tried a quick exorcism but\nthere was no visible effect; then Chandler had leaped at her. \"He was", "because not many people come this way any more, and we've had to kill\na lot. Yes, we have. Sometimes the possessed just can't be saved, but--\"", "They were marching toward the corner of the room where the rifles were\nstacked. \"Possessed!\" Chandler bellowed, the words tasting of acid as", "possessed. The only difference between Guy and you and me was that he\nknew what to do about it, because he read the book, you see. Not that", "\"House rules,\" she said. \"Keeps the flame-spirits out, you know. They\ncan't stand pain.\" She took her hand off the knife warily, \"it still\nhurts, doesn't it?\"", "These were the first cases of possession seen by the world in some\nfive hundred years, since the great casting out of devils of the", "been seen to do, but the place in which it had been seen to do it. For\neverybody knew that medicine and agriculture were never molested by the\ndemons.", "If the child had been an adult it might have been warning enough. But\nthe child had never experienced possession before, was not sure enough,\nwas clear into the schoolhouse before the remaining members of the", "No, said Chandler, certainly not! But then he had to stop and think.\nAfter all, he had never been possessed before; in fact, he had always", "about the only place in town where you could be sure you wouldn't be\npossessed, or so everybody thought. Including me. Up to the time I went\nape.\"", "\"I didn't do it. I mean, I did the acts, but I was possessed. That's\nall. Others have done worse, under the same circumstances, and been", "It seemed remiss to start a day without signing the Cross or hearing a\nfew exorcismal verses. It seemed to be mid-morning, time for work to", "While the Western World was celebrating Christmas--the Christmas before\nthe first outbreak of possession in the outside world--the man who\ninvented the machine was secretly demonstrating it to another man. Both", "be beginning at the plant. The lab men would be streaming in, their\namulets examined at the door. The chaplains would be wandering about,", "In the garage his body stopped and looked wildly around. \"Knives,\ntorches,\" his lips chanted. \"Shall I gouge out eyes? Slit throat?\"", "of six. Dr. Palmer, are you there? Well, you better go ahead with\nthe--prayer.\" The judge could not make himself say \"the exorcism.\"" ], [ "When he saw her commit suicide he redoubled his efforts. It was\nincredible to him that his life had been saved, and he knew that if he", "The old lady's expression cleared. She nodded to herself. She then\nput the muzzle of the rifle in her mouth and, with her thumb, pulled", "Appalled, Chandler waited for them to kill themselves.", "It was suicide to attempt to harm an exec. He would certainly lose his\nlife--except--that was gone already anyhow; he had lost it. He had\nnothing left to lose.\n\n\n\n\nXIV", "The one whose intestines he had spilled with a silver letteropener in a\nwhim of hara-kiri?), but just now he was too worn.", "But in the end he could not save himself; it was the girl who saved\nhim. That night Chandler tossed in troubled sleep, and woke to find", "It took hardly five minutes to say everything that needed saying about\nGuy, Meggie and the other doomed and suffering inhabitants of the old\nhouse on the mountain.", "He knew that in a while he would feel very badly for having killed that\ngirl (which could she have been? The one with the shotgun in the mouth?", "squad, tidying up the loose ends of the slaughter; he expected that his\nbody's errand was to destroy itself, and thus him, as all the Orphalese\nhad been destroyed.", "blow up; swallow poison, leap from window, slit throat. Every man a\nmurderer, at the touch of a mind from Hawaii; and if no one else was", "building where his body lay. He had slit his dozen throats and fired\nbullets into his hundred hearts and hundred brains; he had entered\nbodies only long enough to feel for a coronet, and if it was there the", "But less than an hour later he was in her Porsche, cold sober, raging,\nfrustrated, miserable. He slammed it through the unfamiliar gears as he\nsped back to the city.", "He could go no farther because he had nowhere to go. He had had two\nhomes and he had been driven from both of them. He had had hope twice,\nand twice he had been damned.", "It was dawn. His job was done. He carried the coronet, the only working\ncoronet in the world, in his hand. He had spent the night killing,", "He knew what mind it was that caught him then. It was her mind.\nStiffly, like wood, he released her, stood up, walked to the door and\nlocked it behind him.", "She dropped the match and jumped up, stepping on the flame and watching\nhim. She had a butcher knife that had been caught between her elbow", "Margot, his wife, had been cut up cruelly. He had seen his friend, Jack\nSouther, leaving his home hurriedly as he approached; and although he", "Then the arthritic lady glanced leisurely about, fired into the\nstomach of a wounded man who was trying to rise, reloaded her rifle", "It was the girl, Ellen, still there, leaning over him and, oddly,\nweeping. And the pain in his hand was the burning flame of a kitchen", "He was free and, in a moment, realized that he was in the building with\nthe fat bloated body of the man who wanted to murder him, the body that\nin its own strength could scarcely stand erect." ], [ "Obviously more execs had come to help, attracted by the commotion\nperhaps, or summoned at some stolen moment after the meeting had first", "Linton broke it, his blue eyes gleaming above the beard. \"No! Better\nthan that. Why wait? We can _use_ this fellow's machine. Set it up, get\nus some headsets--and we can control the execs themselves!\"", "As he was a trained engineer he was left to labor by himself for hours\non end. It was worse for the others. There seemed to be a dozen execs\nhovering invisible around all the time; no sooner was a worker released", "it was ready to be assembled. The execs did not take part in the work.\nNor were they idle. They busied themselves in one room of the building", "\"I don't know. I was going to ask you the same question, I guess.\"\n\nThe man scowled. \"Didn't your exec tell you what to do?\"\n\n\"My what?\"", "For ten hours, while the afternoon became dark night, they worked\nat a furious pace. When the sun set one of the execs gestured and", "for the possessors. It was a distasteful concept; but on second thought\nit had reassuring elements. It was evidence that whatever the \"execs\"", "But Hsi was throwing cold water on the idea. \"Sorry, but I know that\nmuch: One exec can't control another. The headpieces insulate against", "got a gun. They can grab your mind faster than you can cut a throat.\nThird thing: Don't get the idea there are good execs and bad execs.", "Without comment Hsi turned back to Chandler. He said, \"I believe you.\nWould you like to know why it happened? Because I think I can tell you.\nThe execs have all the antibiotics they need now.\"", "old. I thought it was neat of the execs to dispose of the used-up labor\nout of sight of the rest of us. So much better for morale ... until", "sabotage it! How would you like that? The execs switching over to\nthis equipment while the other one is down for maintenance--and their\nheadsets don't work!\"", "He was very impatient, for when he was done he would be the only exec.\n\nAnd the execs would be only slaves.\n\n\nXV", "and communications facilities he comes across--especially now, since\nthey've stockpiled everything they're likely to need for the next\ntwenty years. We don't know what they're planning to do when the twenty", "side. In the strange, cruel fantasies with which the Execs indulged\nthemselves it was likely enough that they would sometimes assume the", "you forget it. Have to be. Whoever becomes an exec has to be with us,\nall the way. There are tests. It has to be that way--not only for our\nprotection. For the world's.\"", "He looked out at the red-headed man, sprawled across the foul line\nbehind third base, and remembered what he had said. There weren't any\ngood execs or bad execs. There were only execs.", "Of the Executive Committee, Chandler thought she meant at first, but\nthen he thought again. No. Of the world. For the thousand execs,", "It was suicide to attempt to harm an exec. He would certainly lose his\nlife--except--that was gone already anyhow; he had lost it. He had\nnothing left to lose.\n\n\n\n\nXIV", "outnumbered though they were two million to one, could not fail to\ntriumph. The contest would not be in doubt. If the whole thousand execs\nat once began systematically to kill and destroy, instead of merely" ], [ "Long before they reached their destination Chandler had reasoned what\nit must be. He was correct: it was the islands of Hawaii.", "Then his body hesitated, glanced at the ground, paused again and bent\ndown. It had tripped on a book. It picked the book up, and Chandler saw\nthat it was the Orphalese copy of Gibran's _The Prophet_.", "Chandler put down the copy of _The Prophet_ which he had carried so\nfar and sat on the ground, but again he had no long time to wait. One", "Koitska squinted at the copy of Gibran's _The Prophet_. He did not\nglance at Chandler, but Chandler felt himself propelled out of his", "Hours later, Chandler was not sure just how, they were in a light plane\nflying high over the Pacific, clear out of sight of land. The moon was\ngold above them, the ocean black beneath.", "Chandler got out. The policeman slammed the door behind him, ripping\nrubber off his tires with the speed of his U-turn and acceleration back\ntoward Honolulu. He did not look at Chandler.", "Chandler stood staring off after him, in bright warm sunlight with a\nreek of hibiscus and rotting palms in his nostril. It was very quiet", "Chandler suffered himself to be bound to a camp chair on the platform\nand Walter took a drink of wine and opened the ornate book that was\nbefore him on the rostrum.", "(\"All saved, all of us saved,\" rolled a murmur from the congregation.)\nA lean, red-headed man bounded to the platform and fussed with the\nstand of spotlights, turning one of them full on Chandler.", "Chandler did not know it until he saw something glistening on his\nwrist, but he was weeping on the wild ride back to Honolulu in the car.", "Chandler shrugged and looked out the window ... just in time to see the\njet that had brought him to the islands once more lumbering into life.", "\"The only cargo I brought with me that I can think of is a book,\" said\nChandler. \"Weighs maybe a pound. You think I'm supposed to get on that\nplane?\"", "himself knew, it seemed. \"Maybe this is only a duplicate. Maybe it\nwon't be used. But maybe it will--and Chandler's the man who can", "reading over Chandler's shoulder. \"Ho,\" he said suddenly. \"Koitska's\nsquare-wave generator again, right?\" Chandler admitted it, and the man", "\"People of Orphalese,\" chanted Guy, standing behind Chandler with the\nmuzzle of the gun against his neck, \"the _meeting_ of the Orphalese", "away again. Chandler turned his back on the paralyzed monster to flee.\nIt would be even better to try to lose himself in Honolulu--if he", "ready to pray a possessing spirit out. Chandler, who kept an open mind,\nhad considerable doubt of the effectiveness of all the amulets and", "enough to be a threat--but something which had proved inconvenient at\none time and therefore needed investigating. As Chandler was the only\nsurvivor they had deemed it worth their godlike whiles to transport him", "trays. Of course she had crossed herself and tried a quick exorcism but\nthere was no visible effect; then Chandler had leaped at her. \"He was", "Chandler frowned; then felt his body taken. His lips barked:\n\"_Khorashaw!_\" His body got up and walked to the wall of Rosalie's" ], [ "\"H\" for \"hoaxer.\" The mark they were about to put on his forehead would\nbe with him wherever he went and as long as he lived, which would", "Chandler climbed down the ladder. With considerable pain he gentled\nthe cap over the great raw H on his forehead and began to climb the\nmountain.\n\n * * * * *", "\"Wait a minute!\" A bearded man came forward and peered furiously into\nChandler's face. \"Look at his head! Don't you see he's branded?\"", "Across the table from Chandler, Hsi looked suddenly changed. His left\nhand lay on the table before him, his right hand poised over it.\nApparently he had been about to show Chandler again the sign he had\nmade.", "Hsi grinned. \"Sorry. I guess that's what I was doing. I do know what an\n'H' stands for; we've seen them before. Not many. The ones that do get", "Chandler touched his scar as the man with the beard hissed, \"Damned\nhoaxer! This is the lowest species of life on the face of the", "Chandler stood staring off after him, in bright warm sunlight with a\nreek of hibiscus and rotting palms in his nostril. It was very quiet", "Hsi shook his head. \"There's meat, all right, but not here. You'll\nonly find it in the places where the execs sometimes go.... Tell me\nsomething, Chandler. What's that scar on your forehead.\"", "Somehow the woolen cap had been lost. \"A brand,\" he said shortly. \"'H'\nfor 'hoaxer.' I did something when one of you people had me, and they\nthought I'd done it on my own.\"", "(\"All saved, all of us saved,\" rolled a murmur from the congregation.)\nA lean, red-headed man bounded to the platform and fussed with the\nstand of spotlights, turning one of them full on Chandler.", "Chandler frowned; then felt his body taken. His lips barked:\n\"_Khorashaw!_\" His body got up and walked to the wall of Rosalie's", "He shook his head. For some reason the brand on his forehead began to\nthrob.\n\n\"Well, then you know. Look out here, now.\"", "She wore a coronet like the fat man's, intertwined in a complicated\nhairdo, and she got right down to business. \"Chandler, is it? All", "It was like an electric shock--the touch of her fingers and the touch\nof reality at once. Chandler said stiffly, \"My brand. But I thought you\nwere there at the trial.\"", "Hsi cleared his throat and said, \"This is the one. I vouch for him.\"\nAnd that was startling too, Chandler thought, because all these\nwrist-circled men and women were looking at _him_.", "\"Damn right it does, man! We're slaves, but we're not animals!\"\nChandler had gotten to him; the parts man looked startled, then sallow,\nas he observed his own vehemence.", "reading over Chandler's shoulder. \"Ho,\" he said suddenly. \"Koitska's\nsquare-wave generator again, right?\" Chandler admitted it, and the man", "He looked at Chandler without much interest. \"Vot's your name?\" he\nwheezed. He had a heavy, ineradicable accent, like a Hapsburg or a", "inside, whom Chandler had not seen before, was dressed, oddly, only in\nbathing trunks. His face wore the same expression as Hsi's. Chandler", "The bearded man, sprawling and groggy, slowly rose as Hsi explained\ntersely what he had guessed of Chandler's work--as much as Chandler" ], [ "It was suicide to attempt to harm an exec. He would certainly lose his\nlife--except--that was gone already anyhow; he had lost it. He had\nnothing left to lose.\n\n\n\n\nXIV", "of the execs, and he was privileged to be able to die trying to kill\n_them_.", "He looked out at the red-headed man, sprawled across the foul line\nbehind third base, and remembered what he had said. There weren't any\ngood execs or bad execs. There were only execs.", "He was very impatient, for when he was done he would be the only exec.\n\nAnd the execs would be only slaves.\n\n\nXV", "blinding shot of the studio lights as the cameraman jumped away and\nthe instrument swiveled to stare mindlessly upward. Twenty minutes\nlater the President was dead, as his Secretary of Health and Welfare,", "side. In the strange, cruel fantasies with which the Execs indulged\nthemselves it was likely enough that they would sometimes assume the", "of them were now dead. The inventor had been a Pole, the other man a\nformer Party leader who, four years before, had rescued the inventor's", "deaths of his briefly-met friends, or even to think of their quixotic\nplans against the execs. Now he began to wonder.", "ordered it was dead before the first reel spun, and his successor was\nnot quite sworn in when it became his time to die. The ceremony was\ninterrupted for an emergency call from the War Room, where a very", "slaves, as well as all the execs in reach. And when he stopped the orgy\nof killing he had made one last search of the nearer portions of the", "killing, killing, and blood had washed away his passions; he was spent.\nHe had killed every exec he could find, in widening circles from the", "Of the Executive Committee, Chandler thought she meant at first, but\nthen he thought again. No. Of the world. For the thousand execs,", "As he was a trained engineer he was left to labor by himself for hours\non end. It was worse for the others. There seemed to be a dozen execs\nhovering invisible around all the time; no sooner was a worker released", "Was the Secretary of the C.P., U.S.S.R. behind that terrible brief\nagony? As he was dead before it was over, there was no way to tell.", "He had only to pull one switch--that one there--and power would cease\nto flow. The coronets would be dead. The execs would be only humans.", "got a gun. They can grab your mind faster than you can cut a throat.\nThird thing: Don't get the idea there are good execs and bad execs.", "But Hsi was throwing cold water on the idea. \"Sorry, but I know that\nmuch: One exec can't control another. The headpieces insulate against", "Without comment Hsi turned back to Chandler. He said, \"I believe you.\nWould you like to know why it happened? Because I think I can tell you.\nThe execs have all the antibiotics they need now.\"", "\"No, you couldn't. Also, it wouldn't pay, believe me,\" Hsi said\nseriously. \"If there is one thing that doesn't pay, it is cheating on\nthe Exec.\"", "for the possessors. It was a distasteful concept; but on second thought\nit had reassuring elements. It was evidence that whatever the \"execs\"" ], [ "She didn't like to talk about it, that was clear, but that was the\nreason. She had been possessed. When the teen-ager trapped her car the", "\"I didn't do it. I mean, I did the acts, but I was possessed. That's\nall. Others have done worse, under the same circumstances, and been", "The scream became a word, in many voices chorused: _Possessed!_ And\nbeyond doubt the woman was. The men around her hurled themselves away,", "These were the first cases of possession seen by the world in some\nfive hundred years, since the great casting out of devils of the", "possessed. The only difference between Guy and you and me was that he\nknew what to do about it, because he read the book, you see. Not that", "The engineer was possessed. It had to be that.", "While the Western World was celebrating Christmas--the Christmas before\nthe first outbreak of possession in the outside world--the man who\ninvented the machine was secretly demonstrating it to another man. Both", "because not many people come this way any more, and we've had to kill\na lot. Yes, we have. Sometimes the possessed just can't be saved, but--\"", "Not only the deluded men and women in the garden were worshippers\ntrapped in a vile religion, he thought. It was worse. The gods and\ngoddesses worshipped at their own divinity as well!", "They seemed, in fact, to have worked out, on whatever crazed foundation\nof philosophy, some practical methods for coping with possession. He\ndecided to stay, wait and see.", "His eyes were staring at Koitska. It was too late. He was possessed by\nsomeone, he did not know whom. Though it made little enough difference,\nhe thought, watching his own hands reach out to touch the staring face.", "They were marching toward the corner of the room where the rifles were\nstacked. \"Possessed!\" Chandler bellowed, the words tasting of acid as", "If the child had been an adult it might have been warning enough. But\nthe child had never experienced possession before, was not sure enough,\nwas clear into the schoolhouse before the remaining members of the", "earth--someone who pretended to be possessed in order to do some damned\ndirty act What was it, hoaxer? Murder? Burning babies alive?\"", "grave.' Now, honestly, nothing could be clearer than that, people of\nOrphalese and friends! We got something taking possession of us, see?", "No, said Chandler, certainly not! But then he had to stop and think.\nAfter all, he had never been possessed before; in fact, he had always", "Ellen looked surprised. \"The men that crashed the trains ... if they\n_are_ men. The ones who possessed me--and you--and the hunters. They", "He did not think that any of them were possessed. He was not so sure of\nthe audience.", "He shook his head, dazed, staring at her as though she were indeed\npossessed--still possessed, and telling him some fearful great lie to", "trays. Of course she had crossed herself and tried a quick exorcism but\nthere was no visible effect; then Chandler had leaped at her. \"He was" ], [ "The real enemy had struck the entire world in a single night. One\nday the people of the world went about their business in the gloomy", "Within minutes of this discovery what remained of the military strength\nof the Western world was roaring through airless space toward the most\nlikely targets of the East.", "Chandler said, \"Well, that's pretty obvious. But Russia was smashed\nup as much as anywhere else. The whole Russian government was\nkilled--wasn't it?\"", "world had become a hell for everyone, but a bearable hell until the\npromise of a chance to end it gave them a full sight of what their\nlives had been. Now that that was dashed they were far worse off than", "No one was in sight. The field showed clear signs of having been\nthrough the same sort of destruction that had visited every major\ncommunications facility in the world. Part of the building before", "It had happened at Christmas, and the first sign was on nation-wide\ntelevision. The old President, balding, grave and plump, was making a", "knowledge that they were likely to make mistakes but with, at least,\nthe comfort that the mistakes would be their own. The next day had\nno such comfort. The next day anyone, anywhere, was likely to find", "long-distance communication the world had been atomized. There was a\nreal fear, well justified, of living in large groups, for they too were\nlightning rods for possession. The world was stumbling along, but it", "But of course things were better in the old days. The world had seemed\non the brink of blowing itself up, but at least it was by its own hand.\nThen came Christmas.", "been invaded. There were only five survivors on the field. Each was\nclearly controlled. They rose and stood patiently while the two police\nshot them, shot them, paused to reload and shot again. The last to die", "fact was already apparent. There were many incidents scattered around\nthe world, but not one of them took place in Russia itself.", "about famine again for a dozen generations! We're working on China now;\nnext Japan; next--oh, all the world. We'll have three-quarters of the", "The Western World had not known exactly what was going on, of course.\nThe \"mystery wrapped in a riddle surrounded by an enigma\" had become", "Leningrad and nine other cities. It was even fortunate for the whole\nworld, for this was the Apocalypse they had dreaded, every possible\nnuclear weapon committed. But the circumstances were such--hasty", "there should be so much violence. In a way. Hasn't there always been\nviolence? And what were the alternatives? Until we came along the world\nwas getting ready to kill itself anyway.\"", "ordered it was dead before the first reel spun, and his successor was\nnot quite sworn in when it became his time to die. The ceremony was\ninterrupted for an emergency call from the War Room, where a very", "Warsaw was ablaze, China pockmarked with blasts, East Berlin demolished\nalong with its western sector, in eight rounds fired from a U.S. Army", "These were not sleeping men and women. Some were dead; some were\nunconscious; all were maimed. The pavement was slimed with their blood.", "Kalmuck. The Peace Commission squabbled for a month, until the\nbreakdown of communications cut them off from their governments and\neach other; and in that way, for a time, there was peace.", "This's what he says. What is this that has torn our world apart? The\nProphet says: 'It is life in quest of life, in bodies that fear the" ], [ "\"I didn't do it. I mean, I did the acts, but I was possessed. That's\nall. Others have done worse, under the same circumstances, and been", "No. Chandler didn't find himself attacking the red-headed man. He\nfound his _body_ doing it; Chandler had nothing to do with it. It was", "I didn't exactly have any choice; I wasn't running my own body at the\ntime. Neither was he when he jumped. He was made to do it, because he", "power, instead of with some exec--or, as they would have put it, being\nignorant, some imp, or devil, or demon--pulling the strings.\"", "\"That's all there is to it. It wasn't me running my body. It was\nsomeone else. I swear it before all of you, and before God.\"\n\nThe prosecutor did not bother to question him.", "over there was let off after he murdered my own wife. They should\nbe. They couldn't help themselves. Whatever this thing is that takes", "or to scratch an itch. They showed neither the intense malevolent\nconcentration nor the wide-eyed idiot curiosity of those whose bodies\nwere no longer their own. Chandler settled the woolen cap over the", "pot in the previous two years. The real enemy was out of reach; when\nany citizen might run wild and, when caught, relapse into his own self,", "\"Wait a minute,\" said the lawyer. \"Listen. You can't make an ordinary\nclaim of possession stick, but what about good old-fashioned insanity?\"", "brain and body was under the influence of some foul wanderer fiend\nfrom hell he did things that, ladies and gentlemen of Orph'lese, I", "possessed. The only difference between Guy and you and me was that he\nknew what to do about it, because he read the book, you see. Not that", "She didn't like to talk about it, that was clear, but that was the\nreason. She had been possessed. When the teen-ager trapped her car the", "His eyes were staring at Koitska. It was too late. He was possessed by\nsomeone, he did not know whom. Though it made little enough difference,\nhe thought, watching his own hands reach out to touch the staring face.", "The scream became a word, in many voices chorused: _Possessed!_ And\nbeyond doubt the woman was. The men around her hurled themselves away,", "Not only the deluded men and women in the garden were worshippers\ntrapped in a vile religion, he thought. It was worse. The gods and\ngoddesses worshipped at their own divinity as well!", "expect to get a fair trial. The previous December the judge himself,\nwhile possessed, had smashed the transmitter of the town's radio\nstation, which he owned, and set fire to the building it occupied. His", "playing at it as the spirit moved them, they could all but end the\nhuman race overnight. A man could be made to slash his throat in a", "None had the strength to scream, but several were moaning and even\nsome of the unconscious ones gasped like the breathing of a man in\ndiabetic coma. Passersby walked briskly around the metal fence, and if", "been seen to do, but the place in which it had been seen to do it. For\neverybody knew that medicine and agriculture were never molested by the\ndemons.", "the helpless compulsion he had felt before, that had nearly cost him\nhis life; his body active and urgent and his mind completely cut off\nfrom it. He felt his own muscles move in ways he had not planned," ], [ "But in the end he could not save himself; it was the girl who saved\nhim. That night Chandler tossed in troubled sleep, and woke to find", "a point. With patient detachment she kept the story moving until\nKoitska with a bored shrug indicated he was through.", "He heard shouts and firing, but he was stunned. He felt himself dragged\nand dropped. He saw a cloudy, misty girl's face hanging over him; it", "He knew what mind it was that caught him then. It was her mind.\nStiffly, like wood, he released her, stood up, walked to the door and\nlocked it behind him.", "It was dawn. His job was done. He carried the coronet, the only working\ncoronet in the world, in his hand. He had spent the night killing,", "_Nothing_, he began instinctively, then scratched the word out.\nBriskly and exactly he wrote: _He was going to kill me, but he had some\nkind of an attack. I took his coronet away. I was going to run._", "\"But we do have to suffer, people of Orphalese.\" His expression became\ngrim. \"Our beloved founder, Guy, who's sitting there doing a little", "Chandler rubbed his aching side, looking at the ceiling. He remembered\nthe look in Peggy Flershem's eyes as he forced himself on her. She was\nonly sixteen years old, and at that time he hadn't even known her name.", "When he saw her commit suicide he redoubled his efforts. It was\nincredible to him that his life had been saved, and he knew that if he", "This way, this way, she gestured. A crowd of mudbound figures. She\nslipped into one, he into another. They were in a bus now, rocking", "prosecutor allowed her to stammer out her observation that the girl had\nclearly been raped. And she had seen Chandler laughing and breaking up\nthe place, throwing racks of cultures through the windows, upsetting", "It was the girl, Ellen, still there, leaning over him and, oddly,\nweeping. And the pain in his hand was the burning flame of a kitchen", "It took hardly five minutes to say everything that needed saying about\nGuy, Meggie and the other doomed and suffering inhabitants of the old\nhouse on the mountain.", "Margot, his wife, had been cut up cruelly. He had seen his friend, Jack\nSouther, leaving his home hurriedly as he approached; and although he", "She dropped the match and jumped up, stepping on the flame and watching\nhim. She had a butcher knife that had been caught between her elbow", "His eyes were staring at Koitska. It was too late. He was possessed by\nsomeone, he did not know whom. Though it made little enough difference,\nhe thought, watching his own hands reach out to touch the staring face.", "An hour later he realized that sixty minutes had passed in which he had\nnot been afraid. It was good to be working again, he thought, and then", "But less than an hour later he was in her Porsche, cold sober, raging,\nfrustrated, miserable. He slammed it through the unfamiliar gears as he\nsped back to the city.", "He opened a purple-bound volume at random, stared at a page for a\nmoment, moving his lips, and then read:\n\n\"Some of you say, 'It is the north wind who has woven the clothes we\nwear.'", "It was a warm, bright, silent day. Nothing moved. From his height he\ncould see the Diesel at the front of the train and the caboose at its" ], [ "He had seen the murderer leaving the scene of the crime, and the man\nhe had seen was in the courtroom today, watching Chandler's own trial.", "The bailiff ordered Chandler to stand and informed him that he was\naccused of having, on the seventeenth day of June last, committed on", "The odd thing about Chandler's dilemma was not merely that he was\ninnocent--in a way, that is--but that many who were guilty (in a way;", "prosecutor allowed her to stammer out her observation that the girl had\nclearly been raped. And she had seen Chandler laughing and breaking up\nthe place, throwing racks of cultures through the windows, upsetting", "Chandler caught his lawyer by the arm and jerked him away from staring\nat the scene. All of a sudden he was alive again. \"You, damn it.\nListen! The jury acquitted me, right?\"", "and unconscious later. The plant police testified to having arrested\nChandler; a doctor described in chaste medical words the derangements", "of almost any community in the world in those years; Chandler's was not\nunique. What had put Chandler in the dock was not what his body had", "His attorney asked him the question he had been waiting for: \"Tell\nus, in your own words, what happened.\" Chandler opened his mouth, and", "disappointment if Chandler had pleaded guilty. They wanted to see\none of the vilest criminals in contemporary human society caught,\nexposed, convicted and punished; they did not want to miss a step of", "The judge was having a long mumble with the court stenographer\napparently about something which had happened in the Union House the\nnight before. Chandler knew Judge Ellithorp slightly. He did not", "Chandler protested that he didn't have to commit rape. He'd been a\nwidower for a year, but--", "The lawyer came back, with the expression of a man who has won a\nvictory he did not expect, and did not want. \"Your last chance,\nChandler. Change your plea to guilty.\"\n\n\"But--\"", "\"What case?\" Chandler demanded. \"I never denied the acts. What else did\nthey prove?\"", "Chandler sat up and took a long pull at his drink. Curiously, it seemed\nto sober him. He said: \"It's nothing. I happened to rape and kill a", "by one than he was seized by another. The work progressed rapidly,\nbut at the cost of utter exhaustion. By the end of the fourth day\nChandler had eaten only two meals and could not remember when he had", "question. Chandler did not hope to pretend that he had not ravished and\nnearly killed one girl, then done his best to repeat the process on\nanother. Sitting there as the doctor testified, Chandler was able to", "as guilty as he himself, at any rate) were free and honored citizens.\nChandler himself was a widower because his own wife had been murdered.", "Chandler was a concubine--not even that; he was a male geisha,\nconvenient to play gin rummy with, or for company on the surfboards, or\nto make a drink.", "IV\n\nChandler yelled hoarsely, jerking his hand away.", "Because of the crowd they held Chandler's trial in the all-purpose room\nof the high school. It smelled of leather and stale sweat. He walked up" ], [ "Chandler climbed down the ladder. With considerable pain he gentled\nthe cap over the great raw H on his forehead and began to climb the\nmountain.\n\n * * * * *", "\"H\" for \"hoaxer.\" The mark they were about to put on his forehead would\nbe with him wherever he went and as long as he lived, which would", "\"Wait a minute!\" A bearded man came forward and peered furiously into\nChandler's face. \"Look at his head! Don't you see he's branded?\"", "Across the table from Chandler, Hsi looked suddenly changed. His left\nhand lay on the table before him, his right hand poised over it.\nApparently he had been about to show Chandler again the sign he had\nmade.", "Somehow the woolen cap had been lost. \"A brand,\" he said shortly. \"'H'\nfor 'hoaxer.' I did something when one of you people had me, and they\nthought I'd done it on my own.\"", "Hsi grinned. \"Sorry. I guess that's what I was doing. I do know what an\n'H' stands for; we've seen them before. Not many. The ones that do get", "(\"All saved, all of us saved,\" rolled a murmur from the congregation.)\nA lean, red-headed man bounded to the platform and fussed with the\nstand of spotlights, turning one of them full on Chandler.", "She wore a coronet like the fat man's, intertwined in a complicated\nhairdo, and she got right down to business. \"Chandler, is it? All", "Chandler stood staring off after him, in bright warm sunlight with a\nreek of hibiscus and rotting palms in his nostril. It was very quiet", "Hsi shook his head. \"There's meat, all right, but not here. You'll\nonly find it in the places where the execs sometimes go.... Tell me\nsomething, Chandler. What's that scar on your forehead.\"", "reading over Chandler's shoulder. \"Ho,\" he said suddenly. \"Koitska's\nsquare-wave generator again, right?\" Chandler admitted it, and the man", "Hsi cleared his throat and said, \"This is the one. I vouch for him.\"\nAnd that was startling too, Chandler thought, because all these\nwrist-circled men and women were looking at _him_.", "Chandler touched his scar as the man with the beard hissed, \"Damned\nhoaxer! This is the lowest species of life on the face of the", "repeated the man, and it was only then that Chandler noticed the man\nwas holding a pistol, pointed at his head.", "Chandler drained his drink and shook his head. \"One question,\" he said.\n\"Who's 'we'?\"", "He looked at Chandler without much interest. \"Vot's your name?\" he\nwheezed. He had a heavy, ineradicable accent, like a Hapsburg or a", "\"Chandler.\"\n\n\"Glad to know you. I'm John Hsi. But don't go easy on the job just\nbecause it's a waste of time, Chandler; it could be pretty important to\nyou.\"", "Chandler frowned; then felt his body taken. His lips barked:\n\"_Khorashaw!_\" His body got up and walked to the wall of Rosalie's", "inside, whom Chandler had not seen before, was dressed, oddly, only in\nbathing trunks. His face wore the same expression as Hsi's. Chandler", "\"Damn right it does, man! We're slaves, but we're not animals!\"\nChandler had gotten to him; the parts man looked startled, then sallow,\nas he observed his own vehemence." ], [ "or to scratch an itch. They showed neither the intense malevolent\nconcentration nor the wide-eyed idiot curiosity of those whose bodies\nwere no longer their own. Chandler settled the woolen cap over the", "Chandler frowned; then felt his body taken. His lips barked:\n\"_Khorashaw!_\" His body got up and walked to the wall of Rosalie's", "Panicked, Chandler retreated from the body in a flash, back to his\nown; and then he began to think.", "No. Chandler didn't find himself attacking the red-headed man. He\nfound his _body_ doing it; Chandler had nothing to do with it. It was", "\"People of Orphalese,\" chanted Guy, standing behind Chandler with the\nmuzzle of the gun against his neck, \"the _meeting_ of the Orphalese", "trays. Of course she had crossed herself and tried a quick exorcism but\nthere was no visible effect; then Chandler had leaped at her. \"He was", "feel it, the pain--just a moment--then it eats the gut, the long slow\ndying....\" And all the time the body that was Chandler's was clawing", "\"Damn right it does, man! We're slaves, but we're not animals!\"\nChandler had gotten to him; the parts man looked startled, then sallow,\nas he observed his own vehemence.", "Chandler felt a sudden flash of sensation along his nerves. For a\nmoment he thought he had been possessed again, and then he knew it for", "Chandler nodded. \"So what else shall we talk about? Want to compare\nnotes about where you were and I was the night the President went\npossessed?\"", "with some small device--Chandler could not see what--and when he looked\nagain it was gone. He did not see them take it away and did not know\nwhere it was taken. Toward midnight he suddenly realized that it was", "Chandler drove himself back to that body and, though it could not work\nwell, he could make it turn a frequency dial, using its clubbed hands\nlike sticks. He could make it throw a switch. He then caused it to", "No, said Chandler, certainly not! But then he had to stop and think.\nAfter all, he had never been possessed before; in fact, he had always", "Chandler drained his drink and shook his head. \"One question,\" he said.\n\"Who's 'we'?\"", "ready to pray a possessing spirit out. Chandler, who kept an open mind,\nhad considerable doubt of the effectiveness of all the amulets and", "live!\" And Chandler dropped her and leaped to his feet. He fought. He\nstruggled; but only in his mind, and helplessly; his body carried him", "As Chandler took them the look in the guard's eyes showed the quick\nrelease of tension that meant he was free again; and in that same\nmoment Chandler's own body was occupied once more.", "Chandler. \"Boys, keep an eye on him, why don't you?\" he said to two\nmen in the front row, surrendering his gun. \"Meggie, you tell about the", "before Chandler realized he was free. He tested his legs; they worked;\nhe got up, turned and began to walk away.", "himself knew, it seemed. \"Maybe this is only a duplicate. Maybe it\nwon't be used. But maybe it will--and Chandler's the man who can" ], [ "was that for Rosalie Pan: her telephone, her social secretary, and on\noccasion he was the garment her dates put on. For Rosalie was one", "He had no doubt of the identity of the exec who had saved him and\ndestroyed the others. Though he had heard the voice only as it came\nfrom his own mouth, he could not miss it. It was Rosalie Pan.", "Chandler's mental processes had worked to a conclusion. \"Rosalie\n_Pan_!\" he said. \"Now I know!\"", "Hsi's voice, came the light, tonal rhythms of Rosalie Pan. \"_This_\nis an unexpected pleasure, love! I never expected to see you here.\nEnjoying your meal?\"", "Rosalie came up beside him soothingly. \"I know how you feel. Want me to\ntell you about when I went through it?\"", "closed in Rosalie Pan's wink. \"Half an hour,\" Hsi said, and was again\nhimself. He began to shake.", "island and found no one alive, and he had then realized that one of the\nclosest execs had been Rosalie Pan.", "\"Have some more coffee, love,\" said Rosalie Pan with an air of triumph.", "keep both of them entertained while his body brought the plane in for\na landing; and so Chandler went to live in the villa that belonged to\nRosalie Pan.", "Chandler, prisoned inside himself, recognized that touch. Koitska! He\nknew who Rosalie Pan's lover had been. If he had been in doubt his own", "membership in the club. Rosalie had proposed him. He talked with two\nCzechoslovakian ballet dancers in their persons, and a succession of", "9:23 PM, E.S.T.: Rosalie Pan, musical-comedy star, jumps off stage,\nruns up center aisle and vanishes in cab, wearing beaded bra, G-string", "too much. But by then a week had passed, and another day, and though he\ndid not know it he had only one day left. Rosalie did what she could to\nmake the days of waiting easy for him.", "He was lying on the pastel pile rug in Rosalie's bedroom.\n\nHe got up, rubbing the side of his face. He had tumbled, it seemed.\nRosalie was lying on the bed.", "almost content. Rosie was good company--gay, cheerful--and she had\ntreasures to share. It had been an impulse of hers, a long drive in", "\"I'm afraid I have--\"\n\n\"Rosalie. Call me Rosalie, dear.\"\n\n\"I'm afraid I have, Rosalie.\" For some reason the name sounded familiar.", "\"_Shto, Rosie?_\" said Chandler's mouth thickly.\n\n\"Oh, there you are, Andrei,\" she said, and spoke quickly in Russian.", "heavily accented Russians and Poles and Japanese through the mouth of\nthe beach boy who came to tend Rosalie's garden. He thought they liked\nhim and was pleased that he penetrated where he had not been allowed", "And Chandler was free, and Rosalie excitedly leaping out of the bed\nbehind him, careless of the wisp of nylon that was her only garment,", "They were _adoring_ her.\n\nRosalie stood gravely for a moment, then nodded and returned to\nChandler." ], [ "It was suicide to attempt to harm an exec. He would certainly lose his\nlife--except--that was gone already anyhow; he had lost it. He had\nnothing left to lose.\n\n\n\n\nXIV", "of the execs, and he was privileged to be able to die trying to kill\n_them_.", "He was very impatient, for when he was done he would be the only exec.\n\nAnd the execs would be only slaves.\n\n\nXV", "He looked out at the red-headed man, sprawled across the foul line\nbehind third base, and remembered what he had said. There weren't any\ngood execs or bad execs. There were only execs.", "deaths of his briefly-met friends, or even to think of their quixotic\nplans against the execs. Now he began to wonder.", "of them were now dead. The inventor had been a Pole, the other man a\nformer Party leader who, four years before, had rescued the inventor's", "killing, killing, and blood had washed away his passions; he was spent.\nHe had killed every exec he could find, in widening circles from the", "ordered it was dead before the first reel spun, and his successor was\nnot quite sworn in when it became his time to die. The ceremony was\ninterrupted for an emergency call from the War Room, where a very", "side. In the strange, cruel fantasies with which the Execs indulged\nthemselves it was likely enough that they would sometimes assume the", "slaves, as well as all the execs in reach. And when he stopped the orgy\nof killing he had made one last search of the nearer portions of the", "He had no doubt of the identity of the exec who had saved him and\ndestroyed the others. Though he had heard the voice only as it came\nfrom his own mouth, he could not miss it. It was Rosalie Pan.", "As he was a trained engineer he was left to labor by himself for hours\non end. It was worse for the others. There seemed to be a dozen execs\nhovering invisible around all the time; no sooner was a worker released", "Of the Executive Committee, Chandler thought she meant at first, but\nthen he thought again. No. Of the world. For the thousand execs,", "for the possessors. It was a distasteful concept; but on second thought\nit had reassuring elements. It was evidence that whatever the \"execs\"", "But Hsi was throwing cold water on the idea. \"Sorry, but I know that\nmuch: One exec can't control another. The headpieces insulate against", "blinding shot of the studio lights as the cameraman jumped away and\nthe instrument swiveled to stare mindlessly upward. Twenty minutes\nlater the President was dead, as his Secretary of Health and Welfare,", "got a gun. They can grab your mind faster than you can cut a throat.\nThird thing: Don't get the idea there are good execs and bad execs.", "For ten hours, while the afternoon became dark night, they worked\nat a furious pace. When the sun set one of the execs gestured and", "He had only to pull one switch--that one there--and power would cease\nto flow. The coronets would be dead. The execs would be only humans.", "There came a point at which even the will of the execs was unable to\ndrive the flogged bodies farther, and then they were permitted to sleep" ], [ "Chandler drained his drink and shook his head. \"One question,\" he said.\n\"Who's 'we'?\"", "\"Chandler.\"\n\n\"Glad to know you. I'm John Hsi. But don't go easy on the job just\nbecause it's a waste of time, Chandler; it could be pretty important to\nyou.\"", "Chandler protested that he didn't have to commit rape. He'd been a\nwidower for a year, but--", "The odd thing about Chandler's dilemma was not merely that he was\ninnocent--in a way, that is--but that many who were guilty (in a way;", "The exec who had looked at him out of the boy's eyes, who had\npenetrated this nest of enemies and extricated Chandler from it, had", "Chandler sat up and took a long pull at his drink. Curiously, it seemed\nto sober him. He said: \"It's nothing. I happened to rape and kill a", "No. Chandler didn't find himself attacking the red-headed man. He\nfound his _body_ doing it; Chandler had nothing to do with it. It was", "\"Now, that's another good question,\" said Chandler. \"Who is the Exec?\"\n\nHsi shook his head. \"Sorry. I don't know you, Chandler.\"", "Chandler. \"Boys, keep an eye on him, why don't you?\" he said to two\nmen in the front row, surrendering his gun. \"Meggie, you tell about the", "Maybe Andrei'll forgive you then--Or if he dies,\" Chandler's voice\nschemed as his eyes stared at the rasping motionless hulk, \"we can say", "before Chandler realized he was free. He tested his legs; they worked;\nhe got up, turned and began to walk away.", "repeated the man, and it was only then that Chandler noticed the man\nwas holding a pistol, pointed at his head.", "Chandler was genuinely startled at that. Rosie nodded seriously. \"If\none exec should give away something he's not supposed to it would upset", "XI\n\n\nWhatever Chandler's life might be worth, he knew he had given it away\nand the girl had given it back to him.", "In a moment his eyes opened again. He looked at Chandler with no\ninterest at all, and turned his face to the wall.", "Chandler caught his lawyer by the arm and jerked him away from staring\nat the scene. All of a sudden he was alive again. \"You, damn it.\nListen! The jury acquitted me, right?\"", "Of the Executive Committee, Chandler thought she meant at first, but\nthen he thought again. No. Of the world. For the thousand execs,", "And then, said the voice, while Chandler stared at the dawn, listening,\nwhat about the _good_ things the exec had done? Would he not be foolish", "\"Damn right it does, man! We're slaves, but we're not animals!\"\nChandler had gotten to him; the parts man looked startled, then sallow,\nas he observed his own vehemence.", "Chandler also knew. He was a weapon. He might die--but it was not a\ngreat thing to die, millions had done it for nothing under the rule" ], [ "Chandler drove himself back to that body and, though it could not work\nwell, he could make it turn a frequency dial, using its clubbed hands\nlike sticks. He could make it throw a switch. He then caused it to", "Wise now in the ways of this world, Chandler commandeered a police car\nand was hurried out to the South Gate, where the guards allowed him a\ncar of his own. The door of the building was unlocked and Chandler went\nright up.", "with some small device--Chandler could not see what--and when he looked\nagain it was gone. He did not see them take it away and did not know\nwhere it was taken. Toward midnight he suddenly realized that it was", "went over Chandler's shoulders. The man must have weighed three hundred\npounds. Slowly, wheezing, he limped toward the back of the room and\ntouched a button.", "The work went on, and then it was done, or all but, and Chandler knew\nno more about it than when it was begun. The last little bit was a", "himself knew, it seemed. \"Maybe this is only a duplicate. Maybe it\nwon't be used. But maybe it will--and Chandler's the man who can", "before Chandler realized he was free. He tested his legs; they worked;\nhe got up, turned and began to walk away.", "Chandler went back into the building and brewed some strong black\ncoffee. While it was bubbling on the stove he slipped the coronet back", "reading over Chandler's shoulder. \"Ho,\" he said suddenly. \"Koitska's\nsquare-wave generator again, right?\" Chandler admitted it, and the man", "But in the end he could not save himself; it was the girl who saved\nhim. That night Chandler tossed in troubled sleep, and woke to find", "Clutching the thick sheaf of diagrams, Chandler felt himself propelled\noutside and back into the little car. The interview was over.", "Chandler shook his head. \"I'm an electrical engineer,\" he said. \"Or\nwas.\"\n\n\"Vas?\"", "As Chandler took them the look in the guard's eyes showed the quick\nrelease of tension that meant he was free again; and in that same\nmoment Chandler's own body was occupied once more.", "repeated the man, and it was only then that Chandler noticed the man\nwas holding a pistol, pointed at his head.", "Chandler drained his drink and shook his head. \"One question,\" he said.\n\"Who's 'we'?\"", "Chandler got out. The policeman slammed the door behind him, ripping\nrubber off his tires with the speed of his U-turn and acceleration back\ntoward Honolulu. He did not look at Chandler.", "A thin-faced man with khaki-colored skin looked up and nodded. Chandler\nnodded back. He fingered a bin of tuning knobs, hefted a coil of", "no guns. They didn't need any; Chandler had put up no resistance\nafter the first few moments--that is, he stopped as soon as he could", "and--no, vait.\" The fat man closed his eyes and Chandler felt himself\nseized and propelled down the stairs to what had once been a bay of a", "Chandler sat up and took a long pull at his drink. Curiously, it seemed\nto sober him. He said: \"It's nothing. I happened to rape and kill a" ], [ "He had seen the murderer leaving the scene of the crime, and the man\nhe had seen was in the courtroom today, watching Chandler's own trial.", "Because of the crowd they held Chandler's trial in the all-purpose room\nof the high school. It smelled of leather and stale sweat. He walked up", "Chandler caught his lawyer by the arm and jerked him away from staring\nat the scene. All of a sudden he was alive again. \"You, damn it.\nListen! The jury acquitted me, right?\"", "It was like an electric shock--the touch of her fingers and the touch\nof reality at once. Chandler said stiffly, \"My brand. But I thought you\nwere there at the trial.\"", "With unexpected clarity Chandler realized he was on trial for his life.\n\"Cook? No, I'm afraid not. I mean, I can boil eggs,\" he said. \"Nothing\nfancy.\"", "Chandler's own lawyer had pointed that out to him the day before the\ntrial. \"If it was anywhere but at the McKelvey plant, all right, but", "The odd thing about Chandler's dilemma was not merely that he was\ninnocent--in a way, that is--but that many who were guilty (in a way;", "The bailiff ordered Chandler to stand and informed him that he was\naccused of having, on the seventeenth day of June last, committed on", "The judge was having a long mumble with the court stenographer\napparently about something which had happened in the Union House the\nnight before. Chandler knew Judge Ellithorp slightly. He did not", "The lawyer came back, with the expression of a man who has won a\nvictory he did not expect, and did not want. \"Your last chance,\nChandler. Change your plea to guilty.\"\n\n\"But--\"", "Chandler's lawyer tapped him on the shoulder. \"Last chance to change\nyour mind,\" he said.\n\n\"No. I'm not guilty, and that's the way I want to plead.\"", "and unconscious later. The plant police testified to having arrested\nChandler; a doctor described in chaste medical words the derangements", "Chandler hesitated. \"Make up your mind! The best I can do otherwise is\na mistrial, and that means you'll get convicted by another jury next\nweek.\"", "His attorney asked him the question he had been waiting for: \"Tell\nus, in your own words, what happened.\" Chandler opened his mouth, and", "disappointment if Chandler had pleaded guilty. They wanted to see\none of the vilest criminals in contemporary human society caught,\nexposed, convicted and punished; they did not want to miss a step of", "prosecutor allowed her to stammer out her observation that the girl had\nclearly been raped. And she had seen Chandler laughing and breaking up\nthe place, throwing racks of cultures through the windows, upsetting", "Chandler's lawyer looked at him without emotion. He was appointed by\nthe court. He was willing to do his job, but his job didn't require him\nto like his client. All he said was, \"Stand up. The judge is coming in.\"", "Chandler's lawyer would put him on the stand, and no one would pay\nvery much attention to what he had to say, and the jury would be out", "Chandler looked puzzled, so the lawyer explained. Wasn't it possible\nthat Chandler was--consciously, subconsciously, unconsciously, call it", "\"All right, how do you plead,\" said Judge Ellithorp at last.\n\nChandler's lawyer straightened up. \"Not guilty, Your Honor, by reason\nof temporary pandemic insanity.\"" ], [ "\"Wait a minute!\" A bearded man came forward and peered furiously into\nChandler's face. \"Look at his head! Don't you see he's branded?\"", "\"H\" for \"hoaxer.\" The mark they were about to put on his forehead would\nbe with him wherever he went and as long as he lived, which would", "Chandler climbed down the ladder. With considerable pain he gentled\nthe cap over the great raw H on his forehead and began to climb the\nmountain.\n\n * * * * *", "Somehow the woolen cap had been lost. \"A brand,\" he said shortly. \"'H'\nfor 'hoaxer.' I did something when one of you people had me, and they\nthought I'd done it on my own.\"", "He shook his head. For some reason the brand on his forehead began to\nthrob.\n\n\"Well, then you know. Look out here, now.\"", "Chandler could sympathize with it, in a way. He still felt every\npain from burn, brand and wound; as they neared the embers of the", "It was like an electric shock--the touch of her fingers and the touch\nof reality at once. Chandler said stiffly, \"My brand. But I thought you\nwere there at the trial.\"", "Chandler touched his scar as the man with the beard hissed, \"Damned\nhoaxer! This is the lowest species of life on the face of the", "The cruelty of the moment was that they had all tasted hope. Chandler\nwrithed wildly against his ropes, his mind racing out of control. The", "Across the table from Chandler, Hsi looked suddenly changed. His left\nhand lay on the table before him, his right hand poised over it.\nApparently he had been about to show Chandler again the sign he had\nmade.", "\"Damn right it does, man! We're slaves, but we're not animals!\"\nChandler had gotten to him; the parts man looked startled, then sallow,\nas he observed his own vehemence.", "Hsi shook his head. \"There's meat, all right, but not here. You'll\nonly find it in the places where the execs sometimes go.... Tell me\nsomething, Chandler. What's that scar on your forehead.\"", "Chandler frowned; then felt his body taken. His lips barked:\n\"_Khorashaw!_\" His body got up and walked to the wall of Rosalie's", "Chandler rubbed his aching side, looking at the ceiling. He remembered\nthe look in Peggy Flershem's eyes as he forced himself on her. She was\nonly sixteen years old, and at that time he hadn't even known her name.", "Chandler stood staring off after him, in bright warm sunlight with a\nreek of hibiscus and rotting palms in his nostril. It was very quiet", "(\"All saved, all of us saved,\" rolled a murmur from the congregation.)\nA lean, red-headed man bounded to the platform and fussed with the\nstand of spotlights, turning one of them full on Chandler.", "Chandler also knew. He was a weapon. He might die--but it was not a\ngreat thing to die, millions had done it for nothing under the rule", "They were far gone. All of them, Chandler as much as the others. But\none of them rolled over, grinned tightly at Chandler and said, \"It's", "The bearded man, sprawling and groggy, slowly rose as Hsi explained\ntersely what he had guessed of Chandler's work--as much as Chandler", "No. Chandler didn't find himself attacking the red-headed man. He\nfound his _body_ doing it; Chandler had nothing to do with it. It was" ], [ "Long before they reached their destination Chandler had reasoned what\nit must be. He was correct: it was the islands of Hawaii.", "Chandler got out. The policeman slammed the door behind him, ripping\nrubber off his tires with the speed of his U-turn and acceleration back\ntoward Honolulu. He did not look at Chandler.", "Chandler stood staring off after him, in bright warm sunlight with a\nreek of hibiscus and rotting palms in his nostril. It was very quiet", "away again. Chandler turned his back on the paralyzed monster to flee.\nIt would be even better to try to lose himself in Honolulu--if he", "Chandler did not know it until he saw something glistening on his\nwrist, but he was weeping on the wild ride back to Honolulu in the car.", "Hours later, Chandler was not sure just how, they were in a light plane\nflying high over the Pacific, clear out of sight of land. The moon was\ngold above them, the ocean black beneath.", "Chandler was a concubine--not even that; he was a male geisha,\nconvenient to play gin rummy with, or for company on the surfboards, or\nto make a drink.", "Chandler shrugged and looked out the window ... just in time to see the\njet that had brought him to the islands once more lumbering into life.", "with some small device--Chandler could not see what--and when he looked\nagain it was gone. He did not see them take it away and did not know\nwhere it was taken. Toward midnight he suddenly realized that it was", "Chandler took thought. He was alive and free, two gifts more gracious\nthan he had had any right to expect. However, he would need food and", "Chandler offered him a cigarette out of a stale pack. \"About the other\nnight--\"\n\nHsi began to perspire, but he said, casually enough, \"Interested in\nbaseball?\"", "Chandler sat up and took a long pull at his drink. Curiously, it seemed\nto sober him. He said: \"It's nothing. I happened to rape and kill a", "\"Certainly,\" said Hsi optimistically. \"You thinking about stealing\nthem? What would you do with them?\"\n\n\"Well....\" Chandler puffed on his cigarette. \"Well, I could--\"", "Chandler marched himself out of the room and out into the driveway\nbefore his voice said to him: \"You've secured a position, then. Go back\nto Tripler until we send for you. It'll be a few days, I expect.\"", "VIII\n\nBy the morning of the fourth day on the island of Oahu, Chandler had\nlearned enough of the ropes to have signed a money-chit at the Tripler\ncurrency office against Koitska's account.", "Chandler waited. He did not understand what was going on. It was up to\nher to enlighten him, and finally she smiled and said: \"Perhaps you can", "himself knew, it seemed. \"Maybe this is only a duplicate. Maybe it\nwon't be used. But maybe it will--and Chandler's the man who can", "Chandler walked away thoughtfully. He had no real intention of going\nthere, but something in Hsi's attitude suggested more than a ball game;\nafter a quick and poor lunch he decided to go.", "repeated the man, and it was only then that Chandler noticed the man\nwas holding a pistol, pointed at his head.", "by one than he was seized by another. The work progressed rapidly,\nbut at the cost of utter exhaustion. By the end of the fourth day\nChandler had eaten only two meals and could not remember when he had" ], [ "Long before they reached their destination Chandler had reasoned what\nit must be. He was correct: it was the islands of Hawaii.", "Chandler did not know it until he saw something glistening on his\nwrist, but he was weeping on the wild ride back to Honolulu in the car.", "Chandler got out. The policeman slammed the door behind him, ripping\nrubber off his tires with the speed of his U-turn and acceleration back\ntoward Honolulu. He did not look at Chandler.", "Chandler stood staring off after him, in bright warm sunlight with a\nreek of hibiscus and rotting palms in his nostril. It was very quiet", "away again. Chandler turned his back on the paralyzed monster to flee.\nIt would be even better to try to lose himself in Honolulu--if he", "VIII\n\nBy the morning of the fourth day on the island of Oahu, Chandler had\nlearned enough of the ropes to have signed a money-chit at the Tripler\ncurrency office against Koitska's account.", "Hours later, Chandler was not sure just how, they were in a light plane\nflying high over the Pacific, clear out of sight of land. The moon was\ngold above them, the ocean black beneath.", "Chandler was a concubine--not even that; he was a male geisha,\nconvenient to play gin rummy with, or for company on the surfboards, or\nto make a drink.", "Chandler was learning at last the skills of allowing his body to have\nits own way. He couldn't help it in any event, so he was consciously", "Chandler shrugged and looked out the window ... just in time to see the\njet that had brought him to the islands once more lumbering into life.", "* * * * *\n\nThe silence was even longer; then there was a babble of discussion, but\nChandler did not take part in it. He was thinking. It was a tremendous\nthought.", "it. Chandler had spoken to a good many of them in the hour after waking\nup and before boarding the bus to Honolulu, and none of them had been\nfree with information either.", "Chandler waited. He did not understand what was going on. It was up to\nher to enlighten him, and finally she smiled and said: \"Perhaps you can", "Chandler sat up and took a long pull at his drink. Curiously, it seemed\nto sober him. He said: \"It's nothing. I happened to rape and kill a", "But it seemed that the execs were tiring too. One of the Hawaiians said\nirritably, with an accent Chandler did not recognize: \"That's pau. All", "before Chandler realized he was free. He tested his legs; they worked;\nhe got up, turned and began to walk away.", "Panicked, Chandler retreated from the body in a flash, back to his\nown; and then he began to think.", "But in the end he could not save himself; it was the girl who saved\nhim. That night Chandler tossed in troubled sleep, and woke to find", "Tardily Chandler remembered the quick grasp of the waiter's fingers on\nHsi's wrist, and that the waiter had been hovering, inconspicuously\nclose, all through their meal. Hsi was waiting for the man to return.", "Chandler offered him a cigarette out of a stale pack. \"About the other\nnight--\"\n\nHsi began to perspire, but he said, casually enough, \"Interested in\nbaseball?\"" ], [ "Chandler was a concubine--not even that; he was a male geisha,\nconvenient to play gin rummy with, or for company on the surfboards, or\nto make a drink.", "Chandler admired his courage very much. The man had fallen asleep.\n\nChandler looked at the others. \"You going to let them kill us without a\nstruggle?\" he demanded.", "No. Chandler didn't find himself attacking the red-headed man. He\nfound his _body_ doing it; Chandler had nothing to do with it. It was", "Bewildered, Chandler stood for a moment, as little able to move as\nthough the girl still had him under control. Then he leaped through a", "by one than he was seized by another. The work progressed rapidly,\nbut at the cost of utter exhaustion. By the end of the fourth day\nChandler had eaten only two meals and could not remember when he had", "and unconscious later. The plant police testified to having arrested\nChandler; a doctor described in chaste medical words the derangements", "But in the end he could not save himself; it was the girl who saved\nhim. That night Chandler tossed in troubled sleep, and woke to find", "Chandler looked puzzled, so the lawyer explained. Wasn't it possible\nthat Chandler was--consciously, subconsciously, unconsciously, call it", "Chandler felt a sudden chill.\n\nHe turned, began to walk away--and felt himself seized.\n\n * * * * *", "The man was helpless. He lay breathing like a steam engine, one eye\npressed shut against the leg of a coffee table, the other looking up at\nChandler.", "Chandler was learning at last the skills of allowing his body to have\nits own way. He couldn't help it in any event, so he was consciously", "Chandler hardly heard him. He had not expected anything like this. It\nwas a meeting, a Daumier caricature of a Thursday Afternoon Literary", "They were far gone. All of them, Chandler as much as the others. But\none of them rolled over, grinned tightly at Chandler and said, \"It's", "plane was no longer his own master. His movements seemed more sure and\nconfident, but above all it was the mute, angry eyes with which his\nfellows regarded him that gave Chandler grounds for suspicion. He had", "Chandler also knew. He was a weapon. He might die--but it was not a\ngreat thing to die, millions had done it for nothing under the rule", "Chandler frowned; then felt his body taken. His lips barked:\n\"_Khorashaw!_\" His body got up and walked to the wall of Rosalie's", "Chandler sat up and took a long pull at his drink. Curiously, it seemed\nto sober him. He said: \"It's nothing. I happened to rape and kill a", "The odd thing about Chandler's dilemma was not merely that he was\ninnocent--in a way, that is--but that many who were guilty (in a way;", "collapsed onto it. His face blanked out--he was, Chandler knew,\nsomewhere else, just then.", "before Chandler realized he was free. He tested his legs; they worked;\nhe got up, turned and began to walk away." ], [ "\"_Shto, Rosie?_\" said Chandler's mouth thickly.\n\n\"Oh, there you are, Andrei,\" she said, and spoke quickly in Russian.", "Chandler's mental processes had worked to a conclusion. \"Rosalie\n_Pan_!\" he said. \"Now I know!\"", "Chandler paused and tried to find an answer. Rosie was not either\nbelligerent or mocking. She was only sympathetically trying to reach\nhis point of view. He shook his head silently.", "Rosalie came up beside him soothingly. \"I know how you feel. Want me to\ntell you about when I went through it?\"", "tell. Rosalie was coaxing; Koitska was refusing. But he was weakening.\nAfter minutes Chandler's shoulders shrugged; he nodded; and he was\nfree.", "Chandler frowned; then felt his body taken. His lips barked:\n\"_Khorashaw!_\" His body got up and walked to the wall of Rosalie's", "Chandler waited. He did not understand what was going on. It was up to\nher to enlighten him, and finally she smiled and said: \"Perhaps you can", "And Chandler was free, and Rosalie excitedly leaping out of the bed\nbehind him, careless of the wisp of nylon that was her only garment,", "Chandler's voice answered in English, with a faint Oxford accent:\n\"It is I, Rosie, Kalman. Where's Koitska's tinkertoy? Oh, all right,", "Chandler turned to Rosalie to speak and ... it all went out ... the\nscene disappeared ... he opened his eyes, and he was back in his own\nflesh.", "beach. They fled from a room where Chandler was an old woman dying on\na bed, and Rosalie a stolid, uncaring nurse beside her. They played", "Chandler was genuinely startled at that. Rosie nodded seriously. \"If\none exec should give away something he's not supposed to it would upset", "\"Damn it, go!\" Hsi barked. \"She'll be waiting for you.... Sorry,\nI didn't mean to shout. But go.\" As Chandler turned, he said more", "An annoying feature of dining with Rosalie in the flesh, Chandler\nfound, was that half a dozen times while they were talking he found", "Chandler, prisoned inside himself, recognized that touch. Koitska! He\nknew who Rosalie Pan's lover had been. If he had been in doubt his own", "But in the end he could not save himself; it was the girl who saved\nhim. That night Chandler tossed in troubled sleep, and woke to find", "Chandler got out of the car, turned ... and felt himself taken. His\nvoice said briskly, \"_Zdrastvoi, Rosie. Gd'yeh Koitska?_\"", "IV\n\nChandler yelled hoarsely, jerking his hand away.", "keep both of them entertained while his body brought the plane in for\na landing; and so Chandler went to live in the villa that belonged to\nRosalie Pan.", "They were songs from Rosalie's own musical comedies. Even with so poor\nan instrument as Chandler's voice to work with, she sang well enough to" ], [ "too much. But by then a week had passed, and another day, and though he\ndid not know it he had only one day left. Rosalie did what she could to\nmake the days of waiting easy for him.", "Rosalie came up beside him soothingly. \"I know how you feel. Want me to\ntell you about when I went through it?\"", "Chandler, prisoned inside himself, recognized that touch. Koitska! He\nknew who Rosalie Pan's lover had been. If he had been in doubt his own", "He was lying on the pastel pile rug in Rosalie's bedroom.\n\nHe got up, rubbing the side of his face. He had tumbled, it seemed.\nRosalie was lying on the bed.", "Chandler's mental processes had worked to a conclusion. \"Rosalie\n_Pan_!\" he said. \"Now I know!\"", "worn like garments, appalled and exhilarated. He did not see Rosalie\nagain that day, she kept to her room and he locked out. He was still a", "Chandler turned to Rosalie to speak and ... it all went out ... the\nscene disappeared ... he opened his eyes, and he was back in his own\nflesh.", "tell. Rosalie was coaxing; Koitska was refusing. But he was weakening.\nAfter minutes Chandler's shoulders shrugged; he nodded; and he was\nfree.", "Chandler frowned; then felt his body taken. His lips barked:\n\"_Khorashaw!_\" His body got up and walked to the wall of Rosalie's", "membership in the club. Rosalie had proposed him. He talked with two\nCzechoslovakian ballet dancers in their persons, and a succession of", "island and found no one alive, and he had then realized that one of the\nclosest execs had been Rosalie Pan.", "He had no doubt of the identity of the exec who had saved him and\ndestroyed the others. Though he had heard the voice only as it came\nfrom his own mouth, he could not miss it. It was Rosalie Pan.", "\"I'm afraid I have--\"\n\n\"Rosalie. Call me Rosalie, dear.\"\n\n\"I'm afraid I have, Rosalie.\" For some reason the name sounded familiar.", "closed in Rosalie Pan's wink. \"Half an hour,\" Hsi said, and was again\nhimself. He began to shake.", "was that for Rosalie Pan: her telephone, her social secretary, and on\noccasion he was the garment her dates put on. For Rosalie was one", "he smoked an opium pipe; once he dined on roasted puppy. He saw many\ninteresting things and, when Rosalie was occupied without him, he had", "And Chandler was free, and Rosalie excitedly leaping out of the bed\nbehind him, careless of the wisp of nylon that was her only garment,", "\"_Shto, Rosie?_\" said Chandler's mouth thickly.\n\n\"Oh, there you are, Andrei,\" she said, and spoke quickly in Russian.", "almost content. Rosie was good company--gay, cheerful--and she had\ntreasures to share. It had been an impulse of hers, a long drive in", "When he saw her commit suicide he redoubled his efforts. It was\nincredible to him that his life had been saved, and he knew that if he" ], [ "Chandler went back into the building and brewed some strong black\ncoffee. While it was bubbling on the stove he slipped the coronet back", "She wore a coronet like the fat man's, intertwined in a complicated\nhairdo, and she got right down to business. \"Chandler, is it? All", "at his mind. But Koitska's strength was almost gone. The eyes glazed,\nand Chandler was upon him. He ripped the coronet off and flung it", "She had a coronet, and Chandler recognized her. It was the girl who had\ninterrogated him. \"I guess I am,\" he admitted.", "him the coronet. \"Now, when you see something interesting, you move\nright in. You'll see how. It's the easiest thing in the world, and--Oh,\nhere. Put it on.\"", "into the coronet Chandler had seen on the heads of Koitska and the\ngirl--but that was enough for the January push.", "It was dawn. His job was done. He carried the coronet, the only working\ncoronet in the world, in his hand. He had spent the night killing,", "Wise now in the ways of this world, Chandler commandeered a police car\nand was hurried out to the South Gate, where the guards allowed him a\ncar of his own. The door of the building was unlocked and Chandler went\nright up.", "crowding softly, warmly past him to reach inside the safe. She lifted\nout a coronet very like her own.", "As Chandler took them the look in the guard's eyes showed the quick\nrelease of tension that meant he was free again; and in that same\nmoment Chandler's own body was occupied once more.", "malfunction of the coronet or whatever, Chandler could not bank on its\nlasting.", "of the guards came toward him, with the purposeful movements Chandler\nhad learned to recognize. Without speaking the guard dug into a pocket.\nChandler jumped up instinctively, but it was only a set of car keys.", "Suspicion crossed Chandler's mind. In a moment it was confirmed, as the\nred-headed man raised his hands waist high and clasped his right hand\naround his left wrist--only for a moment, but that was enough.", "himself knew, it seemed. \"Maybe this is only a duplicate. Maybe it\nwon't be used. But maybe it will--and Chandler's the man who can", "In his own body he destroyed the installation in Oahu. A few minutes\nat Koitska's work bench, and he had changed the frequency on his own\ncoronet to transmit on the new band the leper's touch had given the\nHilo equipment.", "Chandler drove himself back to that body and, though it could not work\nwell, he could make it turn a frequency dial, using its clubbed hands\nlike sticks. He could make it throw a switch. He then caused it to", "She linked arms with him as they left the plane. \"When I was first\ngiven the coronet here,\" she reminisced, amusement in her voice, \"I", "with some small device--Chandler could not see what--and when he looked\nagain it was gone. He did not see them take it away and did not know\nwhere it was taken. Toward midnight he suddenly realized that it was", "building where his body lay. He had slit his dozen throats and fired\nbullets into his hundred hearts and hundred brains; he had entered\nbodies only long enough to feel for a coronet, and if it was there the", "\"Certainly,\" said Hsi optimistically. \"You thinking about stealing\nthem? What would you do with them?\"\n\n\"Well....\" Chandler puffed on his cigarette. \"Well, I could--\"" ], [ "The exec who had looked at him out of the boy's eyes, who had\npenetrated this nest of enemies and extricated Chandler from it, had", "Of the Executive Committee, Chandler thought she meant at first, but\nthen he thought again. No. Of the world. For the thousand execs,", "Chandler got out. The policeman slammed the door behind him, ripping\nrubber off his tires with the speed of his U-turn and acceleration back\ntoward Honolulu. He did not look at Chandler.", "Wise now in the ways of this world, Chandler commandeered a police car\nand was hurried out to the South Gate, where the guards allowed him a\ncar of his own. The door of the building was unlocked and Chandler went\nright up.", "Chandler drained his drink and shook his head. \"One question,\" he said.\n\"Who's 'we'?\"", "The ball game was a cover. Chandler was present at a meeting of what\nHsi had called The Society of Slaves, the underground that dared to pit\nitself against the execs.", "\"Now, that's another good question,\" said Chandler. \"Who is the Exec?\"\n\nHsi shook his head. \"Sorry. I don't know you, Chandler.\"", "But it seemed that the execs were tiring too. One of the Hawaiians said\nirritably, with an accent Chandler did not recognize: \"That's pau. All", "Without comment Hsi turned back to Chandler. He said, \"I believe you.\nWould you like to know why it happened? Because I think I can tell you.\nThe execs have all the antibiotics they need now.\"", "one of the other execs might dart down out of the mind-world into the\nreal, looking at the scene through Chandler's eyes and surely deducing", "Chandler was genuinely startled at that. Rosie nodded seriously. \"If\none exec should give away something he's not supposed to it would upset", "Hsi shook his head. \"There's meat, all right, but not here. You'll\nonly find it in the places where the execs sometimes go.... Tell me\nsomething, Chandler. What's that scar on your forehead.\"", "Clutching the thick sheaf of diagrams, Chandler felt himself propelled\noutside and back into the little car. The interview was over.", "He was very impatient, for when he was done he would be the only exec.\n\nAnd the execs would be only slaves.\n\n\nXV", "but Chandler understood it: What he was watching was a single member\nof the exec trying to keep a group of twenty ordinary, unarmed human\nbeings in line. The exec was leaping from mind to mind; even so, the", "and--no, vait.\" The fat man closed his eyes and Chandler felt himself\nseized and propelled down the stairs to what had once been a bay of a", "It was suicide to attempt to harm an exec. He would certainly lose his\nlife--except--that was gone already anyhow; he had lost it. He had\nnothing left to lose.\n\n\n\n\nXIV", "As Chandler took them the look in the guard's eyes showed the quick\nrelease of tension that meant he was free again; and in that same\nmoment Chandler's own body was occupied once more.", "Chandler straightened, then sat down again. The red-headed man guarding\nhim was looking away. It would be quite possible to grab his gun, run,", "went over Chandler's shoulders. The man must have weighed three hundred\npounds. Slowly, wheezing, he limped toward the back of the room and\ntouched a button." ] ]

[ "What crimes was Chandler on trial for?", "What is the name of the former Broadway star?", "What does the cult use to ward of possession?", "In the story who commits suicide? ", "Why are the execs building new equipment? ", "What is the name of the sacred text Chandler brings to Hawaii? ", "What does the letter \"H\" on Chandler's forehead stand for?", "What does the leader of the Execs die from?", "Who does the cult think is responsible for the possessions? ", "What was every government in the world attacked by?", "What did people who committed crimes without control over the actions believe was the cause?", "Who is the protagonist of the story?", "What crimes is Chandler accused of committing?", "What does the \"H\" placed on Chandler's head stand for?", "What objects does Chandler find out allows \"possessors\" to take over people's minds?", "What was Rosalie Pan's former job?", "How did the leader of the execs die?", "Who is the one person Chandler doesn't kill when dealing with the execs?", "What does Chandler do with the new equipment to close the story?", "What is Chandler on trial for?", "What did the letter H branded on Chandler's forehead stand for?", "What did Chandler take to Hawaii?", "What did Chandler learn while in Hawaii?", "Who does Chandler fall under the influence of?", "What does Roaslie want Chandler to do? ", "What happens to Rosalie's lover?", "What does Chandler do with the new coronet?", "How does Chandler get rid of the execs?" ]

[ [ "Rape and murder.", "Rape and murder" ], [ "Rosalie Pan", "rosalie pan" ], [ "Pain", "Pain" ], [ "The execs", "The execs" ], [ "To be able to leave Hawaii with their physical bodies. ", "To be able to use their technology farther away from the equipment" ], [ "The Prophet", "The Prophet by Khail Gibran " ], [ "Hoaxer", "Hoaxer" ], [ "A heart attack.", "heart attack" ], [ "Flame spirits.", "flame spirits" ], [ "its own military machinery", "Its own military machinery" ], [ "possession", "Possesion " ], [ "Chandler", "Chandler " ], [ "rape and murder", "rape and murder" ], [ "Hoaxer", "hoaxer" ], [ "coronets", "Silver Coronets" ], [ "Broadway star", "Broadway Star" ], [ "a heart attack", "heart attack" ], [ "Rosalie Pan", "rosalie" ], [ "He decides to keep it", "He causes the other execs to commit suicide" ], [ "Rape and murder.", "Rape" ], [ "Hoaxer", "hoaxer" ], [ "A copy of The Prophet by Khalil Gibran", "A book called The Prophet" ], [ "That the poccessors are people.", "the possessers are people" ], [ "Rosalie Pan", "Rosalie" ], [ "She wants him to become one of the execs.", "To join her" ], [ "He dies from a heart attack.", "He dies of a heart attack" ], [ "He uses it to wipe out the execs.", "He kills the execs. " ], [ "He gets them to commit suicide.", "He uses the new coronet." ] ]

[ [ "bears, as I think, on what one sees one's companions able to do--as\nagainst one's own falling short--envy, as I knew it at least, was simply", "appearance and type, it was Augustus James who spread widest, in default\nof towering highest, to my wistful view of the larger life, and who\ncovered definite and accessible ground. This ground, the house and", "have wished to borrow it; even while conscious that Catherine Barber's\nown people had drawn breath in American air for at least two generations\nbefore her. Our father's father, William James, an Irishman and a", "mother-in-law whom he so imperturbably puts in her place. This was an\nexhibition supposed in its day to leave its spectators little to envy in", "or the other more technical thrifty scheme. Of the beauty of his\ndissimulated anxiety and tenderness on these and various other suchlike\nheads, however, other examples will arise; for I see him now as fairly", "I remember how far ahead of us my brother seemed to keep, announcing a\n\"motive,\" producing a figure, throwing off into space conceptions that I\ncould stare at across the interval but couldn't appropriate; so that my", "who, according to his nature, or I may say to his genius, had made\nwithout loss of time great advances of acquaintance with her and\nquickened thereby my sense of his superior talent for life. Wilky's age", "their imagination and their sensibility. There may be during those\nbewildered and brooding years so little for them to \"show\" that I liken\nthe individual dunce--as he so often must appear--to some commercial", "louts peeping through the tent of the show. In return I judged their\nappearance dissipated though fascinating, and sought consolation for the\nmemory of their scorn and the loss of their exhibition, as time went on,", "deeply and privately enjoying some of his shades of scorn and seeing\nhow, given his own background, they were thoroughly founded; I remember\nabove all as burnt in by the impression he gave me of the creature", "Remains of Henry James; a reference which has the interest of being very\nnearly as characteristic of my father himself (which his references in\nalmost any connection were wont to be) as of the person or the occasion", "features of his tutelage. The basis of it all was that, harmless as he\nappeared, he was not to be trusted; I remember how portentous that truth", "the more acutely envied that the upward cock of his so all-important\nnose testified, for my fancy, to the largest range of free familiar", "handsomely through all fluttered entertainment of the occasional Albany\ncousins. I remember how when one of these visitors, wound up, in honour\nof New York, to the very fever of perception, broke out one evening", "distressing young men of means--that his successive exhibitions of it\nhad a fine high positive effect, such as would have served beautifully,\nact after act, for the descent of the curtain. The issue, however", "naturally neighbour'd and brother'd with us that the extensions of his\nrange and the charms of his position counted somehow as the limits and\nthe humilities of ours. He went neither to our schools nor to our", "without its greatness might have failed him. As the case was to turn\nnothing--that is nothing he most wanted and, remarkably, most\nenjoyed--did fail him at all. I forget with which of the possible", "In the attempt to place together some particulars of the early life of\nWilliam James and present him in his setting, his immediate native and", "see again, ever so long after, in America; an impression reminding me,\nas I recover it, of how one took his talent so thoroughly for granted\nthat he seemed somehow to get but half the credit of it: this at least", "A SMALL BOY AND OTHERS\n\n[Illustration: Henry James and his Father\nFrom a daguerreotype taken in 1854]\n\n * * * * *" ], [ "for tough subjects. Poor J. J. came back, I fear, much the same subject\nthat he went; but he had verily performed his scant office on earth,", "In the attempt to place together some particulars of the early life of\nWilliam James and present him in his setting, his immediate native and", "appearance and type, it was Augustus James who spread widest, in default\nof towering highest, to my wistful view of the larger life, and who\ncovered definite and accessible ground. This ground, the house and", "Her younger sister Gertrude, afterwards married to James--or more\ninveterately Jim--Pendleton, of Virginia, followed close upon her heels,\nliterally speaking, and though emulating her in other respects too, was", "and give his blessing to the lately-born babe who was to become the\nsecond American William James. The blessing was to be renewed, I may\nmention, in the sense that among the impressions of the next early years", "without its greatness might have failed him. As the case was to turn\nnothing--that is nothing he most wanted and, remarkably, most\nenjoyed--did fail him at all. I forget with which of the possible", "view. These were a matter of course--he recurred, he passed nearer, but\nin his moments of ease, and I clearly quite accepted the ease of his", "could ever have met his sight, and we ourselves should at a pinch have\nhad to help him toward it. He was easily interested, or at least took an", "naturally neighbour'd and brother'd with us that the extensions of his\nrange and the charms of his position counted somehow as the limits and\nthe humilities of ours. He went neither to our schools nor to our", "domestic Bible-reading and attendance at \"evening lecture,\" of the fear\nof parental discipline and the cultivated art of dodging it, combined\nwith great personal toughness and hardihood, an almost envied liability", "features of his tutelage. The basis of it all was that, harmless as he\nappeared, he was not to be trusted; I remember how portentous that truth", "equally wanting, all round, in any faculty of acquisition, we happened\nto pay for the amiable weakness less in some connections than in others.\nThe point was that we moved so oddly and consistently--as it was our", "somehow expressed--and as he was the vividest and happiest of\nletter-writers it rarely failed of coming; but once it was established\nit served him, in every case, much better than fussy challenges, which", "thrilling than parentally provided ones; and most thrilling when, in the\nodd fashion of that time, they were sent to school in New York as a\npreliminary to their being sent to school in Europe. They spent scraps", "thus indulges himself, an education like another: feeling, as he has\ncome to do more and more, that no education avails for the intelligence\nthat doesn't stir in it some subjective passion, and that on the other", "interests of his own, had still less attention for us than either of his\nthree brothers. The house at Rhinebeck and all its accessories (which", "have wished to borrow it; even while conscious that Catherine Barber's\nown people had drawn breath in American air for at least two generations\nbefore her. Our father's father, William James, an Irishman and a", "plunged. His mother and sister, also on an earlier page referred to,\nhad, from their distance, committed him to the great city to be\n\"finished,\" educationally, to the point that for our strenuous cousin", "scarce say on what arduous heights I supposed him, as a day-scholar, to\ndwell. I took the unknown always easily for the magnificent and was sure", "I can have \"studied\" with him, there remaining with me afterwards, to\ntestify--this putting any scrap of stored learning aside--no single\ntextbook save the Lambs' Tales from Shakespeare, which was given me as" ], [ "and give his blessing to the lately-born babe who was to become the\nsecond American William James. The blessing was to be renewed, I may\nmention, in the sense that among the impressions of the next early years", "Her younger sister Gertrude, afterwards married to James--or more\ninveterately Jim--Pendleton, of Virginia, followed close upon her heels,\nliterally speaking, and though emulating her in other respects too, was", "have wished to borrow it; even while conscious that Catherine Barber's\nown people had drawn breath in American air for at least two generations\nbefore her. Our father's father, William James, an Irishman and a", "A SMALL BOY AND OTHERS\n\n[Illustration: Henry James and his Father\nFrom a daguerreotype taken in 1854]\n\n * * * * *", "that the great Mr. Thackeray had come to America to lecture on The\nEnglish Humourists, and still present to me is the voice proceeding from", "In the attempt to place together some particulars of the early life of\nWilliam James and present him in his setting, his immediate native and", "appearance and type, it was Augustus James who spread widest, in default\nof towering highest, to my wistful view of the larger life, and who\ncovered definite and accessible ground. This ground, the house and", "handsomely through all fluttered entertainment of the occasional Albany\ncousins. I remember how when one of these visitors, wound up, in honour\nof New York, to the very fever of perception, broke out one evening", "thrilling than parentally provided ones; and most thrilling when, in the\nodd fashion of that time, they were sent to school in New York as a\npreliminary to their being sent to school in Europe. They spent scraps", "were full of family forms--which seemed, one dimly made out through the\nfalse perspective of all the cousinships, the stronger and clearer note\nof New England; the note that had already determined a shy yearning", "then flourished near at hand and to which he accompanied us; a party of\na composition that comes back to me as wonderful, the New York and\nAlbany cousinships appearing to have converged and met, for the happy", "visit to Mrs. Cannon rather on that occasion engaged us--memory selects\na little confusedly from such a wealth of experience. For the wonder was\nthe experience, and that was everywhere, even if I didn't so much find", "his death, I had occasion to visit, in lieu of my brother, then in\nEurope, an American city in which he had had, since his own father's", "That was European enough, and yet he had returned to America really to\nfind himself, even with every effort made immediately near him to defeat", "plunged. His mother and sister, also on an earlier page referred to,\nhad, from their distance, committed him to the great city to be\n\"finished,\" educationally, to the point that for our strenuous cousin", "appealed by some intimate and insinuating side, and as less patronised\nby the rich and the sophisticated--for even in those days some Americans\nwere rich and several sophisticated; little indeed as it was all to", "by his mother, recently restored to America for a brief stay. She held,\nI believe, in the event, that he had, under her care, given her his vow", "exhibited. Our parents had gone there for a year or two to be near our\ngrandmother on their return from their first (that is our mother's\nfirst) visit to Europe, which had quite immediately followed my birth,", "It took place in the house of our cousins Robert and Kitty Emmet the\nelder--for we were to have two cousin Kittys of that ilk and yet another", "corner of Piccadilly and Berkeley Street where more modern\nestablishments have since succeeded it, but where a fatigued and\nfamished American family found on that occasion a fine old British" ], [ "Her younger sister Gertrude, afterwards married to James--or more\ninveterately Jim--Pendleton, of Virginia, followed close upon her heels,\nliterally speaking, and though emulating her in other respects too, was", "soon looked, both in the light of his intense amiability and of sister\nHelen's absolute certitude. He wasn't to be trusted--it was the sole", "numerous at that time, who pre-eminently figured for us; the various\nbrood presided over by my father's second sister, Catherine James, who", "Albert's senior. In these facts and in the character of each of the\nthree persons involved resided the drama; which must more or less have", "noted, was however, with her views, to find no grace in it so long as\nshe lived; and his sister went back to her, and to Marseille, as they", "was, on certain contingencies, the nieces' prospective wealth. There\nwere contingencies of course--and they exactly produced the pity and\nterror. Her estate would go at her death to her nearest of kin,", "collars) and my father understood, and each understood that the other\ndid, Miss Maggie and Miss Susie being no whit behind. It was only I who", "whom and his sister and himself close cousinship, from far back, had\npractically amounted to sisterhood: by which time the other house had\nlong been another house altogether, its ancient site relinquished, its", "have wished to borrow it; even while conscious that Catherine Barber's\nown people had drawn breath in American air for at least two generations\nbefore her. Our father's father, William James, an Irishman and a", "brother being vividly bright and I quite blankly innocuous, this\nreproach was never brought home to our house. It was an humiliation to\nme at first, small boys though we were, that our instructors kept being", "daughters of two sole and much-united sisters, had been so brought up\ntogether as to have quite all the signs and accents of the same strain\nand the same nest. The cousin Helen of our young prospect was thus all", "gardeners and grooms who were notoriously and quotedly droll; to say\nnothing, in particular, of our aunt Elizabeth, who had been Miss Bay of", "plunged. His mother and sister, also on an earlier page referred to,\nhad, from their distance, committed him to the great city to be\n\"finished,\" educationally, to the point that for our strenuous cousin", "remember the lachrymose sacrifice, suppositiously were), on one of our\naunts, the youngest of his three sisters, lately married and who,", "quite in her eighth year, and arrayed apparently after the fashion of\nthe period and place; and the tradition lingered long of his having\nsuddenly laid his hand on her little flounced person and exclaimed with", "J. the elder, most loved, most beautiful, most sacrificed of the Albany\nuncles; J. J. the younger--they were young together, they were luckless", "Hamilton and his two Bavarian beauties, the elder of whom, Hildegarde,\nwas to figure for our small generation as the very type of the haughty", "Charlotte was the only proper one--and I feel sure he can have acquitted\nhimself in this particular in a manner that would have passed for\nbrilliant if such lights didn't, thanks to her stiff little standards,", "measure even at the time the presence of his sister Madame Dubreuil, a\nhandsome authoritative person who instructed us equally, in fact\npreponderantly, and who, though comparatively not sympathetic, so", "hair disposed with a laxity that was emulated by the front of her dress,\nas my next younger brother exposed himself to my derision by calling the" ], [ "which he can little enough have dreamed. Of the world he had personally\nknown there was a feature or two still extant; the legend of his acres\nand his local concerns, as well as of his solid presence among them, was", "the dream of it during years was the legend, at last quite antediluvian,\nof the dim little gentleman's early Wanderjahre, that experience of", "appearance and type, it was Augustus James who spread widest, in default\nof towering highest, to my wistful view of the larger life, and who\ncovered definite and accessible ground. This ground, the house and", "have had shocks? The coming true of the old dream produced at any rate a\nsnap of the tense cord, and the ancient worthy my imagination has, in\nthe tenderest of intentions, thus played with, disembarked in England", "and give his blessing to the lately-born babe who was to become the\nsecond American William James. The blessing was to be renewed, I may\nmention, in the sense that among the impressions of the next early years", "have wished to borrow it; even while conscious that Catherine Barber's\nown people had drawn breath in American air for at least two generations\nbefore her. Our father's father, William James, an Irishman and a", "many a mild adventure of which the secret--I like to put it so--perished\nwith him. He was to remember, as I perceived later on, many things that", "than his former protectress, had yet much more imagination; she had\nenough, in a word, for perfect confidence, and under confidence what\nremained of poor Henry's life bloomed like a garden freshly watered. Sad", "Her younger sister Gertrude, afterwards married to James--or more\ninveterately Jim--Pendleton, of Virginia, followed close upon her heels,\nliterally speaking, and though emulating her in other respects too, was", "measured his resources. Not his heart, but his imagination, in the long\nyears, had been starved; and though he was now all discreetly and wisely", "The whole question dwells for me in a single small reminiscence, though\nthere are others still: that of my having been sent to bed one evening,", "under much later information. What my childish vision was really most\npossessed of, I think, was the figure of the spectral spouse, the dim\nlittle gentleman, as I have called him, pacing the whole length of the", "senior; but I cherished the thought of the fine fearless young\nfire-eater he would have become and, when the War had broken out, I know", "it to-day, lingered on into considerably later years. I have but to\nclose my eyes in order to open them inwardly again, while I lean against", "connections, and I supposed the gentlemen very old, though since aware\nthat they must have been, for the connections, remarkably young; and the\nconversation of one of them, the one I saw oftenest up town, who", "and place that the young, were they but young enough, could take\npublicly no harm; to which adds itself moreover, and touchingly enough,\nall the difference of the old importances. It wasn't doubtless that the", "the place in after years. Then it was I felt how long before my\nattachment had started on its course--that closer vision was no\nbeginning, it only took up the tale; just as it comes to me again", "ours was on many grounds incapable. Only after years and when endless\nthings had happened--Albert having long before, in especial, quite taken\nup his stake and ostensibly dropped out of the game--did the great", "Albert's senior. In these facts and in the character of each of the\nthree persons involved resided the drama; which must more or less have", "youth in the least caught up with him or overtook him. He was always\nround the corner and out of sight, coming back into view but at his" ], [ "than his former protectress, had yet much more imagination; she had\nenough, in a word, for perfect confidence, and under confidence what\nremained of poor Henry's life bloomed like a garden freshly watered. Sad", "appearance and type, it was Augustus James who spread widest, in default\nof towering highest, to my wistful view of the larger life, and who\ncovered definite and accessible ground. This ground, the house and", "Her younger sister Gertrude, afterwards married to James--or more\ninveterately Jim--Pendleton, of Virginia, followed close upon her heels,\nliterally speaking, and though emulating her in other respects too, was", "and give his blessing to the lately-born babe who was to become the\nsecond American William James. The blessing was to be renewed, I may\nmention, in the sense that among the impressions of the next early years", "It was by some strong wave of reaction, clearly, that we were floated\nnext into the quieter haven of Mr. Richard Pulling Jenks--where cleaner", "view. These were a matter of course--he recurred, he passed nearer, but\nin his moments of ease, and I clearly quite accepted the ease of his", "That was European enough, and yet he had returned to America really to\nfind himself, even with every effort made immediately near him to defeat", "his chest. Long was I to have in my ears the repeated shriek of his\nalarm, followed by a panting babble of wonder and rage as his impetus", "Honorine's happy charges had become perfectly and if not quite serenely,\nat least ever so responsively and feelingly, familiar. Of a wondrous", "just to _be_ somewhere--almost anywhere would do--and somehow receive an\nimpression or an accession, feel a relation or a vibration. He was to go", "humility and amenity, and his long inward loneliness, of half a century,\ndid. He had bowed his head and sometimes softly scratched it during that", "In the attempt to place together some particulars of the early life of\nWilliam James and present him in his setting, his immediate native and", "long continued--that she might dispose by will; and it was but a\ntroubled comfort that, should he be living at the time of her death, the", "never in all his years of possession performed such an act. Then it was\nperhaps that I most took the measure of his fine faith in human\nconfidence as an administrative function. He had to have a _relation_,", "for edification, had placed there his difficult son. He returned with\ndelight from this judicious course and there was an hour when we\ninvoked, to intensity, a similar one in our own interest and when the", "knew at home, taking it all as if it were the most natural place in the\nworld. It was big to me, big to me with the breath of great vague", "projections of him, and only at one of his standing much at his ease: I\nsee him before the fire in the Fourteenth Street library, sturdy, with", "for a certain term protected, or promoted, his simplicity--and began, on\nhis side, to pace the well-worn field between the Fourteenth Street", "estate. He did feel rich, just as he felt generous; the misfortune was\nonly in his weak sense for meanings. That, with the whole situation,", "our complicated prospect while I lay, much at my ease--for I recall in\nparticular certain short sweet times when I could be left alone--with\nthe thick and heavy suggestions of the London room about me, the very" ], [ "handsomely through all fluttered entertainment of the occasional Albany\ncousins. I remember how when one of these visitors, wound up, in honour\nof New York, to the very fever of perception, broke out one evening", "have wished to borrow it; even while conscious that Catherine Barber's\nown people had drawn breath in American air for at least two generations\nbefore her. Our father's father, William James, an Irishman and a", "appearance and type, it was Augustus James who spread widest, in default\nof towering highest, to my wistful view of the larger life, and who\ncovered definite and accessible ground. This ground, the house and", "In the attempt to place together some particulars of the early life of\nWilliam James and present him in his setting, his immediate native and", "Her younger sister Gertrude, afterwards married to James--or more\ninveterately Jim--Pendleton, of Virginia, followed close upon her heels,\nliterally speaking, and though emulating her in other respects too, was", "They all enjoyed, in fine, while I somehow but wastefully mused--which\nwas after all my form of enjoyment; I was shy for it, though it was a", "and give his blessing to the lately-born babe who was to become the\nsecond American William James. The blessing was to be renewed, I may\nmention, in the sense that among the impressions of the next early years", "distressing young men of means--that his successive exhibitions of it\nhad a fine high positive effect, such as would have served beautifully,\nact after act, for the descent of the curtain. The issue, however", "faintest to ears polite, but where a sincerity vivid though rude was now\nsupposed to reward the curious. Our numerous attendance there under this\nspell was my first experience of the \"theatre party\" as we have enjoyed", "That was European enough, and yet he had returned to America really to\nfind himself, even with every effort made immediately near him to defeat", "connections, and I supposed the gentlemen very old, though since aware\nthat they must have been, for the connections, remarkably young; and the\nconversation of one of them, the one I saw oftenest up town, who", "which also he vainly invited W. J. and me, pointing thereby to us,\nhowever, though indirectly enough perhaps, the finest childish case we\nwere to know for the famous acceptance of the inevitable. It was", "without its greatness might have failed him. As the case was to turn\nnothing--that is nothing he most wanted and, remarkably, most\nenjoyed--did fail him at all. I forget with which of the possible", "involved. Neither then nor afterwards was the secret of \"Hot Corn\"\nrevealed to me, and the sense of privation was to be more prolonged, I", "was engaged, while exposed to our attention, in the commendable act of\nparing his nails with a smart penknife and that he didn't allow us to", "plunged. His mother and sister, also on an earlier page referred to,\nhad, from their distance, committed him to the great city to be\n\"finished,\" educationally, to the point that for our strenuous cousin", "the first time in the presence of tragedy, which the shining scene,\nroundabout, made more sinister--sharpened even to the point of my\nfeeling abashed and irrelevant, wondering why I had come. My aunt, under", "interrupt him. One of my companions, I forget which, had advised me that\nin these contacts with illustrious misfortune I was to be careful not to", "lending itself particularly to distribution on the drawingroom carpet,\nwith concomitant pressure to the same surface of the small student's\nstomach and relieving agitation of his backward heels. I make out that", "brother being vividly bright and I quite blankly innocuous, this\nreproach was never brought home to our house. It was an humiliation to\nme at first, small boys though we were, that our instructors kept being" ], [ "don't make a scene--I _insist_ on your not making a scene!\" That was all\nthe witchcraft the occasion used, but the note was none the less", "plunged. His mother and sister, also on an earlier page referred to,\nhad, from their distance, committed him to the great city to be\n\"finished,\" educationally, to the point that for our strenuous cousin", "being impressed on me by my cousin, who was tall and handsome and happy,\nwith a laugh of more beautiful sound than any laugh we were to know\nagain, that French only was speakable on the premises. I sniffed it up", "features of his tutelage. The basis of it all was that, harmless as he\nappeared, he was not to be trusted; I remember how portentous that truth", "we learned at the moment of our need, that one of the adventures, one of\nthe least lamentable, of our cousin Johnny had been his figuring as a", "the first time in the presence of tragedy, which the shining scene,\nroundabout, made more sinister--sharpened even to the point of my\nfeeling abashed and irrelevant, wondering why I had come. My aunt, under", "than we had ever seen done, above stairs or below, for victims of its\nlighter forms. What was not our dismay therefore when we suddenly\nlearnt--it must have blown right up and down the street--that mother and", "handsomely through all fluttered entertainment of the occasional Albany\ncousins. I remember how when one of these visitors, wound up, in honour\nof New York, to the very fever of perception, broke out one evening", "his chest. Long was I to have in my ears the repeated shriek of his\nalarm, followed by a panting babble of wonder and rage as his impetus", "sophisticated. The cousinship, on the other hand, all unalarmed and\nunsuspecting and unembarrassed, lived by pure serenity, sociability and", "interrupt him. One of my companions, I forget which, had advised me that\nin these contacts with illustrious misfortune I was to be careful not to", "have wished to borrow it; even while conscious that Catherine Barber's\nown people had drawn breath in American air for at least two generations\nbefore her. Our father's father, William James, an Irishman and a", "Her younger sister Gertrude, afterwards married to James--or more\ninveterately Jim--Pendleton, of Virginia, followed close upon her heels,\nliterally speaking, and though emulating her in other respects too, was", "involved. Neither then nor afterwards was the secret of \"Hot Corn\"\nrevealed to me, and the sense of privation was to be more prolonged, I", "It was with no such frippery, however, that I connected the occasional\npresence among us of the young member of the cousinship (in this case of", "own wife, for whom the dread of liberties taken in general included even\nthose that might have been allowed to herself: he had not in the least,\nlike the others in his case, married into the cousinship with us, and", "behind, was the sounds attendant on the application of blows to some\nacrobatic infant who had \"funked\" his little job. Impossible such", "brother being vividly bright and I quite blankly innocuous, this\nreproach was never brought home to our house. It was an humiliation to\nme at first, small boys though we were, that our instructors kept being", "But what most comes back to me as the very note and fragrance of the New\nYork cousinship in this general connection is a time that I remember to", "life to some extent enacts itself, with the logical consequence of your\nbeing proportionately its hero and _having_ to be taken for such. Let me\nnot dream of attempting to say for what cousin Helen took her spectral" ], [ "and yet their general story, so far as one could read it, appeared the\nstory of life. I conceived at any rate that John Walsh, celibate, lonely", "than we had ever seen done, above stairs or below, for victims of its\nlighter forms. What was not our dismay therefore when we suddenly\nlearnt--it must have blown right up and down the street--that mother and", "The whole question dwells for me in a single small reminiscence, though\nthere are others still: that of my having been sent to bed one evening,", "former of whom accepted, for our great pity, a little later on, the\noffice of closing the story. Anne King, young and frail, but not less", "entitled \"Hot Corn\" and more or less having for its subject the career\nof a little girl who hawked that familiar American luxury in the", "than his former protectress, had yet much more imagination; she had\nenough, in a word, for perfect confidence, and under confidence what\nremained of poor Henry's life bloomed like a garden freshly watered. Sad", "For the long action set in, as I have hinted, with the death of Aunt\nWyckoff, and, if rather taking its time at first to develop, maintained", "The Initials and the Boon Children--and it was thence we were returning\nwith our spoil, of which the charming novel must have been but a\nfragment. My impression composed itself of many pieces; a great and", "involved. Neither then nor afterwards was the secret of \"Hot Corn\"\nrevealed to me, and the sense of privation was to be more prolonged, I", "my father's cultivation of my company. It documents at the same time the\nabsurdest little legend of my small boyhood--the romantic tradition of\nthe value of being taken up from wherever we were staying to the queer", "This it would be interesting to worry out, might I take the time; for\nthe story wouldn't be told, I conceive, by any mere rueful glance at", "not less than the amusement, or whatever it may be, of the question of\nwhat might happen, of what in point of fact did happen, to several very\ntowny and domesticated little persons, who were confirmed in their", "this has somehow helped me to read back into it the old figures and the\nold long story, told as with excellent art. We knew the figures well\nwhile they lasted and had with them the happiest relation, but without", "Albert's senior. In these facts and in the character of each of the\nthree persons involved resided the drama; which must more or less have", "whatever, in strange far seas--according to the only legend connected\nwith him save that of his early presumption in having approached, such\nas he was, so fine a young woman, and his remarkable luck in having", "only to indulge in the last of his startled stares, only to look about\nhim in vague deprecation and give it all up. He just landed and died;", "secret for opening when he requires air and food and they may for a\nfearful fleeting instant be alone together; and the point of the picture\nis in the contrast between these melting moments and the heroine's", "approached her successfully; a luck surprisingly renewed for him, since\nit was also part of the legend that he had previously married and lost a\nbride beyond his deserts.", "matter, endowed with a consciousness and subject to irritation. For this\ndim little gentleman, so perfectly a gentleman, no appeal and no\nredress, from the beginning to the end of his career, were made or", "his chest. Long was I to have in my ears the repeated shriek of his\nalarm, followed by a panting babble of wonder and rage as his impetus" ], [ "appearance and type, it was Augustus James who spread widest, in default\nof towering highest, to my wistful view of the larger life, and who\ncovered definite and accessible ground. This ground, the house and", "Her younger sister Gertrude, afterwards married to James--or more\ninveterately Jim--Pendleton, of Virginia, followed close upon her heels,\nliterally speaking, and though emulating her in other respects too, was", "have wished to borrow it; even while conscious that Catherine Barber's\nown people had drawn breath in American air for at least two generations\nbefore her. Our father's father, William James, an Irishman and a", "In the attempt to place together some particulars of the early life of\nWilliam James and present him in his setting, his immediate native and", "matter, endowed with a consciousness and subject to irritation. For this\ndim little gentleman, so perfectly a gentleman, no appeal and no\nredress, from the beginning to the end of his career, were made or", "than we had ever seen done, above stairs or below, for victims of its\nlighter forms. What was not our dismay therefore when we suddenly\nlearnt--it must have blown right up and down the street--that mother and", "for tough subjects. Poor J. J. came back, I fear, much the same subject\nthat he went; but he had verily performed his scant office on earth,", "his chest. Long was I to have in my ears the repeated shriek of his\nalarm, followed by a panting babble of wonder and rage as his impetus", "plunged. His mother and sister, also on an earlier page referred to,\nhad, from their distance, committed him to the great city to be\n\"finished,\" educationally, to the point that for our strenuous cousin", "only to indulge in the last of his startled stares, only to look about\nhim in vague deprecation and give it all up. He just landed and died;", "than his former protectress, had yet much more imagination; she had\nenough, in a word, for perfect confidence, and under confidence what\nremained of poor Henry's life bloomed like a garden freshly watered. Sad", "and give his blessing to the lately-born babe who was to become the\nsecond American William James. The blessing was to be renewed, I may\nmention, in the sense that among the impressions of the next early years", "tumbled, all too weakly, out of bed and wavered toward the bell just\nacross the room. The question of whether I really reached and rang it\nwas to remain lost afterwards in the strong sick whirl of everything", "features of his tutelage. The basis of it all was that, harmless as he\nappeared, he was not to be trusted; I remember how portentous that truth", "measured his resources. Not his heart, but his imagination, in the long\nyears, had been starved; and though he was now all discreetly and wisely", "already noted, as if he had all the while known, as if he had really\nbeen a conscious victim to the superstition of his blackness. His final", "many a mild adventure of which the secret--I like to put it so--perished\nwith him. He was to remember, as I perceived later on, many things that", "ours was on many grounds incapable. Only after years and when endless\nthings had happened--Albert having long before, in especial, quite taken\nup his stake and ostensibly dropped out of the game--did the great", "correctly remember, that she kept him low. Our Mr. Dick was suffered to\nindulge his passions but on ten cents a day, while his fortune, under", "humility and amenity, and his long inward loneliness, of half a century,\ndid. He had bowed his head and sometimes softly scratched it during that" ], [ "deeply and privately enjoying some of his shades of scorn and seeing\nhow, given his own background, they were thoroughly founded; I remember\nabove all as burnt in by the impression he gave me of the creature", "for tough subjects. Poor J. J. came back, I fear, much the same subject\nthat he went; but he had verily performed his scant office on earth,", "plunged. His mother and sister, also on an earlier page referred to,\nhad, from their distance, committed him to the great city to be\n\"finished,\" educationally, to the point that for our strenuous cousin", "professed amazement, and even occasionally impatience, at my reach of\nreminiscence--liking as he did to brush away old moral scraps in favour", "brother being vividly bright and I quite blankly innocuous, this\nreproach was never brought home to our house. It was an humiliation to\nme at first, small boys though we were, that our instructors kept being", "features of his tutelage. The basis of it all was that, harmless as he\nappeared, he was not to be trusted; I remember how portentous that truth", "Gringalet failed to claim his attention, and Mademoiselle Danse, I make\nout, deprecated his theory of exact knowledge, besides thinking him", "appearance and type, it was Augustus James who spread widest, in default\nof towering highest, to my wistful view of the larger life, and who\ncovered definite and accessible ground. This ground, the house and", "measured his resources. Not his heart, but his imagination, in the long\nyears, had been starved; and though he was now all discreetly and wisely", "interests of his own, had still less attention for us than either of his\nthree brothers. The house at Rhinebeck and all its accessories (which", "Her younger sister Gertrude, afterwards married to James--or more\ninveterately Jim--Pendleton, of Virginia, followed close upon her heels,\nliterally speaking, and though emulating her in other respects too, was", "been often for him a deprecated, still less an actively rebuffed suitor,\nbecause, as I say again, such aggressions were so little in order for", "ingenuously invited him to show me how to do it, and then, on his\ntreating me with scorn, renewed without dignity my fond solicitation.", "must promptly have known. This impression was promoted by his moving in\na distant, a higher sphere of study, amid scenes vague to me; I dimly", "have wished to borrow it; even while conscious that Catherine Barber's\nown people had drawn breath in American air for at least two generations\nbefore her. Our father's father, William James, an Irishman and a", "the first Empire, to the scenes of the Revolution--this perhaps partly\nby reason, in the first place, of his scorn of our pronunciation, when", "expressed themselves in terms of magnificent scorn--such as might\nnaturally proceed, I think I felt, from a mightier race; they spoke of", "she cared no scrap, and my father, the person in all his family most\njustly appealed and most anxiously listened to, had been urged to come\nand support her in a separation that she passionately rejected. Vivid to", "naturally neighbour'd and brother'd with us that the extensions of his\nrange and the charms of his position counted somehow as the limits and\nthe humilities of ours. He went neither to our schools nor to our", "That was European enough, and yet he had returned to America really to\nfind himself, even with every effort made immediately near him to defeat" ], [ "A SMALL BOY AND OTHERS\n\n[Illustration: Henry James and his Father\nFrom a daguerreotype taken in 1854]\n\n * * * * *", "Her younger sister Gertrude, afterwards married to James--or more\ninveterately Jim--Pendleton, of Virginia, followed close upon her heels,\nliterally speaking, and though emulating her in other respects too, was", "have wished to borrow it; even while conscious that Catherine Barber's\nown people had drawn breath in American air for at least two generations\nbefore her. Our father's father, William James, an Irishman and a", "In the attempt to place together some particulars of the early life of\nWilliam James and present him in his setting, his immediate native and", "and give his blessing to the lately-born babe who was to become the\nsecond American William James. The blessing was to be renewed, I may\nmention, in the sense that among the impressions of the next early years", "J. the elder, most loved, most beautiful, most sacrificed of the Albany\nuncles; J. J. the younger--they were young together, they were luckless", "A SMALL BOY AND OTHERS\n\nBY\n\nHENRY JAMES\n\nNEW YORK\nCHARLES SCRIBNER'S SONS\n1913", "Albert's senior. In these facts and in the character of each of the\nthree persons involved resided the drama; which must more or less have", "appearance and type, it was Augustus James who spread widest, in default\nof towering highest, to my wistful view of the larger life, and who\ncovered definite and accessible ground. This ground, the house and", "interests of his own, had still less attention for us than either of his\nthree brothers. The house at Rhinebeck and all its accessories (which", "eldest boys, were very markedly to people our preliminary scene; this\nbeing true in particular of three of them, the sharply differing\nbrothers and the second sister, Mary Temple, radiant and rare,", "numerous at that time, who pre-eminently figured for us; the various\nbrood presided over by my father's second sister, Catherine James, who", "meanly to play in the hitherto unclouded long vacation. This was true at\nleast for myself and my next younger brother, Wilky, who, under the", "Remains of Henry James; a reference which has the interest of being very\nnearly as characteristic of my father himself (which his references in\nalmost any connection were wont to be) as of the person or the occasion", "brother being vividly bright and I quite blankly innocuous, this\nreproach was never brought home to our house. It was an humiliation to\nme at first, small boys though we were, that our instructors kept being", "and dryness of the Wards; their homely grace was all their own and was\nalso embodied in three brothers, Eugene, Reginald, Albert, whose ages", "and promise that I at this time began to see definitely determined in my\nbrother. As I catch W. J.'s image, from far back, at its most\ncharacteristic, he sits drawing and drawing, always drawing, especially", "plunged. His mother and sister, also on an earlier page referred to,\nhad, from their distance, committed him to the great city to be\n\"finished,\" educationally, to the point that for our strenuous cousin", "she nor Gussy quite achieved the range of their elder brother, \"Bob\" of\nthat ilk, a handsome young man, a just blurred, attractive, illusive", "of this order connects itself, and quite three years later, with the old\ndingy Vaudeville of the Place de la Bourse, where I saw in my brother's" ], [ "Gringalet failed to claim his attention, and Mademoiselle Danse, I make\nout, deprecated his theory of exact knowledge, besides thinking him", "They all enjoyed, in fine, while I somehow but wastefully mused--which\nwas after all my form of enjoyment; I was shy for it, though it was a", "and fairer and more dashing, the dancing, Miss Malvina, who footed it\nand tambourined it and shawled it, irruptively, in lonely state. When", "extraordinary footing in such an assembly, the occasion of a dance of my\nelders, youthful elders but young married people, into which, really, my\nmother, as a participant, must have introduced me.", "the first time in the presence of tragedy, which the shining scene,\nroundabout, made more sinister--sharpened even to the point of my\nfeeling abashed and irrelevant, wondering why I had come. My aunt, under", "the American scene might indeed have been said at that time to be\npositively ordered. Wasn't the fact that the dancing passion was so out\nof proportion to any social resource just one of the signs of the", "quite in her eighth year, and arrayed apparently after the fashion of\nthe period and place; and the tradition lingered long of his having\nsuddenly laid his hand on her little flounced person and exclaimed with", "these figures, that of Mademoiselle Danse, the most Parisian, and\nprodigiously so, was afterwards to stand out for us quite luridly--a", "Charlotte was the only proper one--and I feel sure he can have acquitted\nhimself in this particular in a manner that would have passed for\nbrilliant if such lights didn't, thanks to her stiff little standards,", "involved. Neither then nor afterwards was the secret of \"Hot Corn\"\nrevealed to me, and the sense of privation was to be more prolonged, I", "the preparations, however, without recovering the performance; Mrs. L.\nand I must have been the only persons not shaking a foot, and premature", "brother being vividly bright and I quite blankly innocuous, this\nreproach was never brought home to our house. It was an humiliation to\nme at first, small boys though we were, that our instructors kept being", "Honorine's happy charges had become perfectly and if not quite serenely,\nat least ever so responsively and feelingly, familiar. Of a wondrous", "developments. But the romance of the hour was particularly in what I\nhave called the eccentric note, the fact that the children, my\nentertainers, riveted my gaze to stockingless and shoeless legs and", "back for a second to _her_) and the fact that a great smooth white cloth\nwas spread across the denuded room, converted thus into a field of\nfrolic the prospect of which much excited my curiosity. I but recover", "George and the stout, the very stout, Henry of the former, whom I see\nbounding before a gathered audience for the execution of a _pas seul_,", "occasion, with the generations and sexes melting together and moving in\na loose harmonious band. The party must have been less numerous than by\nthe romantic tradition or confused notation of my youth, and what I", "than his former protectress, had yet much more imagination; she had\nenough, in a word, for perfect confidence, and under confidence what\nremained of poor Henry's life bloomed like a garden freshly watered. Sad", "took place. The Fezandié young men were as much abroad as might be, and\nyet figured to me--largely by the upsetting force of that confidence,", "elegantly out as she had gymnastically floated in, and \"ces dames\" must\nmuch have wished they could emulate her art. Save for this my view of" ], [ "intensities clearly became \"scenes\"; but the great thing, the immense\nillumination, was that we could make them or not as we chose. It was a\nlong time of course before I began to distinguish between those within", "composed, in scenes; though how much, or how far, the scenes \"came\" is\nanother affair. Entrances, exits, the indication of \"business,\" the", "most laboured, served for the illustration of what I had verbally\npresented. Every scene had thus its explanatory picture, and as each\nact--though I am not positively certain I arrived at acts--would have", "addiction to scenes, presently quite dropped. I was capable of learning,\nthough with inordinate slowness, to express ideas in scenes, and was not\ncapable, with whatever patience, of making proper pictures; yet I", "had been itself a scene, quite enough of one, and I had become aware\nwith it of a rich accession of possibilities.", "any moment quite know what I was writing about: I am sure I couldn't\notherwise have written so much. With scenes, when I think, what", "right as possible. I see the actors move again through the high, rather\nbedimmed rooms--it is always a matter of winter twilight, firelight,", "been created, and that it quite differed from that often almost complete\ninward blankness, in respect to any circumjacent, any constituted, order\nto the exhibition of which our earlier air and our family scene had", "and dress thereby so endeared to memory, that it was for long afterwards\na shock to me at the theatre not to see just those bright images, with", "_féerie_, did seem to lift the whole scenic possibility, for our eyes,\ninto a higher sphere of light and grace than any previously disclosed. I", "but scantly boys, had been so lost, on that scene, in our heap of\ndisparities; and it pressed upon me after a fashion of its own that", "him. These screens rested sociably against trees and lamp-posts as well\nas against walls and fences, to all of which they were, I suppose,", "picture replaced. I made this, when I had the luck, pass for an\nevent--yet an event which would _have_ to have had for its scene the", "deficient. It didn't in the least matter accordingly whether or no a\nscene _was_ then proceeded to--and I have lost all count of what", "did was thus to flutter down on every stage, literally without\nexception, in America and Europe. If the amount of life represented in\nsuch a work is measurable by the ease with which representation is taken", "least, to my vague divination, the scene and the figures were there, not\nexcluding the chorus, and I must have had the instinct of their being as", "periods and places, other constantly \"quiet\" but vivid exhibitions, to\nthe very end of the story--which for myself was the impression, first,", "offered flowers or goodnesses, the scenes and figures intended to\ncomfort and cheer, present themselves under his hand as but more subtly\nsinister, or more suggestively queer, than the frank badnesses and", "absurd, scene. I see places of that general time, even places of\nconfinement, in a dusty golden light that special memories of small", "the time, and some of which, forms of discomfort and annoyance, linger\non to this day. The playhouse, in short, was almost a place of physical" ], [ "in that general reminiscence--to a family whom we reached in what struck\nme as a quite lovely embowered place, on a very hot day, and among whom", "meeting in the hall a most amiable and irreproachable gentleman, all\nbut closely consanguineous, who had come to call on my mother, I", "than we had ever seen done, above stairs or below, for victims of its\nlighter forms. What was not our dismay therefore when we suddenly\nlearnt--it must have blown right up and down the street--that mother and", "making their acquaintance (and prolonging it no further than our\nconscientious friend thought advisable) I half expected, when alone, to\nmeet quite dreadfully on the staircase or on opening a door. All this", "in noting that the bounds of their fame seemed somehow to have been\nstayed. I neither \"met\" them nor heard of them again. The little\nBatemans must have obscured their comparatively dim lustre, flourishing", "grateful a relation with them. They must have been, with their\noffshoots of Martinettis and others, of three or four generations,\nbesides being of a rich theatrical stock generally, and we had our", "could ever have met his sight, and we ourselves should at a pinch have\nhad to help him toward it. He was easily interested, or at least took an", "then flourished near at hand and to which he accompanied us; a party of\na composition that comes back to me as wonderful, the New York and\nAlbany cousinships appearing to have converged and met, for the happy", "were, for that matter, when the genial family itself, installed so at\nits ease, failed us with an effect of abruptness, simply ceased, in", "who had been introduced to us as the niece--or could it have been the\ngrandniece?--of the celebrated Casimir, and a large Russian lady in an", "else, much smaller than one had remembered it; yet this too without\nprejudice to the large, the lustrous part played in our prospect by that\ninteresting family. I saddle their mild memory a bit \"subjectively\"", "of associated piety. Those and others with them were the numerous\ndawnings on which in many cases the deepening and final darknesses were\nso soon to follow: our father's family was to offer such a chronicle of", "exhibited. Our parents had gone there for a year or two to be near our\ngrandmother on their return from their first (that is our mother's\nfirst) visit to Europe, which had quite immediately followed my birth,", "form upon the world. This genial girl, like her brother, was in the\ngrand situation of having no home and of carrying on life, such a\nsplendid kind of life, by successive visits to relations; though neither", "made their points as well as the rest of us. The interest of the place\nwas that the uncles were somehow always under discussion--as to where\nthey at the moment might be, or as to when they were expected, or above", "of our friends' resources, as it brought them out, by the far stretch of\nthe rope, into the bosom of the house and against our very hearts, where", "once. The Boon Children, conveyed thus to New Brighton under care of a\nlady in whose aspect the strain of the resolute triumphed over the note", "at any rate that they ignored him less than their owners were doing.\nThese latter good people, who had been so fond of their humble\ndependents and supposed this affection returned, were shocked at such", "Honorine's happy charges had become perfectly and if not quite serenely,\nat least ever so responsively and feelingly, familiar. Of a wondrous", "connections, and I supposed the gentlemen very old, though since aware\nthat they must have been, for the connections, remarkably young; and the\nconversation of one of them, the one I saw oftenest up town, who" ], [ "have wished to borrow it; even while conscious that Catherine Barber's\nown people had drawn breath in American air for at least two generations\nbefore her. Our father's father, William James, an Irishman and a", "appearance and type, it was Augustus James who spread widest, in default\nof towering highest, to my wistful view of the larger life, and who\ncovered definite and accessible ground. This ground, the house and", "than his former protectress, had yet much more imagination; she had\nenough, in a word, for perfect confidence, and under confidence what\nremained of poor Henry's life bloomed like a garden freshly watered. Sad", "plunged. His mother and sister, also on an earlier page referred to,\nhad, from their distance, committed him to the great city to be\n\"finished,\" educationally, to the point that for our strenuous cousin", "when, just before our own return, he had come back to America for the\npurpose, if my memory serves, of entering the Harvard Law School; and to\nsee him still always with the smile that was essentially as facial, as", "measured his resources. Not his heart, but his imagination, in the long\nyears, had been starved; and though he was now all discreetly and wisely", "which he can little enough have dreamed. Of the world he had personally\nknown there was a feature or two still extant; the legend of his acres\nand his local concerns, as well as of his solid presence among them, was", "That was European enough, and yet he had returned to America really to\nfind himself, even with every effort made immediately near him to defeat", "and give his blessing to the lately-born babe who was to become the\nsecond American William James. The blessing was to be renewed, I may\nmention, in the sense that among the impressions of the next early years", "In the attempt to place together some particulars of the early life of\nWilliam James and present him in his setting, his immediate native and", "have had shocks? The coming true of the old dream produced at any rate a\nsnap of the tense cord, and the ancient worthy my imagination has, in\nthe tenderest of intentions, thus played with, disembarked in England", "many a mild adventure of which the secret--I like to put it so--perished\nwith him. He was to remember, as I perceived later on, many things that", "It was by some strong wave of reaction, clearly, that we were floated\nnext into the quieter haven of Mr. Richard Pulling Jenks--where cleaner", "handsomely through all fluttered entertainment of the occasional Albany\ncousins. I remember how when one of these visitors, wound up, in honour\nof New York, to the very fever of perception, broke out one evening", "operations that were to mean much for many of my coming years. Those of\nquiet Mr. Crowe held me spellbound--I was to circle so wistfully, as", "Her younger sister Gertrude, afterwards married to James--or more\ninveterately Jim--Pendleton, of Virginia, followed close upon her heels,\nliterally speaking, and though emulating her in other respects too, was", "only to indulge in the last of his startled stares, only to look about\nhim in vague deprecation and give it all up. He just landed and died;", "features of his tutelage. The basis of it all was that, harmless as he\nappeared, he was not to be trusted; I remember how portentous that truth", "with a thick imaginative aura; but that constituted for me an activity\nthan which I could dream of none braver or wilder. We went to the office", "his chest. Long was I to have in my ears the repeated shriek of his\nalarm, followed by a panting babble of wonder and rage as his impetus" ], [ "that the great Mr. Thackeray had come to America to lecture on The\nEnglish Humourists, and still present to me is the voice proceeding from", "scene of Dickens, now so changed and superseded; it offered to my\npresumptuous vision still more the reflection of Thackeray--and where is", "might be handsomest in the thoroughly weathered condition, would have\nseemed the straightest appeal to curiosity had not the old Thackerayan\nside, as I may comprehensively call it, and the scattered wealth of", "only by association was he a Thackerayan figure, but much as if the\nmaster's hand had stamped him with the outline and the value, with life", "the obliging sitter my father, who sat in response to Mr. Thackeray's\ndesire that his protégé should find employment. The protector after a", "quite in her eighth year, and arrayed apparently after the fashion of\nthe period and place; and the tradition lingered long of his having\nsuddenly laid his hand on her little flounced person and exclaimed with", "every waste, seems to have struck me as funny in those years; but he was\nto remain with me a picture of somebody in Dickens, one of the Phiz if", "expressed themselves in terms of magnificent scorn--such as might\nnaturally proceed, I think I felt, from a mightier race; they spoke of", "deeply and privately enjoying some of his shades of scorn and seeing\nhow, given his own background, they were thoroughly founded; I remember\nabove all as burnt in by the impression he gave me of the creature", "correctly remember, that she kept him low. Our Mr. Dick was suffered to\nindulge his passions but on ten cents a day, while his fortune, under", "Thus we had ever the amusement, since I can really call it nothing less,\nof hearing morality, or moralism, as it was more invidiously worded,", "been perhaps a pathetic picture, but we had field-days too, when we\naccompanied our excellent friend to the Tower, the Thames Tunnel, St.", "Dickens, and it was clear to us through our long ordeal that our elders\nmust, by some mistaken law of compensation, some refinement of the", "that when he was one of Thackeray's own successes?--in the minor line,\nbut with such a grace and such a truth, those of some dim second cousin\nto Colonel Newcome.", "hard as they could as if they were there for mere harmless amusement--it\nwas as good, among them, as just _being_ Arthur Pendennis to know so", "Nicholas Nickleby that gracelessly managed to be all tearful melodrama,\nlong-lost foundlings, wicked Ralph Nicklebys and scowling Arthur Grides,", "character as that; she had arrived among us full-fledged and consummate,\nfortunately for the case altogether--as our mere candid humanity would\notherwise have had scant practical pressure to bring. Thackeray's novel", "dreadful to think, comparatively under his thumb. He extremely\nresembles, to my mind's eye, certain figures in Phiz's illustrations to", "trifle confusedly. Isn't it he whom I remember as a monstrous Micawber,\nthe coarse parody of a charming creation, with the entire baldness of a", "than we had ever seen done, above stairs or below, for victims of its\nlighter forms. What was not our dismay therefore when we suddenly\nlearnt--it must have blown right up and down the street--that mother and" ], [ "that the great Mr. Thackeray had come to America to lecture on The\nEnglish Humourists, and still present to me is the voice proceeding from", "deeply and privately enjoying some of his shades of scorn and seeing\nhow, given his own background, they were thoroughly founded; I remember\nabove all as burnt in by the impression he gave me of the creature", "noted, was however, with her views, to find no grace in it so long as\nshe lived; and his sister went back to her, and to Marseille, as they", "scene of Dickens, now so changed and superseded; it offered to my\npresumptuous vision still more the reflection of Thackeray--and where is", "soon looked, both in the light of his intense amiability and of sister\nHelen's absolute certitude. He wasn't to be trusted--it was the sole", "she cared no scrap, and my father, the person in all his family most\njustly appealed and most anxiously listened to, had been urged to come\nand support her in a separation that she passionately rejected. Vivid to", "the obliging sitter my father, who sat in response to Mr. Thackeray's\ndesire that his protégé should find employment. The protector after a", "correctly remember, that she kept him low. Our Mr. Dick was suffered to\nindulge his passions but on ten cents a day, while his fortune, under", "might be handsomest in the thoroughly weathered condition, would have\nseemed the straightest appeal to curiosity had not the old Thackerayan\nside, as I may comprehensively call it, and the scattered wealth of", "remember the lachrymose sacrifice, suppositiously were), on one of our\naunts, the youngest of his three sisters, lately married and who,", "incorrigibly smiling) succumbed. His mother had by this time indignantly\nreturned to Europe, accompanied by her daughter and her younger son--the", "only by association was he a Thackerayan figure, but much as if the\nmaster's hand had stamped him with the outline and the value, with life", "quite in her eighth year, and arrayed apparently after the fashion of\nthe period and place; and the tradition lingered long of his having\nsuddenly laid his hand on her little flounced person and exclaimed with", "than his former protectress, had yet much more imagination; she had\nenough, in a word, for perfect confidence, and under confidence what\nremained of poor Henry's life bloomed like a garden freshly watered. Sad", "together, and the combination was as strange as the disaster was\nsweeping; and the daughter and sister, amplest of the \"natural,\" easiest\nof the idle, who lived on to dress their memory with every thread and", "as it was taken in those days, and was in the event very scantly to\nsurvive him--she had been ordered away in her own interest, for which", "whom and his sister and himself close cousinship, from far back, had\npractically amounted to sisterhood: by which time the other house had\nlong been another house altogether, its ancient site relinquished, its", "and sister, exactly as he should have done to accentuate prophetically\nhis resemblance, save for the spectacles, to some hero of Victor", "hair disposed with a laxity that was emulated by the front of her dress,\nas my next younger brother exposed himself to my derision by calling the", "Her younger sister Gertrude, afterwards married to James--or more\ninveterately Jim--Pendleton, of Virginia, followed close upon her heels,\nliterally speaking, and though emulating her in other respects too, was" ], [ "A SMALL BOY AND OTHERS\n\n[Illustration: Henry James and his Father\nFrom a daguerreotype taken in 1854]\n\n * * * * *", "Her younger sister Gertrude, afterwards married to James--or more\ninveterately Jim--Pendleton, of Virginia, followed close upon her heels,\nliterally speaking, and though emulating her in other respects too, was", "have wished to borrow it; even while conscious that Catherine Barber's\nown people had drawn breath in American air for at least two generations\nbefore her. Our father's father, William James, an Irishman and a", "and give his blessing to the lately-born babe who was to become the\nsecond American William James. The blessing was to be renewed, I may\nmention, in the sense that among the impressions of the next early years", "In the attempt to place together some particulars of the early life of\nWilliam James and present him in his setting, his immediate native and", "J. the elder, most loved, most beautiful, most sacrificed of the Albany\nuncles; J. J. the younger--they were young together, they were luckless", "Albert's senior. In these facts and in the character of each of the\nthree persons involved resided the drama; which must more or less have", "A SMALL BOY AND OTHERS\n\nBY\n\nHENRY JAMES\n\nNEW YORK\nCHARLES SCRIBNER'S SONS\n1913", "interests of his own, had still less attention for us than either of his\nthree brothers. The house at Rhinebeck and all its accessories (which", "Remains of Henry James; a reference which has the interest of being very\nnearly as characteristic of my father himself (which his references in\nalmost any connection were wont to be) as of the person or the occasion", "appearance and type, it was Augustus James who spread widest, in default\nof towering highest, to my wistful view of the larger life, and who\ncovered definite and accessible ground. This ground, the house and", "and dryness of the Wards; their homely grace was all their own and was\nalso embodied in three brothers, Eugene, Reginald, Albert, whose ages", "numerous at that time, who pre-eminently figured for us; the various\nbrood presided over by my father's second sister, Catherine James, who", "she nor Gussy quite achieved the range of their elder brother, \"Bob\" of\nthat ilk, a handsome young man, a just blurred, attractive, illusive", "brother being vividly bright and I quite blankly innocuous, this\nreproach was never brought home to our house. It was an humiliation to\nme at first, small boys though we were, that our instructors kept being", "meanly to play in the hitherto unclouded long vacation. This was true at\nleast for myself and my next younger brother, Wilky, who, under the", "eldest boys, were very markedly to people our preliminary scene; this\nbeing true in particular of three of them, the sharply differing\nbrothers and the second sister, Mary Temple, radiant and rare,", "plunged. His mother and sister, also on an earlier page referred to,\nhad, from their distance, committed him to the great city to be\n\"finished,\" educationally, to the point that for our strenuous cousin", "to Richard Pulling himself; of whom I recall my brother's saying to me,\nat a considerably later time, and with an authority that affected me as", "of this order connects itself, and quite three years later, with the old\ndingy Vaudeville of the Place de la Bourse, where I saw in my brother's" ], [ "for tough subjects. Poor J. J. came back, I fear, much the same subject\nthat he went; but he had verily performed his scant office on earth,", "In the attempt to place together some particulars of the early life of\nWilliam James and present him in his setting, his immediate native and", "appearance and type, it was Augustus James who spread widest, in default\nof towering highest, to my wistful view of the larger life, and who\ncovered definite and accessible ground. This ground, the house and", "equally wanting, all round, in any faculty of acquisition, we happened\nto pay for the amiable weakness less in some connections than in others.\nThe point was that we moved so oddly and consistently--as it was our", "quite revelled in it; whereas other impressions of my brief ordeal\nshrink, for anything in the nature of interest, but to three or four\nrecovered marks of the social composition of the school. There were the", "naturally neighbour'd and brother'd with us that the extensions of his\nrange and the charms of his position counted somehow as the limits and\nthe humilities of ours. He went neither to our schools nor to our", "of interest. We had fared across the sea under the glamour of the Swiss\nschool in the abstract, but the Swiss school in the concrete soon turned\nstale on our hands; a fact over which I remember myself as no further", "thrilling than parentally provided ones; and most thrilling when, in the\nodd fashion of that time, they were sent to school in New York as a\npreliminary to their being sent to school in Europe. They spent scraps", "and give his blessing to the lately-born babe who was to become the\nsecond American William James. The blessing was to be renewed, I may\nmention, in the sense that among the impressions of the next early years", "features of his tutelage. The basis of it all was that, harmless as he\nappeared, he was not to be trusted; I remember how portentous that truth", "degree open to us, that of the English school away from home (the London\nprivate school near home they would absolutely none of;) which they saw\nas a fearful and wonderful, though seemingly effective, preparation of", "come out early in the 'fifties and had engaged our fondest study. It is\nthe copious chronicle, by a schoolmaster o£ endless humour and", "Her younger sister Gertrude, afterwards married to James--or more\ninveterately Jim--Pendleton, of Virginia, followed close upon her heels,\nliterally speaking, and though emulating her in other respects too, was", "in their dumb vague way, against weakness of situation or of direct and\napplied faculty, were in themselves really a revel of spirit and\nthought. It _had_ indeed again an effect of almost pathetic incoherence", "have wished to borrow it; even while conscious that Catherine Barber's\nown people had drawn breath in American air for at least two generations\nbefore her. Our father's father, William James, an Irishman and a", "that my main association with my \"studies,\" whether of the infant or the\nadolescent order, should be with almost anything but the fact of\nlearning--of learning, I mean, what I was supposed to learn. I could", "domestic Bible-reading and attendance at \"evening lecture,\" of the fear\nof parental discipline and the cultivated art of dodging it, combined\nwith great personal toughness and hardihood, an almost envied liability", "those days, so much diffused, \"was the language of the family\"; but I\nthink it must have appeared to these students in general a family of\nwhich the youngest members were but scantly kept in their place. We", "interests of his own, had still less attention for us than either of his\nthree brothers. The house at Rhinebeck and all its accessories (which", "finality was to break down. Most of the works of the modern schools that\nwe most admired are begging their bread, I fear, from door to door--that" ], [ "and give his blessing to the lately-born babe who was to become the\nsecond American William James. The blessing was to be renewed, I may\nmention, in the sense that among the impressions of the next early years", "plunged. His mother and sister, also on an earlier page referred to,\nhad, from their distance, committed him to the great city to be\n\"finished,\" educationally, to the point that for our strenuous cousin", "being impressed on me by my cousin, who was tall and handsome and happy,\nwith a laugh of more beautiful sound than any laugh we were to know\nagain, that French only was speakable on the premises. I sniffed it up", "have wished to borrow it; even while conscious that Catherine Barber's\nown people had drawn breath in American air for at least two generations\nbefore her. Our father's father, William James, an Irishman and a", "his chest. Long was I to have in my ears the repeated shriek of his\nalarm, followed by a panting babble of wonder and rage as his impetus", "appearance and type, it was Augustus James who spread widest, in default\nof towering highest, to my wistful view of the larger life, and who\ncovered definite and accessible ground. This ground, the house and", "Her younger sister Gertrude, afterwards married to James--or more\ninveterately Jim--Pendleton, of Virginia, followed close upon her heels,\nliterally speaking, and though emulating her in other respects too, was", "behind, was the sounds attendant on the application of blows to some\nacrobatic infant who had \"funked\" his little job. Impossible such", "urgency of my own appeal to him--tell us stories of the world of his\nyouth. He regaled us with no scandals, yet it somehow rarely failed to", "quite in her eighth year, and arrayed apparently after the fashion of\nthe period and place; and the tradition lingered long of his having\nsuddenly laid his hand on her little flounced person and exclaimed with", "features of his tutelage. The basis of it all was that, harmless as he\nappeared, he was not to be trusted; I remember how portentous that truth", "brother being vividly bright and I quite blankly innocuous, this\nreproach was never brought home to our house. It was an humiliation to\nme at first, small boys though we were, that our instructors kept being", "made their points as well as the rest of us. The interest of the place\nwas that the uncles were somehow always under discussion--as to where\nthey at the moment might be, or as to when they were expected, or above", "them quite as much as he, and so that a little boy could scarce have\ndone them more. My part may indeed but have been to surround his part", "handsomely through all fluttered entertainment of the occasional Albany\ncousins. I remember how when one of these visitors, wound up, in honour\nof New York, to the very fever of perception, broke out one evening", "deeply and privately enjoying some of his shades of scorn and seeing\nhow, given his own background, they were thoroughly founded; I remember\nabove all as burnt in by the impression he gave me of the creature", "in Fourteenth Street, as a very small boy, at an hour when, in the\nlibrary and under the lamp, one of the elder cousins from Albany, the", "than we had ever seen done, above stairs or below, for victims of its\nlighter forms. What was not our dismay therefore when we suddenly\nlearnt--it must have blown right up and down the street--that mother and", "we learned at the moment of our need, that one of the adventures, one of\nthe least lamentable, of our cousin Johnny had been his figuring as a", "which I remember to have heard at home no good word, nor any sort of\nword, ever faintly breathed. It was a case of the presumption that we\nshould hear words enough abundantly elsewhere; so that any dignity the" ], [ "and give his blessing to the lately-born babe who was to become the\nsecond American William James. The blessing was to be renewed, I may\nmention, in the sense that among the impressions of the next early years", "Her younger sister Gertrude, afterwards married to James--or more\ninveterately Jim--Pendleton, of Virginia, followed close upon her heels,\nliterally speaking, and though emulating her in other respects too, was", "A SMALL BOY AND OTHERS\n\n[Illustration: Henry James and his Father\nFrom a daguerreotype taken in 1854]\n\n * * * * *", "appearance and type, it was Augustus James who spread widest, in default\nof towering highest, to my wistful view of the larger life, and who\ncovered definite and accessible ground. This ground, the house and", "In the attempt to place together some particulars of the early life of\nWilliam James and present him in his setting, his immediate native and", "have wished to borrow it; even while conscious that Catherine Barber's\nown people had drawn breath in American air for at least two generations\nbefore her. Our father's father, William James, an Irishman and a", "in noting that the bounds of their fame seemed somehow to have been\nstayed. I neither \"met\" them nor heard of them again. The little\nBatemans must have obscured their comparatively dim lustre, flourishing", "connections, and I supposed the gentlemen very old, though since aware\nthat they must have been, for the connections, remarkably young; and the\nconversation of one of them, the one I saw oftenest up town, who", "J. the elder, most loved, most beautiful, most sacrificed of the Albany\nuncles; J. J. the younger--they were young together, they were luckless", "which also he vainly invited W. J. and me, pointing thereby to us,\nhowever, though indirectly enough perhaps, the finest childish case we\nwere to know for the famous acceptance of the inevitable. It was", "handsomely through all fluttered entertainment of the occasional Albany\ncousins. I remember how when one of these visitors, wound up, in honour\nof New York, to the very fever of perception, broke out one evening", "that the great Mr. Thackeray had come to America to lecture on The\nEnglish Humourists, and still present to me is the voice proceeding from", "interrupt him. One of my companions, I forget which, had advised me that\nin these contacts with illustrious misfortune I was to be careful not to", "It took place in the house of our cousins Robert and Kitty Emmet the\nelder--for we were to have two cousin Kittys of that ilk and yet another", "then flourished near at hand and to which he accompanied us; a party of\na composition that comes back to me as wonderful, the New York and\nAlbany cousinships appearing to have converged and met, for the happy", "I easily distinguish that of the great and urbane Emerson's occasional\npresence in Fourteenth Street, a centre of many images, where the\nparental tent was before long to pitch itself and rest awhile. I am", "and others, of a subsequently great New York salience. It was sociable\nand gay, it was sordidly spectacular, one was then, by an inch or two, a", "was again and again accompanied in public by his small second son: so\nmany young impressions come back to me as gathered at his side and in\nhis personal haunts. Not that he mustn't have offered his firstborn at", "numerous at that time, who pre-eminently figured for us; the various\nbrood presided over by my father's second sister, Catherine James, who", "him when, being briefly in New York together, W. J. and I called on him\nof a Sunday afternoon, to find--what I hadn't been at all sure of--that" ], [ "the American scene might indeed have been said at that time to be\npositively ordered. Wasn't the fact that the dancing passion was so out\nof proportion to any social resource just one of the signs of the", "naturally neighbour'd and brother'd with us that the extensions of his\nrange and the charms of his position counted somehow as the limits and\nthe humilities of ours. He went neither to our schools nor to our", "Her younger sister Gertrude, afterwards married to James--or more\ninveterately Jim--Pendleton, of Virginia, followed close upon her heels,\nliterally speaking, and though emulating her in other respects too, was", "Gringalet failed to claim his attention, and Mademoiselle Danse, I make\nout, deprecated his theory of exact knowledge, besides thinking him", "which I have just spoken, must quite literally have led me more of a\ndance than anywhere. Let this sketch of a lost order note withal that\nunder so scant a general provision for infant exercise, as distinguished", "involved. Neither then nor afterwards was the secret of \"Hot Corn\"\nrevealed to me, and the sense of privation was to be more prolonged, I", "appearance and type, it was Augustus James who spread widest, in default\nof towering highest, to my wistful view of the larger life, and who\ncovered definite and accessible ground. This ground, the house and", "Remarkably good-looking, as I say, by the measure of that period, and\nextraordinarily agile--he could so gracefully leap and bound that his", "quite in her eighth year, and arrayed apparently after the fashion of\nthe period and place; and the tradition lingered long of his having\nsuddenly laid his hand on her little flounced person and exclaimed with", "interests of his own, had still less attention for us than either of his\nthree brothers. The house at Rhinebeck and all its accessories (which", "have wished to borrow it; even while conscious that Catherine Barber's\nown people had drawn breath in American air for at least two generations\nbefore her. Our father's father, William James, an Irishman and a", "occasion, with the generations and sexes melting together and moving in\na loose harmonious band. The party must have been less numerous than by\nthe romantic tradition or confused notation of my youth, and what I", "They all enjoyed, in fine, while I somehow but wastefully mused--which\nwas after all my form of enjoyment; I was shy for it, though it was a", "the preparations, however, without recovering the performance; Mrs. L.\nand I must have been the only persons not shaking a foot, and premature", "being the image of that phenomenally lean and nimble choreographic hero,\n\"Bob\" James to us always, who, almost ghost-fashion, led the cotillion", "without its greatness might have failed him. As the case was to turn\nnothing--that is nothing he most wanted and, remarkably, most\nenjoyed--did fail him at all. I forget with which of the possible", "case than on the occasion of my assuming, for the famous fancy-ball--not\nat the operatic Academy, but at the dancing-school, which came so nearly", "Charlotte was the only proper one--and I feel sure he can have acquitted\nhimself in this particular in a manner that would have passed for\nbrilliant if such lights didn't, thanks to her stiff little standards,", "Remains of Henry James; a reference which has the interest of being very\nnearly as characteristic of my father himself (which his references in\nalmost any connection were wont to be) as of the person or the occasion", "wouldn't have allowed it in the house; any more indeed than they had\nread or were likely ever to read any other work of fiction; I doubt\nwhether the house contained a printed volume, unless its head had had in" ], [ "quite in her eighth year, and arrayed apparently after the fashion of\nthe period and place; and the tradition lingered long of his having\nsuddenly laid his hand on her little flounced person and exclaimed with", "that the great Mr. Thackeray had come to America to lecture on The\nEnglish Humourists, and still present to me is the voice proceeding from", "might be handsomest in the thoroughly weathered condition, would have\nseemed the straightest appeal to curiosity had not the old Thackerayan\nside, as I may comprehensively call it, and the scattered wealth of", "scene of Dickens, now so changed and superseded; it offered to my\npresumptuous vision still more the reflection of Thackeray--and where is", "where Mrs. L. figured in an attire that is still vivid to me: a blue\nsatin gown, a long black lace shawl and a head-dress consisting in", "hand-made fabric and the discriminating service. Fit to figure as a\nvalue anywhere--by which I meant in the right corner of any social\npicture, I afterwards said to myself--that refined and composed", "York garb of the period was, as I remember it, an immense attestation of\nliberty. Why the throb of romance should have beat time for me to such", "together, and the combination was as strange as the disaster was\nsweeping; and the daughter and sister, amplest of the \"natural,\" easiest\nof the idle, who lived on to dress their memory with every thread and", "dress-coat, worn with trousers of a lighter hue, which was perhaps the\nprescribed uniform of a daily tutor then; but I ask myself in vain what", "and dress thereby so endeared to memory, that it was for long afterwards\na shock to me at the theatre not to see just those bright images, with", "solidly, the spreadingly seated. A couple of years later, on an occasion\nof our being again for a while in London, she hastened to call on us,", "correctly remember, that she kept him low. Our Mr. Dick was suffered to\nindulge his passions but on ten cents a day, while his fortune, under", "character as that; she had arrived among us full-fledged and consummate,\nfortunately for the case altogether--as our mere candid humanity would\notherwise have had scant practical pressure to bring. Thackeray's novel", "only by association was he a Thackerayan figure, but much as if the\nmaster's hand had stamped him with the outline and the value, with life", "been perhaps a pathetic picture, but we had field-days too, when we\naccompanied our excellent friend to the Tower, the Thames Tunnel, St.", "back for a second to _her_) and the fact that a great smooth white cloth\nwas spread across the denuded room, converted thus into a field of\nfrolic the prospect of which much excited my curiosity. I but recover", "long and big O. Mrs. Cannon was always seated at some delicate white or\nother needlework, as if she herself made the collars and the neckties", "the obliging sitter my father, who sat in response to Mr. Thackeray's\ndesire that his protégé should find employment. The protector after a", "but attached, by graceful cross-bands over her white stockings, to her\nsolid ankles--an emphatic sign of the time; not less than I recover my", "the _detail_ of the reflection of Thackeray now?--so that as I trod the\nvast length of Baker Street, the Thackerayan vista of other days, I" ], [ "great thought that I, in my appalled state, was probably still more\nappalling than the awful agent, creature or presence, whatever he was,\nwhom I had guessed, in the suddenest wild start from sleep, the sleep", "his chest. Long was I to have in my ears the repeated shriek of his\nalarm, followed by a panting babble of wonder and rage as his impetus", "appearance and type, it was Augustus James who spread widest, in default\nof towering highest, to my wistful view of the larger life, and who\ncovered definite and accessible ground. This ground, the house and", "behind, was the sounds attendant on the application of blows to some\nacrobatic infant who had \"funked\" his little job. Impossible such", "had nevertheless given me his attention, one morning, doubtless\npatiently enough, in some corner of the villa that we had for the moment\npractically to ourselves--I seem to see a small empty room looking on", "exactly by that continuity of honour, on my awaking, in a summer dawn\nmany years later, to the fortunate, the instantaneous recovery and\ncapture of the most appalling yet most admirable nightmare of my life.", "making their acquaintance (and prolonging it no further than our\nconscientious friend thought advisable) I half expected, when alone, to\nmeet quite dreadfully on the staircase or on opening a door. All this", "than we had ever seen done, above stairs or below, for victims of its\nlighter forms. What was not our dismay therefore when we suddenly\nlearnt--it must have blown right up and down the street--that mother and", "somehow continued to project its massive image, that of a great square\nblock of granite with vast dark warm interiors, across some of the later\nand more sensitive stages of my infancy. Clearly--or I should perhaps", "our earlier residence when, betraying strange pains and apprehensions, I\nwas with all decision put to bed. Present to me still is the fact of my", "which he can little enough have dreamed. Of the world he had personally\nknown there was a feature or two still extant; the legend of his acres\nand his local concerns, as well as of his solid presence among them, was", "than a monster--for mere unresisting or unresilient mass of personal\npresence I mean; so that I fairly think of him as a form of bland", "that took place, still far down-town, at the Bookstore, home of delights\nand haunt of fancy. It was at the Bookstore we had called on the day of", "features of his tutelage. The basis of it all was that, harmless as he\nappeared, he was not to be trusted; I remember how portentous that truth", "than his former protectress, had yet much more imagination; she had\nenough, in a word, for perfect confidence, and under confidence what\nremained of poor Henry's life bloomed like a garden freshly watered. Sad", "within my sleep, to be making for my place of rest. The triumph of my\nimpulse, perceived in a flash as I acted on it by myself at a bound,", "tables turned upon him by my so surpassing him for straight aggression\nand dire intention, my visitant was already but a diminished spot in the\nlong perspective, the tremendous, glorious hall, as I say, over the", "knew at home, taking it all as if it were the most natural place in the\nworld. It was big to me, big to me with the breath of great vague", "at the misapplied hands of Colonel Newcome, rage at that hushed victim\nsupremely and dreadfully just thereabouts--by which I mean in the _haute", "exception had at last taken a turn as far as possible from edifying. And\nwhat they had most in common, the hovering presences, the fitful\napparitions that, speaking for myself, so engaged my imagination, was" ], [ "appearance and type, it was Augustus James who spread widest, in default\nof towering highest, to my wistful view of the larger life, and who\ncovered definite and accessible ground. This ground, the house and", "distressing young men of means--that his successive exhibitions of it\nhad a fine high positive effect, such as would have served beautifully,\nact after act, for the descent of the curtain. The issue, however", "pulse of his life and quite some of the principal events of ours; and,\nas he was nothing if not expressive, whatever happened to him for inward", "In the attempt to place together some particulars of the early life of\nWilliam James and present him in his setting, his immediate native and", "handsomely through all fluttered entertainment of the occasional Albany\ncousins. I remember how when one of these visitors, wound up, in honour\nof New York, to the very fever of perception, broke out one evening", "estate. He did feel rich, just as he felt generous; the misfortune was\nonly in his weak sense for meanings. That, with the whole situation,", "presence, who hovered a bit beyond our real reach and apparently\ndisplayed the undomesticated character at its highest. _He_ seemed\nexposed, for his pleasure--if pleasure it was!--and my wonder, to every", "have wished to borrow it; even while conscious that Catherine Barber's\nown people had drawn breath in American air for at least two generations\nbefore her. Our father's father, William James, an Irishman and a", "deeply and privately enjoying some of his shades of scorn and seeing\nhow, given his own background, they were thoroughly founded; I remember\nabove all as burnt in by the impression he gave me of the creature", "features of his tutelage. The basis of it all was that, harmless as he\nappeared, he was not to be trusted; I remember how portentous that truth", "Remains of Henry James; a reference which has the interest of being very\nnearly as characteristic of my father himself (which his references in\nalmost any connection were wont to be) as of the person or the occasion", "personalities. There was the difference and the opposition, as I really\nbelieve I was already aware--that one way of taking life was to go in\nfor everything and everyone, which kept you abundantly occupied, and the", "without its greatness might have failed him. As the case was to turn\nnothing--that is nothing he most wanted and, remarkably, most\nenjoyed--did fail him at all. I forget with which of the possible", "interests of his own, had still less attention for us than either of his\nthree brothers. The house at Rhinebeck and all its accessories (which", "professed amazement, and even occasionally impatience, at my reach of\nreminiscence--liking as he did to brush away old moral scraps in favour", "measure, show himself for one of those. He didn't, to all appearance,\nfor I was afterwards disappointed at the lapse of lurid evidence: that\nmemory remained with me, as well as a considerable subsequent wonder at", "or the other more technical thrifty scheme. Of the beauty of his\ndissimulated anxiety and tenderness on these and various other suchlike\nheads, however, other examples will arise; for I see him now as fairly", "intensities clearly became \"scenes\"; but the great thing, the immense\nillumination, was that we could make them or not as we chose. It was a\nlong time of course before I began to distinguish between those within", "did was thus to flutter down on every stage, literally without\nexception, in America and Europe. If the amount of life represented in\nsuch a work is measurable by the ease with which representation is taken", "louts peeping through the tent of the show. In return I judged their\nappearance dissipated though fascinating, and sought consolation for the\nmemory of their scorn and the loss of their exhibition, as time went on," ], [ "appearance and type, it was Augustus James who spread widest, in default\nof towering highest, to my wistful view of the larger life, and who\ncovered definite and accessible ground. This ground, the house and", "In the attempt to place together some particulars of the early life of\nWilliam James and present him in his setting, his immediate native and", "that took place, still far down-town, at the Bookstore, home of delights\nand haunt of fancy. It was at the Bookstore we had called on the day of", "the place in after years. Then it was I felt how long before my\nattachment had started on its course--that closer vision was no\nbeginning, it only took up the tale; just as it comes to me again", "had already developed a huge energy and curiosity, and also an appetite\nfor lectures? I became aware of the Comédie, I became aware of Chicago;\nI also became aware that even the most alluring fiction was not always", "and educated little returns to the place; for the education of New York,\nenjoyed up to my twelfth year, failed to blight its romantic appeal. The\nimages I really distinguish flush through the maturer medium, but with", "Her younger sister Gertrude, afterwards married to James--or more\ninveterately Jim--Pendleton, of Virginia, followed close upon her heels,\nliterally speaking, and though emulating her in other respects too, was", "thrilling than parentally provided ones; and most thrilling when, in the\nodd fashion of that time, they were sent to school in New York as a\npreliminary to their being sent to school in Europe. They spent scraps", "and give his blessing to the lately-born babe who was to become the\nsecond American William James. The blessing was to be renewed, I may\nmention, in the sense that among the impressions of the next early years", "than any other single corner of the town, and the short but charged\nvista of which lives for me again in the tempered light of those old\nwinter afternoons. Of scarce less moment than these were our frequent", "That was European enough, and yet he had returned to America really to\nfind himself, even with every effort made immediately near him to defeat", "have wished to borrow it; even while conscious that Catherine Barber's\nown people had drawn breath in American air for at least two generations\nbefore her. Our father's father, William James, an Irishman and a", "and after their sort flourished we only asked to admire, or at least to\nappreciate, for their rewarding extreme queerness. The very centre of my\nparticular consciousness of the place turned too soon to the fact of my", "streets of great towns, in New York still for some time, and then for a\nwhile in London, in Paris, in Geneva, wherever it might be, he was to", "handsomely through all fluttered entertainment of the occasional Albany\ncousins. I remember how when one of these visitors, wound up, in honour\nof New York, to the very fever of perception, broke out one evening", "specimen, with a name that fades from me, of that type of French\nestablishment for boys which then and for years after so incongruously\nflourished in New York; and though he professed a complete satisfaction", "itself, late one evening and very richly, at the Gloucester Hotel (or\nCoffee-House, as I think it was then still called,) which occupied that", "definitely open, began at last to be effective. Nothing seemed to matter\nat all but that I should become personally and incredibly acquainted\nwith Piccadilly and Richmond Park and Ham Common. I regain at the same", "operations that were to mean much for many of my coming years. Those of\nquiet Mr. Crowe held me spellbound--I was to circle so wistfully, as", "than his former protectress, had yet much more imagination; she had\nenough, in a word, for perfect confidence, and under confidence what\nremained of poor Henry's life bloomed like a garden freshly watered. Sad" ], [ "appearance and type, it was Augustus James who spread widest, in default\nof towering highest, to my wistful view of the larger life, and who\ncovered definite and accessible ground. This ground, the house and", "have wished to borrow it; even while conscious that Catherine Barber's\nown people had drawn breath in American air for at least two generations\nbefore her. Our father's father, William James, an Irishman and a", "and give his blessing to the lately-born babe who was to become the\nsecond American William James. The blessing was to be renewed, I may\nmention, in the sense that among the impressions of the next early years", "when, just before our own return, he had come back to America for the\npurpose, if my memory serves, of entering the Harvard Law School; and to\nsee him still always with the smile that was essentially as facial, as", "In the attempt to place together some particulars of the early life of\nWilliam James and present him in his setting, his immediate native and", "plunged. His mother and sister, also on an earlier page referred to,\nhad, from their distance, committed him to the great city to be\n\"finished,\" educationally, to the point that for our strenuous cousin", "aspire--to any approach to which in truth I seem to myself ever\nconscious of having signally forfeited a title. It glimmers back to me\nthat I quite definitely and resignedly thought of him as in the most", "handsomely through all fluttered entertainment of the occasional Albany\ncousins. I remember how when one of these visitors, wound up, in honour\nof New York, to the very fever of perception, broke out one evening", "operations that were to mean much for many of my coming years. Those of\nquiet Mr. Crowe held me spellbound--I was to circle so wistfully, as", "without its greatness might have failed him. As the case was to turn\nnothing--that is nothing he most wanted and, remarkably, most\nenjoyed--did fail him at all. I forget with which of the possible", "which he can little enough have dreamed. Of the world he had personally\nknown there was a feature or two still extant; the legend of his acres\nand his local concerns, as well as of his solid presence among them, was", "that he was new, shiningly new, and if he hinted that we might perhaps\nin some happy future emulate his big bravery there was nothing so", "features of his tutelage. The basis of it all was that, harmless as he\nappeared, he was not to be trusted; I remember how portentous that truth", "than his former protectress, had yet much more imagination; she had\nenough, in a word, for perfect confidence, and under confidence what\nremained of poor Henry's life bloomed like a garden freshly watered. Sad", "senior; but I cherished the thought of the fine fearless young\nfire-eater he would have become and, when the War had broken out, I know", "distressing young men of means--that his successive exhibitions of it\nhad a fine high positive effect, such as would have served beautifully,\nact after act, for the descent of the curtain. The issue, however", "through the parts where the glamour might have hung thickest. We were to\nsee him a little--but two or three times--three or four years later,", "a glance what it was to be in full possession of Paris. There was speed\nin his step, assurance in his air, he was visibly, impatiently on the", "and others, of a subsequently great New York salience. It was sociable\nand gay, it was sordidly spectacular, one was then, by an inch or two, a", "measured his resources. Not his heart, but his imagination, in the long\nyears, had been starved; and though he was now all discreetly and wisely" ] ]

[ "Who does James envy for his superior abilities in regards to the \"showy\" things?", "What subjects were not easy for James? ", "Who did James' family meet on their American tour? ", "Who mocked James' sister, Alice?", "What dream did James have when he was older?", "Where did James find comfort?", "What was James to embarrassed to do at parties?", "What did James learn when his cousin was told to not make a scene?", "What is the story about?", "What does James suffered from?", "What two courses did James scorned him for?", "What is James older brother name?", "Who felt embarrassed about dancing?", "How were the scenes made?", "Who did the family met?", "What did James Harbored dreamed of?", "Who did Thackeray mock scolded? ", "Why did Thackeray mock scorned his sister? ", "What was James's older brother names?", "Which school topics were James's weakest areas?", "What common scolding did James hear someone say to his cousin that inspired him make up stories?", "Which two famous men did James and his family meet?", "Why didn't James dance at parties?", "What was Alice's dress made of the day they met Thackeray? ", "Where did James's dream of the monstrous attacker take place?", "How did James feel about the '\"showy\" aspects of his life?", "Which place did James frequent after discovering a love for it?", "James harbored dreams of glory about becoming what?" ]

[ [ "William", "His brother, William." ], [ "Math and science", "math and science" ], [ "William Thackery and Charles Dickens.", "Thackery and Dickens" ], [ "William Thackery.", "William Thackeray" ], [ "Chasing a big attacker through the halls of the Louvre.", "routing a monstrous attacker" ], [ "The theater.", "the theater" ], [ "Dance.", "dance" ], [ "JAmes learned that scenes are made through stories or plays.", "that scenes could be created by telling a story or writing a play" ], [ "A boy love sights and sounds.", "a boy and his fantasies about family and those around him" ], [ "Sense of inferiority.", "a sense of inferiority because of his inability to participate in the more \"showy\" parts of life" ], [ "Math and Science.", "math and science" ], [ "William.", "William." ], [ "William's brother James.", "James." ], [ "By telling stories or inventing plays.", "By telling a story or inventing a play." ], [ "William Thackeray and Charles Dickens.", "Charles Dickens and William Thackeray" ], [ "An artist.", "glory as an artist" ], [ "His sister Alice.", "Alice" ], [ "For her Crinoline.", "for her crinoline dress" ], [ "William.", "William." ], [ "Math and Science.", "math and science" ], [ "\"Don't make a scene.\"", "Don't make a scene." ], [ "William Thackeray and Charles Dickens. ", "William Thackeray and Charles Dickens." ], [ "He was too embarrassed.", "too embaressed" ], [ "Crinoline. ", "Crinoline." ], [ "The Louvre.", "The Louvre" ], [ "Inferior. ", "inferior" ], [ "The theater.", "the theater" ], [ "An artist. ", "An artist." ] ]

[ [ "Gervaise did not know what to do with her or where to send her. At\nthis moment Lantier appeared at the door. He had dressed himself,\nimpelled by a little shame at his own conduct.", "Meanwhile Gervaise, who had disappeared, returned, pushing Etienne\nbefore her. The boy was half asleep but smiled as he rubbed his eyes.\nWhen he saw Lantier he stared and looked uneasily from him to Coupeau.", "Lantier snatched her hand.\n\n\"Gervaise,\" he said, \"listen to me.\"\n\nBut she understood him and drew hastily back.", "She spoke of Lantier. She had been out to see if he were anywhere\nin the vicinity. Gervaise became very grave.\n\n\"Is he tipsy?\" she asked.", "Gervaise went to Lantier and waked him.\n\n\"She is dead,\" she said.\n\n\"Well, what of it?\" he muttered, half asleep. \"Why don't you go to\nsleep?\"", "Everyone accused Gervaise now of having perverted poor Lantier. \"Men\nwill be men,\" they said; \"surely you can't expect them to turn a cold", "Lantier was directly in front of the door. Gervaise met his eyes and\nfelt the very marrow of her bones chilled; she could not move hand\nor foot.", "It was said in the street that Lantier had deserted Gervaise,\nthat she gave him no peace running after him, but this was not true,", "Lantier all this time was fretting and scolding at the Coupeaus,\nasking Gervaise what on earth she intended to do, begging her to", "\"Ah!\" said Gervaise in a low, dull voice.\n\nLantier, who had finished one jar, now began another.", "Gervaise was very unhappy. She was conscious of a returning\ninclination for Lantier, and she was afraid of herself and of him.", "They were speaking of Lantier. Gervaise had never seen him again;\nshe supposed him to be living with Virginie's sister, with a friend\nwho was about to start a manufactory for hats.", "Gervaise felt faint and ill; all hope was gone. It seemed to her that\nall was over and that Lantier would come no more. She looked from the", "When Gervaise awoke about five o'clock, stiff and sore, she burst into\nwild sobs, for Lantier had not come in. For the first time he had", "before and that she was absolutely certain that Gervaise spent the\nnight in Lantier's room. \"It is all the more disgusting,\" she added,", "Then Lantier withdrew from the discussion entirely, watching Gervaise\nand Virginie out of the corners of his eyes.", "Gervaise became accustomed to seeing the dirty linen lying about and\nto seeing Lantier coming in and going out. He still talked with an", "In spite of her debts, in spite of the shifts to which her increasing\npoverty condemned her, Gervaise would have considered herself quite\nwell off, but for the exacting selfishness of Lantier and Coupeau.", "\"Of course,\" murmured Gervaise, hardly knowing what she said, \"of\ncourse.\"\n\n\"I regard her as a sister,\" said Lantier, \"only as a sister.\"", "And then Lantier and Virginie fell into a conversation, while Gervaise\ncrawled along the floor in the dirt at their feet." ], [ "\"She?\" Lantier exclaimed. \"Who is she? Ah yes, I remember. Nana! No,\nshe said nothing more.\"", "Nana was not yet thoroughly perverted, but the curiosity which had\nbeen her distinguishing characteristic as a child had not deserted\nher, and she scarcely took her eyes from a girl by the name of Lisa,\nabout whom strange stories were told.", "She read the young man's heart; she knew that his suspicions made\nhim miserable. And in revenge for something that had displeased\nher she told him the truth with many sighs and tears, as if her", "But one night, just as they were going to bed, they heard a rap on the\ndoor. It was Nana, who came to ask as coolly as possible if she could", "The day that Nana--which was the pet name given to the little\ngirl--was three years old Coupeau, on coming in, found his wife in", "\"I am glad of it,\" she answered, \"but what an awful place this is to\nget at!\"\n\nAnd she described her journey, as she called it, and then asked why\nno one seemed to know Etienne there.", "and strong. She was, on the contrary, very weak and too easily\ninfluenced, as she had discovered to her cost. Her dream had always\nbeen to live in a respectable way among respectable people, because", "Nana and Pauline were deep ones. They did nothing without\npremeditation. If they ran it was to show their slender ankles, and", "In one second Coupeau was in the center of the crowd. Yes, it was\nNana, and in what a costume! She wore a ragged silk dress, stained", "She had begun to think he saw Nana very often. She did not speak, but\nMme Lerat, who had just come in, said with a significant look:\n\n\"And where did you see her?\"", "One day there was a terrible scene. Nana had invented a beautiful\ngame. She had stolen a wooden shoe belonging to Mme Boche; she bored", "But no one heard her. They had their own tale to tell then. How\nPoisson had nearly murdered Lantier. Poisson was a tiger, and he ought", "He watched her incessantly and fixed his bold eyes upon her. He leaned\nover her so closely that she felt his breath on her cheek. But one\nevening, being alone with her, he caught her in both arms. At that", "\"We know nothing about her,\" she said, \"not even where he picked her\nup. My husband has already lent them ten francs, and whoever heard of", "\"And such a pretty little woman as you are too. But now I may as\nwell tell you the whole, I suppose? Well then, you remember when", "Nana took up her violets, and they all began to watch this man. He was\nwell dressed, about fifty, pale and grave. For a full hour he watched\nthe windows.", "So then he had come for her! Was not this pretty behavior for a girl\nof her age? And Mme Lerat asked question after question, but Nana knew\nnothing of him, she declared, though he had followed her for five\ndays.", "\"You will see that I am telling you the truth,\" she replied. \"I did\nnot tell you as long as I could help it. Be kind to me now, Papa, and\nsay good-by as if you loved me.\"", "\"Mother and daughter,\" he cried, \"a nice pair they make. I understand\nvery well what all this row is for: it is merely to show yourself in a", "\"Her husband, she says! Her husband! The lady's husband! As if a\nlooking thing like that had a husband! Is it my fault if he has" ], [ "Coupeau was looking down on the floor intently. He raised his head\nand said with an idiotic laugh:", "The keeper lifted Coupeau. No, he was not dead; his bare feet quivered\nwith a regular motion. The surgeon in chief came in, bringing two", "For a week Coupeau's life hung on a thread. His family and his friends\nexpected to see him die from one hour to another. The physician, an", "Coupeau behaved very oddly. This blind and complacent husband, who\nhad closed his eyes to all that was going on at home, was filled with", "At this moment Coupeau entered.", "Coupeau, with his bag of tools on his shoulder, shuffled along; his\nfootsteps had long since lost their ring.", "At the end of two months Coupeau was on his feet again and could\nmove--with difficulty, of course--as far as the window, where he sat", "Coupeau, in fact, did not seem to notice his wife, who had not yet\nseen his face. She went nearer. Was that really he? She never would", "Coupeau reeled in, breaking a square of glass with his shoulder as\nhe missed the doorway. He was not tipsy but drunk, with his teeth set", "crowded. They could not find a table, and they stood waiting until\nthey could establish themselves. Coupeau was directly in the mouth of\nthe passage, and a young man in a frock coat was thrown against him.", "When she reached the hospital she heard a strange story. It seems that\nCoupeau--how, no one could say--had escaped from the hospital and had", "About seven o'clock Coupeau woke. When he heard what had happened he\ndeclared they were jesting. But when he saw the body he fell on his", "\"My very lameness--\" she continued.\n\n\"Your lameness?\" interrupted Coupeau gallantly. \"Why, it is almost\nnothing. No one would ever notice it!\"", "As to Coupeau, if he worked he brought no money home, and his wife had\nceased to count upon it. Sometimes he declared he had lost it through", "But when she went in, to her astonishment she found Coupeau sitting\nup. He welcomed her gaily.\n\n\"You are better!\" she exclaimed.", "Coupeau said he could do it. After all, it was a simple thing\nenough--he should just tear it to pieces.\n\nThere was a cry of dismay.", "Four men bore Coupeau to a druggist's at the corner, where he lay for\nan hour while a litter was sent for from the Hospital Lariboisiere.", "By this time Mes-Bottes was what is properly called howling drunk, and\nas he staggered away from the counter he struck the bag of tools which\nCoupeau had over his shoulder.", "The last summer of his life was especially trying to Coupeau. His\nvoice was entirely changed; he was deaf in one ear, and some days he", "his devotions, passed out into the shop and said to Coupeau:" ], [ "Meanwhile Gervaise, who had disappeared, returned, pushing Etienne\nbefore her. The boy was half asleep but smiled as he rubbed his eyes.\nWhen he saw Lantier he stared and looked uneasily from him to Coupeau.", "Gervaise was very unhappy. She was conscious of a returning\ninclination for Lantier, and she was afraid of herself and of him.", "Gervaise did not know what to do with her or where to send her. At\nthis moment Lantier appeared at the door. He had dressed himself,\nimpelled by a little shame at his own conduct.", "Lantier walked about a little and then, when he felt all right, went\nhome and told Gervaise that her husband was with his friends. Coupeau", "Gervaise entered with the air of a woman who is startled at finding\nherself in a respectable place. He was pale and trembling. They", "Then Gervaise began to realize that the past was dead. Lantier had\nbrought back to her the memory of Plassans and the Hotel Boncoeur.", "When Gervaise went back to her room she found Coupeau sitting on the\nside of the bed, weeping and moaning. She took a chair near by and\nlooked at him without speaking.", "\"Etienne! Etienne!\" repeated the man, swaying from side to side. The\nwind brought from him to her an intolerable smell of brandy, which\ncaused Gervaise to draw back and say timidly:", "she would do or say if Lantier should suddenly make his appearance,\nfor men were so strange; no one could ever tell what they would do.\nLantier was quite capable of returning to his old love. Then Gervaise", "In addition to her own sorrows and privations, Gervaise, whose\nheart was not yet altogether hard, was condemned to hear now of the", "Gervaise was in no way disturbed. Coupeau knew the way back well\nenough; he would return in due season. She soon heard that he and", "Gervaise went to Lantier and waked him.\n\n\"She is dead,\" she said.\n\n\"Well, what of it?\" he muttered, half asleep. \"Why don't you go to\nsleep?\"", "When she saw Coupeau out of danger Gervaise allowed his family to\napproach him as they saw fit. His convalescence would be a matter of\nmonths. This again was a ground of indignation for Mme Lorilleux.", "When Gervaise awoke about five o'clock, stiff and sore, she burst into\nwild sobs, for Lantier had not come in. For the first time he had", "Gervaise.", "Gervaise looked from one to the other. She was literally dazed. When\nher husband first appeared with her former lover she had clasped her", "These words frightened Gervaise nearly out of her wits. One Saturday\nevening, however, she consented. Coupeau came for her at half-past", "Gervaise felt faint and ill; all hope was gone. It seemed to her that\nall was over and that Lantier would come no more. She looked from the", "It was now November. Lantier occasionally brought a bunch of violets\nto Gervaise. By degrees his visits became more frequent. He seemed", "Lorilleuxs viciously declared that Gervaise would be glad enough to\nresume her old relations with Lantier but that he would have nothing\nto do with her, for she had grown old and ugly. The Boche people" ], [ "Coupeau was looking down on the floor intently. He raised his head\nand said with an idiotic laugh:", "As to Coupeau, if he worked he brought no money home, and his wife had\nceased to count upon it. Sometimes he declared he had lost it through", "At the end of two months Coupeau was on his feet again and could\nmove--with difficulty, of course--as far as the window, where he sat", "Coupeau, with his bag of tools on his shoulder, shuffled along; his\nfootsteps had long since lost their ring.", "Coupeau behaved very oddly. This blind and complacent husband, who\nhad closed his eyes to all that was going on at home, was filled with", "sous, and in the evening came to sit with Coupeau. He did not say\nmuch, but his companionship cheered and comforted the invalid. He\nwas tender and compassionate and was thrilled by the sweetness of", "his devotions, passed out into the shop and said to Coupeau:", "The keeper lifted Coupeau. No, he was not dead; his bare feet quivered\nwith a regular motion. The surgeon in chief came in, bringing two", "For two months more Coupeau walked with a crutch and after a while\nwas able to get into the street and then to the outer boulevard, where", "For a week Coupeau's life hung on a thread. His family and his friends\nexpected to see him die from one hour to another. The physician, an", "Amid all this ruin Coupeau thrived surprisingly. Bad liquor seemed\nto affect him agreeably. His appetite was good in spite of the amount", "\"My very lameness--\" she continued.\n\n\"Your lameness?\" interrupted Coupeau gallantly. \"Why, it is almost\nnothing. No one would ever notice it!\"", "Coupeau said he could do it. After all, it was a simple thing\nenough--he should just tear it to pieces.\n\nThere was a cry of dismay.", "and since Lantier had become a member of his household Coupeau had\nnever lifted a tool. He knew every drinking shop for miles around and\nwould sit and guzzle deep into the night, not always pleased to find", "Coupeau, in fact, did not seem to notice his wife, who had not yet\nseen his face. She went nearer. Was that really he? She never would", "of the place where he was employed and get his wages from him before\nhe had spent them all, but this did no good, as Coupeau was warned\nby his friends and escaped by a rear door.", "Coupeau drank all the more after this statement and was rarely or ever\nsober. There began to be a strange bluish tone in his complexion. His", "Lantier kept his word and was seen from that time very often in the\nshop. He came only when Coupeau was home and asked for him before he", "The day after all this Coupeau had a frightful headache and did not\nrise until late, too late to go to his work. About noon he began to", "But Coupeau knew that Lantier was there, for he said:\n\n\"There's a fellow I know, and you know him too!\"" ], [ "Coupeau drank all the more after this statement and was rarely or ever\nsober. There began to be a strange bluish tone in his complexion. His", "and since Lantier had become a member of his household Coupeau had\nnever lifted a tool. He knew every drinking shop for miles around and\nwould sit and guzzle deep into the night, not always pleased to find", "Amid all this ruin Coupeau thrived surprisingly. Bad liquor seemed\nto affect him agreeably. His appetite was good in spite of the amount", "One Monday evening Coupeau came in as tipsy as usual and threw\nhimself on the bed, all dressed. Gervaise intended to remain with", "By degrees her unreasonable fears of Lantier were conquered. Coupeau\nwas behaving very badly at this time, and one evening as she passed", "the household went on much as usual to all appearance. In reality,\nwhenever Coupeau came in tipsy, she left and went to Lantier's room", "About the last of June Coupeau became absolutely morose, and Gervaise\nwas so much disturbed by certain glances he gave her that she fairly", "One Saturday Nana, coming in, found her mother and father in a\ndeplorable condition--Coupeau lying across the bed and Gervaise", "She leaned against the wall, utterly overcome. The physician turned\naway. He knelt on the mattress and carefully watched Coupeau; he", "Coupeau called for more wine, and Clemence helped herself to more\nstrawberries. The singing ceased, and the conversation turned upon\na woman who had hanged herself the day before in the next street.", "That evening everyone in the huge house in which Coupeau had lived\ntalked of his strange disease. The concierge, crazy to hear the", "When Gervaise went back to her room she found Coupeau sitting on the\nside of the bed, weeping and moaning. She took a chair near by and\nlooked at him without speaking.", "The two looked at each other. Merciful heavens! It was Father Bru\nbegging and Mme Coupeau doing worse. They stood looking at each", "By this time the wine was exhausted, and they called for more. About\nfive all except Lantier were in a state of beastly intoxication, and", "Coupeau when he was courting her. That day she had left the brandy and\ntook only the fruit, and now she was sitting there drinking liqueur.", "Amid this sudden and fierce indignation Gervaise lived--indifferent,\ndull and stupid. At first she loathed herself, and if Coupeau laid", "why. With kind frankness she pointed out to her that Coupeau had\nfallen into evil habits and was living on her labors and would in\nall probability continue to do so. The truth was that Mme Goujet", "By this time Mes-Bottes was what is properly called howling drunk, and\nas he staggered away from the counter he struck the bag of tools which\nCoupeau had over his shoulder.", "Gervaise felt as if she were choking; her eyes smarted, and her head\nwas heavy with the fumes of alcohol. She turned around and saw the", "CHAPTER II\n\nGERVAISE AND COUPEAU" ], [ "The day that Nana--which was the pet name given to the little\ngirl--was three years old Coupeau, on coming in, found his wife in", "Nana was not yet thoroughly perverted, but the curiosity which had\nbeen her distinguishing characteristic as a child had not deserted\nher, and she scarcely took her eyes from a girl by the name of Lisa,\nabout whom strange stories were told.", "\"She?\" Lantier exclaimed. \"Who is she? Ah yes, I remember. Nana! No,\nshe said nothing more.\"", "made the dull street radiant with her youth and her beauty. She went\nby the name of \"The Little Chicken.\" One gown, in particular, suited\nher to perfection. It was white with rose-colored dots, without", "Nana turned like lightning to protect her treasures. She looked her\nfather full in the face, and, forgetting the lessons taught her by\nher priest, she said in a low, concentrated voice:\n\n\"Beast!\" That was all.", "Nana and Pauline were deep ones. They did nothing without\npremeditation. If they ran it was to show their slender ankles, and", "name. She knew it was coming. Virginie drew nearer to her. The\napprentices lingered over their coffee and told each other as they\nlooked stupidly into the street what they would do if they had an", "of herself that it was doubtful if she laid it aside at night. The\nGaudron household followed. The husband, enormously stout, looked as\nif his vest would burst at the least movement, and his wife, who was", "Boche leaned over her with a sensual smile and entreated an\nexplanation. She shook her head.\n\n\"Of course,\" she repeated. \"Onions! I knew it!\"", "But no one heard her. They had their own tale to tell then. How\nPoisson had nearly murdered Lantier. Poisson was a tiger, and he ought", "But Gervaise lost her temper, which was not a common thing with\nher, and as soon as the woman's back was turned called her by an", "She heard of her daughter several times. There are always plenty of\npeople to tell you things you do not care to hear. She was told that\nNana had left her elderly friend for the sake of some young fellow.", "But no one was listening, and no one feared her. She was very\ntolerant. They could say what they pleased, provided they put it\nin decent language.", "\"Yes, she was in a carriage, dressed beautifully. I did not recognize\nher at first, but she kissed her hand to me. Her friend this time must\nbe a vicomte at the least. She looked as happy as a queen.\"", "One day there was a terrible scene. Nana had invented a beautiful\ngame. She had stolen a wooden shoe belonging to Mme Boche; she bored", "But one night, just as they were going to bed, they heard a rap on the\ndoor. It was Nana, who came to ask as coolly as possible if she could", "She read the young man's heart; she knew that his suspicions made\nhim miserable. And in revenge for something that had displeased\nher she told him the truth with many sighs and tears, as if her", "Nana laughed an equivocal little laugh. Oh yes, she would promise. But\nmen never spoke to her; she walked too fast for that. What could they", "The women were laughing again by this time, but soon the cry began\nagain of \"Enough! Enough!\"", "All their little world laughed and told Gervaise that her friend\nworshiped the very ground she trod upon. She colored and looked like\na girl of sixteen." ], [ "Coupeau drank all the more after this statement and was rarely or ever\nsober. There began to be a strange bluish tone in his complexion. His", "Amid all this ruin Coupeau thrived surprisingly. Bad liquor seemed\nto affect him agreeably. His appetite was good in spite of the amount", "Coupeau knew but one remedy for all this, and that was a good stout\nmorning dram. His memory had long since fled; his brain had softened.", "By this time Mes-Bottes was what is properly called howling drunk, and\nas he staggered away from the counter he struck the bag of tools which\nCoupeau had over his shoulder.", "and since Lantier had become a member of his household Coupeau had\nnever lifted a tool. He knew every drinking shop for miles around and\nwould sit and guzzle deep into the night, not always pleased to find", "One Monday evening Coupeau came in as tipsy as usual and threw\nhimself on the bed, all dressed. Gervaise intended to remain with", "Coupeau behaved very oddly. This blind and complacent husband, who\nhad closed his eyes to all that was going on at home, was filled with", "Coupeau by this time appeared, and more wine was sent for. But Poisson\ndared linger no longer, and, stiff and haughty, he departed through\nthe courtyard.", "For a week Coupeau's life hung on a thread. His family and his friends\nexpected to see him die from one hour to another. The physician, an", "Coupeau was looking down on the floor intently. He raised his head\nand said with an idiotic laugh:", "Four men bore Coupeau to a druggist's at the corner, where he lay for\nan hour while a litter was sent for from the Hospital Lariboisiere.", "Coupeau reeled in, breaking a square of glass with his shoulder as\nhe missed the doorway. He was not tipsy but drunk, with his teeth set", "But Coupeau, seeing his wife's troubled face, interfered and said no\none should drink anything more. They had all had enough.", "The last summer of his life was especially trying to Coupeau. His\nvoice was entirely changed; he was deaf in one ear, and some days he", "\"It is brandy!\" he exclaimed.\n\nThen the surgeon, on a sign from his chief, gave him some water, and\nCoupeau did the same thing.", "About the last of June Coupeau became absolutely morose, and Gervaise\nwas so much disturbed by certain glances he gave her that she fairly", "By degrees her unreasonable fears of Lantier were conquered. Coupeau\nwas behaving very badly at this time, and one evening as she passed", "That evening everyone in the huge house in which Coupeau had lived\ntalked of his strange disease. The concierge, crazy to hear the", "In March Coupeau came in one night drenched to the skin. He had been\ncaught out in a shower. That night he could not sleep for coughing.", "The day after all this Coupeau had a frightful headache and did not\nrise until late, too late to go to his work. About noon he began to" ], [ "It was said in the street that Lantier had deserted Gervaise,\nthat she gave him no peace running after him, but this was not true,", "These words frightened Gervaise nearly out of her wits. One Saturday\nevening, however, she consented. Coupeau came for her at half-past", "Gervaise retreated farther into the doorway and with difficulty kept\nback a sob. She nervously entreated Coupeau to take the man away.\n\nBazonge staggered off, muttering as he did so:", "\"Take me!\" cried Gervaise. \"Take me! I want to go away!\"\n\n\"But there is a certain little operation first, you know----\" And he\npretended to choke and rolled up his eyes.", "When Coupeau saw her go he was in actual consternation, and Gervaise\nsaw that it was best to make a move at once. Mme Boche had agreed to\nkeep the children with her for a day or two.", "They tore Virginie from her hands. The tall brunette, weeping and\nsobbing, scarlet with shame, rushed out of the room, leaving Gervaise", "Lantier walked about a little and then, when he felt all right, went\nhome and told Gervaise that her husband was with his friends. Coupeau", "The doctors went away, and Gervaise, at the end of another hour,\nsaid to the young surgeon:\n\n\"He is dead, sir.\"", "Gervaise did not know what to do with her or where to send her. At\nthis moment Lantier appeared at the door. He had dressed himself,\nimpelled by a little shame at his own conduct.", "They were speaking of Lantier. Gervaise had never seen him again;\nshe supposed him to be living with Virginie's sister, with a friend\nwho was about to start a manufactory for hats.", "Meanwhile Gervaise, who had disappeared, returned, pushing Etienne\nbefore her. The boy was half asleep but smiled as he rubbed his eyes.\nWhen he saw Lantier he stared and looked uneasily from him to Coupeau.", "out their pictures. The room was growing dark, and Gervaise fled from\nit. Ah, what an awful thing life was! And how gladly would she throw", "Gervaise took refuge with her mother-in-law in a distant window,\nfeeling heartily ashamed of the whole scene.", "They hurried through their dinner, and as she went out with Lantier\nat eight o'clock Gervaise begged Nana and Mamma Coupeau to go to bed", "Amid this sudden and fierce indignation Gervaise lived--indifferent,\ndull and stupid. At first she loathed herself, and if Coupeau laid", "Her workwomen had been gone some time. Nana and Mamma Coupeau were in\nbed, and Gervaise, who was just closing her shutters when her husband", "It was still raining and a cold, sharp wind blowing. Gervaise lost\nCoupeau, found him and then lost him again. She wanted to go home,", "Gervaise felt faint and ill; all hope was gone. It seemed to her that\nall was over and that Lantier would come no more. She looked from the", "being in the street when they departed. They vaguely remembered having\njoined hands and danced around the table. Gervaise remembered that\nLantier was the last to leave, that he passed her as she stood in the", "Gervaise." ], [ "They moved in the month of April. Gervaise was then near her\nconfinement, but it was she who cleaned and put in order her new home.", "\"He was very good to me once,\" answered Gervaise, \"but since we came\nto Paris he has changed. His mother died last year and left him about", "Gervaise did not know what to do with her or where to send her. At\nthis moment Lantier appeared at the door. He had dressed himself,\nimpelled by a little shame at his own conduct.", "Almost unconsciously Gervaise took her way to the shop where her\nhusband worked or, rather, pretended to work. She would wait for him\nand get the money before he had a chance to spend it.", "Then came the moving, and finally Gervaise called herself settled in\nher new home and was pleased as a child. As she came up the street\nshe could see her sign afar off:\n\n CLEARSTARCHER", "Gervaise, in her turn, had made her preparations, had worked late\ninto the night and laid aside thirty francs. She had set her heart", "These words frightened Gervaise nearly out of her wits. One Saturday\nevening, however, she consented. Coupeau came for her at half-past", "and received thirty sous each time. Gervaise appeared on Saturday\nmornings with her bucket and brush, without seeming to suffer a single\npang at doing this menial work in the house where she had lived as", "Gervaise entered with the air of a woman who is startled at finding\nherself in a respectable place. He was pale and trembling. They", "In addition to her own sorrows and privations, Gervaise, whose\nheart was not yet altogether hard, was condemned to hear now of the", "One evening Gervaise was alone. Goujet entered, took a chair in\nsilence and looked at her as he smoked his pipe. He seemed to be\nrevolving something in his mind. Suddenly he took his pipe from his\nmouth.", "Coupeau found two chairs and made Gervaise seat herself near the\ncurtain. The room was so narrow that he could not sit beside her, so\nhe placed his chair a little behind and leaned over her to give her\nthe information he deemed desirable.", "had, in fact, spent the whole five hundred francs and were penniless,\ncontrary to their intentions. The morning that Gervaise first took", "Gervaise, to be sure, still made money, but she supported two men who\ndid nothing, and the shop, of course, did not make enough for that.", "When Gervaise awoke about five o'clock, stiff and sore, she burst into\nwild sobs, for Lantier had not come in. For the first time he had", "\"I do not think Cadet-Cassis so very bad,\" answered Gervaise, and she\nasked him about his work. How long should he be employed on the new\nhospital?", "Gervaise went with the crowd. No one looked at her, for the men were\nall hurrying home to their dinner. Suddenly she looked up and beheld", "to Mme Goujet, who still resided in the same house as before. The\nfirst year Gervaise had paid them twenty francs each month, or rather\nthe difference between the amount of their washing, seven or eight", "night. The Poissons arrived about eight o'clock; then Lantier,\ncarefully watching Gervaise, began to speak of the disgraceful act", "This was the beginning of a great friendship. In another week Virginie\ncould not pass the shop without going in, and sometimes she remained\nfor two or three hours. At first Gervaise was very uncomfortable;" ], [ "These words frightened Gervaise nearly out of her wits. One Saturday\nevening, however, she consented. Coupeau came for her at half-past", "Coupeau found two chairs and made Gervaise seat herself near the\ncurtain. The room was so narrow that he could not sit beside her, so\nhe placed his chair a little behind and leaned over her to give her\nthe information he deemed desirable.", "\"And mine,\" said Gervaise, \"is Coupeau.\"", "When Gervaise went back to her room she found Coupeau sitting on the\nside of the bed, weeping and moaning. She took a chair near by and\nlooked at him without speaking.", "\"Of course. No it must be, Monsieur Coupeau,\" answered Gervaise with\na smile. \"Surely you do not intend to begin that again here! You", "And Coupeau was carried home, and as the litter was borne through the\n_Quartier_ the women crowded together and extolled Gervaise. She", "Amid this sudden and fierce indignation Gervaise lived--indifferent,\ndull and stupid. At first she loathed herself, and if Coupeau laid", "by the gorgeous entertainment given by the Coupeaus. She liked the\nexcitement; she liked to cook. She generally lived pretty well with\nGervaise, but on those days which occur in all households, when the", "One Monday evening Coupeau came in as tipsy as usual and threw\nhimself on the bed, all dressed. Gervaise intended to remain with", "Coupeau discovered that his daughter's partner was the young man for\nwhom he had been looking. Gervaise pushed him aside and walked up to", "Lantier walked about a little and then, when he felt all right, went\nhome and told Gervaise that her husband was with his friends. Coupeau", "And Gervaise moved cautiously for ten paces or more. She counted the\nthree steps, and then Coupeau pushed open a door without knocking.\nA bright light streamed forth. They went in.", "Her husband having induced her to listen to reason, Coupeau went to\nGervaise, who was calmly conversing with her mother-in-law and Mme\nFauconnier.", "CHAPTER II\n\nGERVAISE AND COUPEAU", "Her workwomen had been gone some time. Nana and Mamma Coupeau were in\nbed, and Gervaise, who was just closing her shutters when her husband", "Gervaise retreated farther into the doorway and with difficulty kept\nback a sob. She nervously entreated Coupeau to take the man away.\n\nBazonge staggered off, muttering as he did so:", "When Coupeau saw her go he was in actual consternation, and Gervaise\nsaw that it was best to make a move at once. Mme Boche had agreed to\nkeep the children with her for a day or two.", "Gervaise was in no way disturbed. Coupeau knew the way back well\nenough; he would return in due season. She soon heard that he and", "Gervaise after a little, by dint of dwelling on this thought, had come\nto consider it a certainty. Yes, Coupeau would bring home some money,", "Gervaise hunted in a bureau to find a little crucifix which she had\nbrought from Plassans, when she suddenly remembered that Mamma Coupeau\nhad sold it. They each took a glass of wine and sat by the stove until\ndaybreak." ], [ "Then came the moving, and finally Gervaise called herself settled in\nher new home and was pleased as a child. As she came up the street\nshe could see her sign afar off:\n\n CLEARSTARCHER", "This was the beginning of a great friendship. In another week Virginie\ncould not pass the shop without going in, and sometimes she remained\nfor two or three hours. At first Gervaise was very uncomfortable;", "Gervaise was delighted. It seemed to her that she was once more in the\ncountry--no neighbors, no gossip, no interference--and from the place", "Lantier stood whistling while she gave these directions. Gervaise\nwore her silk dress, and she smiled as they walked down the street\nin alternate shadow and light from the shopwindows.", "Nevertheless, when Gervaise became accustomed to her new surroundings\nshe grew more content. The pieces of furniture she had sold to", "Gervaise, in her turn, had made her preparations, had worked late\ninto the night and laid aside thirty francs. She had set her heart", "The next day the shop was taken, and Gervaise ran about with such\na light heart that there was a rumor that she had been cured of her\nlameness by an operation.\n\n\n\nCHAPTER V", "security as well as several other small but pressing debts. Gervaise\nhad now two or three streets open to her again, which for some time\nshe had not dared to enter.", "Lantier rang the changes on this subject for a week, but Gervaise said\nshe had decided to employ some woman and go to work again, and if she", "And Gervaise was very happy. She told him so and said her only anxiety\nnow was to be on her feet again as soon as possible, for they had", "to six hundred francs Gervaise could not rest, so tormented was she by\nambitious dreams. She wished to open a small establishment herself and", "Almost unconsciously Gervaise took her way to the shop where her\nhusband worked or, rather, pretended to work. She would wait for him\nand get the money before he had a chance to spend it.", "Gervaise took her hands down from her face and looked around. When\nshe saw Virginie talking and laughing with two or three women a wild", "by the gorgeous entertainment given by the Coupeaus. She liked the\nexcitement; she liked to cook. She generally lived pretty well with\nGervaise, but on those days which occur in all households, when the", "Then Lantier became serious and businesslike. He spoke openly of\nVirginie, who, he said, was looking for a shop; in fact, he now\nremembered having heard her say that she would like just such a\none as this.", "In addition to her own sorrows and privations, Gervaise, whose\nheart was not yet altogether hard, was condemned to hear now of the", "That night Gervaise told her husband that if he had thrown any\nobstacles in the way of her taking the shop she believed she should", "Three years passed away. There were reconciliations and new quarrels.\nGervaise continued to be liked by her neighbors; she paid her bills", "\"A nice-looking place, this!\" he muttered.\n\nThen examining Gervaise, he said half aloud and half to himself:\n\n\"So! You have given up washing yourself, it seems!\"", "Gervaise gasped. She had utterly forgotten the shop. She saw the\ndelight of these people when they believed that this plan was given" ], [ "As to Coupeau, if he worked he brought no money home, and his wife had\nceased to count upon it. Sometimes he declared he had lost it through", "About the first of November Coupeau turned over a new leaf; he\ndeclared he was going to work the next day, and Lantier thereupon", "gone, and it was necessary to count the sous pretty closely, for there\nwere four mouths to feed, and they were all dependent on the work of\nher two hands. When anyone found fault with Coupeau and blamed him", "Coupeau behaved very oddly. This blind and complacent husband, who\nhad closed his eyes to all that was going on at home, was filled with", "About the last of June Coupeau became absolutely morose, and Gervaise\nwas so much disturbed by certain glances he gave her that she fairly", "of the place where he was employed and get his wages from him before\nhe had spent them all, but this did no good, as Coupeau was warned\nby his friends and escaped by a rear door.", "Coupeau staggered to his feet again, and a violent quarrel commenced.\nGervaise pressed her hands over her eyes; suddenly all was quiet, and\nshe opened her eyes again and looked out.", "Coupeau was looking down on the floor intently. He raised his head\nand said with an idiotic laugh:", "Coupeau shook his comrade's hand and turned to depart, much to the\ndisgust of Mes-Bottes, who angrily asked if the master could not wait", "\"I am obliged to leave you!\" said Coupeau, rising at last with an\nimportant air. \"I promised my wife to go to work today, and I leave\nyou with the greatest reluctance.\"", "Coupeau by this time appeared, and more wine was sent for. But Poisson\ndared linger no longer, and, stiff and haughty, he departed through\nthe courtyard.", "The last summer of his life was especially trying to Coupeau. His\nvoice was entirely changed; he was deaf in one ear, and some days he", "These words frightened Gervaise nearly out of her wits. One Saturday\nevening, however, she consented. Coupeau came for her at half-past", "Gervaise retreated farther into the doorway and with difficulty kept\nback a sob. She nervously entreated Coupeau to take the man away.\n\nBazonge staggered off, muttering as he did so:", "The day after all this Coupeau had a frightful headache and did not\nrise until late, too late to go to his work. About noon he began to", "he knew there was money in the house. It was always because he was in\npressing need for some business matter. But still on those same days\nhe took Coupeau off with him and at some distant restaurant ordered", "The young man turned around and looked at Coupeau from head to foot.\n\n\"Learn,\" continued the angry workman, \"that the blouse is the only\nwear for a man!\"", "By degrees her unreasonable fears of Lantier were conquered. Coupeau\nwas behaving very badly at this time, and one evening as she passed", "When she saw Coupeau out of danger Gervaise allowed his family to\napproach him as they saw fit. His convalescence would be a matter of\nmonths. This again was a ground of indignation for Mme Lorilleux.", "had not forgiven Coupeau for refusing to read during all his long\nconvalescence; this and many other things had alienated her and her\nson from him, but they had in no degree lost their interest in" ], [ "As to Coupeau, if he worked he brought no money home, and his wife had\nceased to count upon it. Sometimes he declared he had lost it through", "and since Lantier had become a member of his household Coupeau had\nnever lifted a tool. He knew every drinking shop for miles around and\nwould sit and guzzle deep into the night, not always pleased to find", "of the place where he was employed and get his wages from him before\nhe had spent them all, but this did no good, as Coupeau was warned\nby his friends and escaped by a rear door.", "Coupeau drank all the more after this statement and was rarely or ever\nsober. There began to be a strange bluish tone in his complexion. His", "Coupeau knew but one remedy for all this, and that was a good stout\nmorning dram. His memory had long since fled; his brain had softened.", "gone, and it was necessary to count the sous pretty closely, for there\nwere four mouths to feed, and they were all dependent on the work of\nher two hands. When anyone found fault with Coupeau and blamed him", "Coupeau behaved very oddly. This blind and complacent husband, who\nhad closed his eyes to all that was going on at home, was filled with", "Amid all this ruin Coupeau thrived surprisingly. Bad liquor seemed\nto affect him agreeably. His appetite was good in spite of the amount", "Four men bore Coupeau to a druggist's at the corner, where he lay for\nan hour while a litter was sent for from the Hospital Lariboisiere.", "his devotions, passed out into the shop and said to Coupeau:", "About the last of June Coupeau became absolutely morose, and Gervaise\nwas so much disturbed by certain glances he gave her that she fairly", "By degrees her unreasonable fears of Lantier were conquered. Coupeau\nwas behaving very badly at this time, and one evening as she passed", "The day after all this Coupeau had a frightful headache and did not\nrise until late, too late to go to his work. About noon he began to", "Coupeau was looking down on the floor intently. He raised his head\nand said with an idiotic laugh:", "why. With kind frankness she pointed out to her that Coupeau had\nfallen into evil habits and was living on her labors and would in\nall probability continue to do so. The truth was that Mme Goujet", "The last summer of his life was especially trying to Coupeau. His\nvoice was entirely changed; he was deaf in one ear, and some days he", "The physicians watched Coupeau with care and interest. The phantoms\nwhich had hitherto haunted him by night now appeared before him at", "About the first of November Coupeau turned over a new leaf; he\ndeclared he was going to work the next day, and Lantier thereupon", "\"You are very comfortable here, I am sure,\" he would say regularly.\n\nFinally one night when he had uttered this phrase, as usual, Coupeau\ncried out:", "When Gervaise went back to her room she found Coupeau sitting on the\nside of the bed, weeping and moaning. She took a chair near by and\nlooked at him without speaking." ], [ "In addition to her own sorrows and privations, Gervaise, whose\nheart was not yet altogether hard, was condemned to hear now of the", "Gervaise melted by degrees. Her resolution forsook her, and a weakness\nof her heart and her senses overwhelmed her in the face of this brutal", "Almost unconsciously Gervaise took her way to the shop where her\nhusband worked or, rather, pretended to work. She would wait for him\nand get the money before he had a chance to spend it.", "This was really a terrible blow to Gervaise, who had no longer the\nsmallest motive for self-control, and she abandoned herself at once", "of her husband drinking up everything? Why should she save for her\nhusband to spend at all the wineshops in the neighborhood? And\nGervaise accepted this excuse. She was growing very indolent and", "Amid this sudden and fierce indignation Gervaise lived--indifferent,\ndull and stupid. At first she loathed herself, and if Coupeau laid", "Mme Goujet was always kind to Gervaise, not because of any fear of\nlosing her money, but because she really loved her and was afraid of\nher going wrong in some way.", "It was not long before Gervaise realized she had made a mistake, for\nwhen she was one day late with her October rent Mme Boche complained", "had, in fact, spent the whole five hundred francs and were penniless,\ncontrary to their intentions. The morning that Gervaise first took", "Gervaise, it is true, was not as gentle and sweet as she had been.\nEverything seemed to be going wrong with her, and she had lost heart", "\"Pshaw! It is only one drunkard the less!\"\n\nAfter this day Gervaise was not always quite right in her mind, and\nit was one of the attractions of the house to see her act Coupeau.", "This was the beginning of a great friendship. In another week Virginie\ncould not pass the shop without going in, and sometimes she remained\nfor two or three hours. At first Gervaise was very uncomfortable;", "Gervaise, to be sure, still made money, but she supported two men who\ndid nothing, and the shop, of course, did not make enough for that.", "Gervaise was slightly, very slightly, lame, but her lameness was\nperceptible, only on such days as she was very tired. This morning,\nso weary was she from the watches of the night, that she could hardly\nwalk without support.", "Gervaise turned pale; it was clear that Mme Goujet meant to take away\nher custom from her. She sank into a chair. She made no attempt at\nexcuses; she only asked a question.", "indolence and poverty increased, so did lack of cleanliness. No one\nwould ever have known that pretty blue shop in which Gervaise had\nformerly taken such pride. The windows were unwashed and covered with", "After that Gervaise never dared to ask him for a centime. She got\nbread, wine and meat on credit; bills were running up everywhere, for", "\"Everything is here,\" answered Gervaise with a smile. \"You know I\nnever leave anything behind.\"\n\n\"That is true,\" replied the elder woman. \"You have many faults, my\ndear, but not that one yet.\"", "Gervaise listened to all this at first listlessly, but she grew angry\nat last and cried out:", "\"You do not know what you have done, Gervaise. You are wrong--as you\nwill soon discover.\"" ], [ "\"I have made you wait too long, I am afraid,\" said Coupeau, whom she\nsuddenly heard at her side. \"They make a great fuss when I do not dine", "But when she went in, to her astonishment she found Coupeau sitting\nup. He welcomed her gaily.\n\n\"You are better!\" she exclaimed.", "Coupeau, in fact, did not seem to notice his wife, who had not yet\nseen his face. She went nearer. Was that really he? She never would", "Gervaise was in no way disturbed. Coupeau knew the way back well\nenough; he would return in due season. She soon heard that he and", "sous, and in the evening came to sit with Coupeau. He did not say\nmuch, but his companionship cheered and comforted the invalid. He\nwas tender and compassionate and was thrilled by the sweetness of", "\"I must go,\" he said presently.\n\nHe was at the door when Coupeau recalled him to say that he must never\npass without coming in to say, \"How do you do?\"", "The Lorilleuxs looked at him with some suspicion, which, however,\nwas very far from the mark. An awkward silence followed, broken by\nCoupeau, who said simply:\n\n\"He is a friend of ours!\"", "had not forgiven Coupeau for refusing to read during all his long\nconvalescence; this and many other things had alienated her and her\nson from him, but they had in no degree lost their interest in", "At this moment Coupeau entered.", "\"You are very comfortable here, I am sure,\" he would say regularly.\n\nFinally one night when he had uttered this phrase, as usual, Coupeau\ncried out:", "Lantier walked about a little and then, when he felt all right, went\nhome and told Gervaise that her husband was with his friends. Coupeau", "Coupeau behaved very oddly. This blind and complacent husband, who\nhad closed his eyes to all that was going on at home, was filled with", "Meanwhile Gervaise, who had disappeared, returned, pushing Etienne\nbefore her. The boy was half asleep but smiled as he rubbed his eyes.\nWhen he saw Lantier he stared and looked uneasily from him to Coupeau.", "When he had departed Boche clapped Coupeau on the shoulder. \"You may\nthank me for that!\" he cried and then went on to say that he was the", "Coupeau was looking down on the floor intently. He raised his head\nand said with an idiotic laugh:", "Lantier kept his word and was seen from that time very often in the\nshop. He came only when Coupeau was home and asked for him before he", "But Coupeau knew that Lantier was there, for he said:\n\n\"There's a fellow I know, and you know him too!\"", "Coupeau by this time appeared, and more wine was sent for. But Poisson\ndared linger no longer, and, stiff and haughty, he departed through\nthe courtyard.", "When she saw Coupeau out of danger Gervaise allowed his family to\napproach him as they saw fit. His convalescence would be a matter of\nmonths. This again was a ground of indignation for Mme Lorilleux.", "When people came and asked for Coupeau it was Lantier who appeared\nin his shirt sleeves with the air of the man of the house who is\nneedlessly disturbed. He answered for Coupeau, said it was one and\nthe same thing." ], [ "Mme Boche took Nana home and then went about among her friends to tell\nthe story with interminable details.", "then went back to his shop. Mme Lorilleux shed a few tears and then\nsent Nana to buy a pound of candles.", "In this great house, whence each month a girl or two took flight, this\nincident astonished no one. The Lorilleuxs were rather triumphant at\nthe success of their prophecy. Lantier defended Nana.", "But one day Nana was kicked home by her father, and Boche dragged\nPauline away by her ear.", "Nana looked first at her mother and then at Lantier and then trotted\nwith her little bare feet into the next room and slipped into the bed\nthat was still warm.", "five or six francs per week. Gervaise had not decided yet, for Nana\nhad shown no especial leaning in any direction. She had a good deal\nof taste, but she was butter-fingered and careless.", "Nana did not reply. She looked around the cheerless room, at the\ncold stove, at her parents. She did not step across the threshold.\nShe turned and went away.", "When Nana appeared after an absence of six weeks he thought she had\nbeen on an errand around the corner. She met him in the street, too,\nvery often now, without fear, for he passed without recognizing her.", "suffered from Nana's departure. A mother does not like to feel that\nher daughter will leave her for the first person who asks her to do\nso.", "Mme Lerat did not allow her niece after this day to set foot on the\nstreet without her. Nana at first was inclined to rebel, but, on the", "Gervaise turned away pale and trembling, while Nana composed herself\nto sleep again.", "But she was too thoroughly demoralized to care long, and soon she had\nbut one idea: that Nana belonged to her. Had she not a right to her\nown property?", "They hurried through their dinner, and as she went out with Lantier\nat eight o'clock Gervaise begged Nana and Mamma Coupeau to go to bed", "\"She?\" Lantier exclaimed. \"Who is she? Ah yes, I remember. Nana! No,\nshe said nothing more.\"", "\"By the way,\" said Lantier, addressing himself to Gervaise, \"I saw\nNana last night.\"\n\nGervaise started to her feet with her brush in her hand.", "Her workwomen had been gone some time. Nana and Mamma Coupeau were in\nbed, and Gervaise, who was just closing her shutters when her husband", "life for her--a comfortless home and a drunken father and mother. A\nsaint on earth could not have remained there; that she knew very well,\nand she said she would make her escape some fine day, and then perhaps", "together. Twice the young lady was sent home in disgrace and then\ntaken back again for the sake of the six francs each month. As soon as", "turned out. She worked no more; she had nothing to eat; she lived amid\ndirt and disorder. Her daughter had gone to the bad, and her husband", "She heard of her daughter several times. There are always plenty of\npeople to tell you things you do not care to hear. She was told that\nNana had left her elderly friend for the sake of some young fellow." ], [ "But this was the last bright day in that household. Two years passed\naway, and their prospects grew darker and their demoralization and\ndegradation more evident. They went without food and without fire,\nbut never without brandy.", "\"No, not angry, but still heartsick. All is over between us now\nand forever.\" And he walked off with long strides, leaving Gervaise\nstunned by his words.", "She read the young man's heart; she knew that his suspicions made\nhim miserable. And in revenge for something that had displeased\nher she told him the truth with many sighs and tears, as if her", "But the truth was she died of utter weariness of life, and Father\nBazonge came the day she was found dead in her den.", "To have been one of the most flourishing laundresses in Paris and then\nto make her bed in the gutter? They looked at each other once more,\nand without a word each went their own way through the fast-falling", "Then with a heart torn with anguish and with tears in her eyes, she\ntold him of the death of Mme Bijard, who had breathed her last that\nmorning after suffering unheard-of agonies.", "contain so great a heart, and that he lost this precious treasure\nwas entirely her father's fault. He, wretched creature, had kicked\nher mother to death and now, just as surely, murdered his daughter.", "But the saddest sight of all was the grief of a meek little woman in\nblack, whose husband, a tall, good-looking fellow, pushed her roughly", "therefore, on the old straw bed, that she lay waiting for death to\ncome. Apparently even Mother Earth would have none of her. She tried\nseveral times to throw herself out of the window, but death took her", "down and never rise again--to feel that all toil was over. And this\nwas the end of her life! Gervaise, amid the pangs of hunger, thought", "Another hour, and yet another passed. Suddenly the feet were stiff\nand motionless, and the young surgeon turned to Gervaise.\n\n\"He is dead,\" he said.", "\"And do they still live in that same place?\"\n\n\"No indeed! But I have not told you all yet. They separated a week\nago.\"\n\n\"Separated!\" exclaimed the clearstarcher.", "Yes, it was on that street that she and her children would soon be\nthrown, and she turned her hopeless, despairing eyes toward the outer", "misconduct. She, too, began to believe this herself and assumed at\ntimes a tragic air and wished she were dead. Unquestionably she had", "No! This life could not last. She no longer cared for her father. He\nhad thoroughly disgusted her, and now her mother drank too. Gervaise", "turned out. She worked no more; she had nothing to eat; she lived amid\ndirt and disorder. Her daughter had gone to the bad, and her husband", "But no one heard her. They had their own tale to tell then. How\nPoisson had nearly murdered Lantier. Poisson was a tiger, and he ought", "Her poor brain was disturbed. She had bidden an eternal farewell to\nGoujet. They would never see each other again. All was over between\nthem--love and friendship too.", "end. They all sang a melancholy ditty full of \"ahs\" and \"ohs.\" Nana\ndeclared this to be always the custom at funerals.", "About seven o'clock Coupeau woke. When he heard what had happened he\ndeclared they were jesting. But when he saw the body he fell on his" ], [ "They moved in the month of April. Gervaise was then near her\nconfinement, but it was she who cleaned and put in order her new home.", "Then came the moving, and finally Gervaise called herself settled in\nher new home and was pleased as a child. As she came up the street\nshe could see her sign afar off:\n\n CLEARSTARCHER", "These words frightened Gervaise nearly out of her wits. One Saturday\nevening, however, she consented. Coupeau came for her at half-past", "Amid this sudden and fierce indignation Gervaise lived--indifferent,\ndull and stupid. At first she loathed herself, and if Coupeau laid", "It was the same room in which he had lived ever since she knew\nhim--small and almost virginal in its simplicity. Gervaise dared not\nmove.", "Coupeau found two chairs and made Gervaise seat herself near the\ncurtain. The room was so narrow that he could not sit beside her, so\nhe placed his chair a little behind and leaned over her to give her\nthe information he deemed desirable.", "Gervaise was delighted. It seemed to her that she was once more in the\ncountry--no neighbors, no gossip, no interference--and from the place", "It was at this supper that Gervaise became acquainted with her\nneighbors on the other side of the house. These were Mme Goujet, a", "And Gervaise moved cautiously for ten paces or more. She counted the\nthree steps, and then Coupeau pushed open a door without knocking.\nA bright light streamed forth. They went in.", "Her workwomen had been gone some time. Nana and Mamma Coupeau were in\nbed, and Gervaise, who was just closing her shutters when her husband", "Gervaise, on reaching the boulevard, turned to the left and followed\nthe Rue de la Goutte-d'Or. As she passed Mme Fauconnier's shop she", "Gervaise took refuge with her mother-in-law in a distant window,\nfeeling heartily ashamed of the whole scene.", "When Gervaise awoke about five o'clock, stiff and sore, she burst into\nwild sobs, for Lantier had not come in. For the first time he had", "When Gervaise went back to her room she found Coupeau sitting on the\nside of the bed, weeping and moaning. She took a chair near by and\nlooked at him without speaking.", "They were speaking of Lantier. Gervaise had never seen him again;\nshe supposed him to be living with Virginie's sister, with a friend\nwho was about to start a manufactory for hats.", "Gervaise looked from one to the other. She was literally dazed. When\nher husband first appeared with her former lover she had clasped her", "\"A nice-looking place, this!\" he muttered.\n\nThen examining Gervaise, he said half aloud and half to himself:\n\n\"So! You have given up washing yourself, it seems!\"", "And the two men walked on toward the outer boulevard. Gervaise\nfollowed them. Again she said:\n\n\"I am hungry. You know I have had nothing to eat. You must find me\nsomething.\"", "They hurried through their dinner, and as she went out with Lantier\nat eight o'clock Gervaise begged Nana and Mamma Coupeau to go to bed", "In addition to her own sorrows and privations, Gervaise, whose\nheart was not yet altogether hard, was condemned to hear now of the" ], [ "They moved in the month of April. Gervaise was then near her\nconfinement, but it was she who cleaned and put in order her new home.", "\"He was very good to me once,\" answered Gervaise, \"but since we came\nto Paris he has changed. His mother died last year and left him about", "Gervaise, in her turn, had made her preparations, had worked late\ninto the night and laid aside thirty francs. She had set her heart", "and received thirty sous each time. Gervaise appeared on Saturday\nmornings with her bucket and brush, without seeming to suffer a single\npang at doing this menial work in the house where she had lived as", "Then came the moving, and finally Gervaise called herself settled in\nher new home and was pleased as a child. As she came up the street\nshe could see her sign afar off:\n\n CLEARSTARCHER", "In addition to her own sorrows and privations, Gervaise, whose\nheart was not yet altogether hard, was condemned to hear now of the", "Gervaise.", "One autumnal afternoon Gervaise, who had been to carry a basket of\nclothes home to a customer who lived a good way off, found herself in", "Almost unconsciously Gervaise took her way to the shop where her\nhusband worked or, rather, pretended to work. She would wait for him\nand get the money before he had a chance to spend it.", "risks in a place like Paris. The nurse took the baby from the father's\nhands and told Gervaise she must not talk. Coupeau said he must go and", "Lantier rang the changes on this subject for a week, but Gervaise said\nshe had decided to employ some woman and go to work again, and if she", "These words frightened Gervaise nearly out of her wits. One Saturday\nevening, however, she consented. Coupeau came for her at half-past", "Gervaise entered with the air of a woman who is startled at finding\nherself in a respectable place. He was pale and trembling. They", "had known nothing of the innocent happiness of her years. And Gervaise\ntook this slender creature for example, whose eyes alone told the\nstory of her misery and hardships, for in the Coupeau family the", "Gervaise did not even hear. She seemed entirely absorbed, as if she\nwere fulfilling an appointed task, and she talked with strange, wild\ngaiety, recalling one of the rhymes of her childhood:", "Gervaise had long since resumed her work. She no longer lifted the\nglobe of her clock to take out her bankbook; her savings were all", "Gervaise, to be sure, still made money, but she supported two men who\ndid nothing, and the shop, of course, did not make enough for that.", "to Mme Goujet, who still resided in the same house as before. The\nfirst year Gervaise had paid them twenty francs each month, or rather\nthe difference between the amount of their washing, seven or eight", "Gervaise, on reaching the boulevard, turned to the left and followed\nthe Rue de la Goutte-d'Or. As she passed Mme Fauconnier's shop she", "Gervaise went with the crowd. No one looked at her, for the men were\nall hurrying home to their dinner. Suddenly she looked up and beheld" ], [ "CHAPTER II\n\nGERVAISE AND COUPEAU", "But Coupeau knew that Lantier was there, for he said:\n\n\"There's a fellow I know, and you know him too!\"", "The Lorilleuxs looked at him with some suspicion, which, however,\nwas very far from the mark. An awkward silence followed, broken by\nCoupeau, who said simply:\n\n\"He is a friend of ours!\"", "At this moment Coupeau entered.", "Coupeau, in fact, did not seem to notice his wife, who had not yet\nseen his face. She went nearer. Was that really he? She never would", "The keeper lifted Coupeau. No, he was not dead; his bare feet quivered\nwith a regular motion. The surgeon in chief came in, bringing two", "Coupeau was looking down on the floor intently. He raised his head\nand said with an idiotic laugh:", "\"I have made you wait too long, I am afraid,\" said Coupeau, whom she\nsuddenly heard at her side. \"They make a great fuss when I do not dine", "When people came and asked for Coupeau it was Lantier who appeared\nin his shirt sleeves with the air of the man of the house who is\nneedlessly disturbed. He answered for Coupeau, said it was one and\nthe same thing.", "sous, and in the evening came to sit with Coupeau. He did not say\nmuch, but his companionship cheered and comforted the invalid. He\nwas tender and compassionate and was thrilled by the sweetness of", "Gervaise, seeing the doctors lay their hands on Coupeau's body,\nwished to do the same. She approached softly and placed her hand\non his shoulder and left it there for a minute.", "\"And mine,\" said Gervaise, \"is Coupeau.\"", "Coupeau behaved very oddly. This blind and complacent husband, who\nhad closed his eyes to all that was going on at home, was filled with", "For a week Coupeau's life hung on a thread. His family and his friends\nexpected to see him die from one hour to another. The physician, an", "\"She is crazy!\" said Coupeau when he saw her. \"I tell you, she is\ncrazy!\"", "But when she went in, to her astonishment she found Coupeau sitting\nup. He welcomed her gaily.\n\n\"You are better!\" she exclaimed.", "Four men bore Coupeau to a druggist's at the corner, where he lay for\nan hour while a litter was sent for from the Hospital Lariboisiere.", "\"You are very comfortable here, I am sure,\" he would say regularly.\n\nFinally one night when he had uttered this phrase, as usual, Coupeau\ncried out:", "understand, but she gathered that Coupeau had gone on in the same way\nall night. Finally he said this was the wife of the patient. Wherefore\nthe surgeon in chief turned and interrogated her with the air of a", "In the meantime Coupeau rolled a new cigarette. He was very neat and\nclean, wearing a blouse and a little blue cloth cap and showing his\nwhite teeth as he smiled." ], [ "the rooms had heard that a primitive wedding party was making a tour\nof the Louvre and hurried with laughing faces to enjoy the scene,\nwhile the weary bride and bridegroom, accompanied by their friends,", "The wedding party, coming out of La Rue St-Denis, crossed the\nboulevard under their umbrellas amid the pouring rain, driving here", "excited, went gaily on. They stopped for a moment on the Place des\nVictoire--the bride's shoestring was untied--she fastened it at the", "The party went at once to the Moulin d'Argent. Coupeau now walked with\nhis wife some little distance in advance of the others. They whispered", "They walked around the salon. Gervaise asked the meaning of one of\nthe pictures, the _Noces de Cana_; Coupeau stopped before _La\nJoconde_, declaring that it was like one of his aunts.", "The wedding party finally entered the long gallery devoted to the\nItalian and Flemish schools of art. The pictures were all meaningless", "of all heights, sizes and styles. The shopkeepers on the boulevard\ncrowded to their windows to enjoy the drollery of the sight.\nThe wedding procession, quite undisturbed by the observation it", "their places. The center altar was being prepared for some fete, for\nthe hammers were heard as the decorations were being nailed up. And in", "At the church the ceremony was of short duration. The Mass dragged\na little because the priest was very old.", "the service, gabbling the Latin phrases with sidelong glances at the\nbridal party. The bride and bridegroom knelt before the altar in\nconsiderable embarrassment, not knowing when it was necessary to kneel", "Finally they reached the Louvre. Here Madinier politely asked\npermission to take the head of the party; the place was so large,", "And they smiled as they stood at opposite sides of this long table\nwith its glossy white cloth and its places for fourteen carefully\nlaid. They worshiped there as if it had been a chapel erected in the\nmiddle of the shop.", "had shown them a certain room to which he could go with his eyes shut.\nBut he was very much mistaken. Salon succeeded to salon, and finally\nthe party went up a flight of stairs and found themselves among", "The idea was received with applause. The party started forth. A fine\ndrizzling rain was now falling, but they were too warm within to mind\nthis light sprinkling on their shoulders.", "When the signatures were again affixed to the register in the vestry\nand the party stood outside in the sunshine, they had a sensation as\nif they had been driven at full speed and were glad to rest.", "which touched him deeply. He was not the only person who wept, he\nwas glad to see, and when the ceremony was over he left the church\nfeeling that it was the happiest day of his life. But an hour later", "The civil marriage was fixed for half-past ten. The day was clear and\nthe sun intensely hot. In order not to excite observation the bridal", "Finally they reached the door and went out of the place, leaving it\ncrowded to overflowing. The fumes of alcohol and the tipsy voices of\nthe men carousing went out into the street with them.", "\"That is the balcony where Charles IX fired on the people!\"\n\nWith a magnificent gesture he ordered his party to stand still in the\ncenter of the Salon Carre.", "Then they turned to the register and wrote their names in big, crooked\nletters--all but the newly made husband, who, not being able to write,\ncontented himself with making a cross." ], [ "Gervaise, in her turn, had made her preparations, had worked late\ninto the night and laid aside thirty francs. She had set her heart", "Almost unconsciously Gervaise took her way to the shop where her\nhusband worked or, rather, pretended to work. She would wait for him\nand get the money before he had a chance to spend it.", "Gervaise did not care for any great wedding. Why should they spend\ntheir money so foolishly? Then, too, she felt a little ashamed and", "Gervaise had long since resumed her work. She no longer lifted the\nglobe of her clock to take out her bankbook; her savings were all", "Mme Goujet was always kind to Gervaise, not because of any fear of\nlosing her money, but because she really loved her and was afraid of\nher going wrong in some way.", "of her husband drinking up everything? Why should she save for her\nhusband to spend at all the wineshops in the neighborhood? And\nGervaise accepted this excuse. She was growing very indolent and", "Gervaise.", "These words frightened Gervaise nearly out of her wits. One Saturday\nevening, however, she consented. Coupeau came for her at half-past", "Gervaise, to be sure, still made money, but she supported two men who\ndid nothing, and the shop, of course, did not make enough for that.", "had, in fact, spent the whole five hundred francs and were penniless,\ncontrary to their intentions. The morning that Gervaise first took", "placed above her. Naturally at the end of the week Gervaise had little\nmoney coming to her.", "Coupeau and Lantier made the money fly. Lantier was continually\nborrowing money from Gervaise--ten francs, twenty francs--whenever", "Lantier all this time was fretting and scolding at the Coupeaus,\nasking Gervaise what on earth she intended to do, begging her to", "In addition to her own sorrows and privations, Gervaise, whose\nheart was not yet altogether hard, was condemned to hear now of the", "\"Ah, it is you, is it?\" said Mme Lorilleux. \"What do you want?\"\n\nGervaise hesitated. The application for ten sous stuck in her throat,\nbecause she saw Boche seated by the stove.", "\"There are three of us,\" said Gervaise after a long calculation; \"if\nwe each pay thirty francs we can do it with decency.\"\n\nBut Mme Lorilleux burst out furiously:", "to Mme Goujet, who still resided in the same house as before. The\nfirst year Gervaise had paid them twenty francs each month, or rather\nthe difference between the amount of their washing, seven or eight", "Gervaise went to Goujet and borrowed sixty francs, which, added to\nthirty from Mme Lerat, would pay the expenses of the funeral. In", "years old, nearly blind and helpless. They must all unite in doing\nsomething for her now. Gervaise thought it a burning shame that a\nwoman of her age, with three well-to-do children, should be allowed", "Gervaise after a little, by dint of dwelling on this thought, had come\nto consider it a certainty. Yes, Coupeau would bring home some money," ], [ "Coupeau was looking down on the floor intently. He raised his head\nand said with an idiotic laugh:", "At this moment Coupeau entered.", "The keeper lifted Coupeau. No, he was not dead; his bare feet quivered\nwith a regular motion. The surgeon in chief came in, bringing two", "crowded. They could not find a table, and they stood waiting until\nthey could establish themselves. Coupeau was directly in the mouth of\nthe passage, and a young man in a frock coat was thrown against him.", "Four men bore Coupeau to a druggist's at the corner, where he lay for\nan hour while a litter was sent for from the Hospital Lariboisiere.", "But Coupeau knew that Lantier was there, for he said:\n\n\"There's a fellow I know, and you know him too!\"", "Coupeau, in fact, did not seem to notice his wife, who had not yet\nseen his face. She went nearer. Was that really he? She never would", "About seven o'clock Coupeau woke. When he heard what had happened he\ndeclared they were jesting. But when he saw the body he fell on his", "Coupeau, with his bag of tools on his shoulder, shuffled along; his\nfootsteps had long since lost their ring.", "Coupeau behaved very oddly. This blind and complacent husband, who\nhad closed his eyes to all that was going on at home, was filled with", "Coupeau said he could do it. After all, it was a simple thing\nenough--he should just tear it to pieces.\n\nThere was a cry of dismay.", "Coupeau was speaking fast and looking all about, as if he were\nexamining the underbrush in the Bois de Vincennes.", "By this time Mes-Bottes was what is properly called howling drunk, and\nas he staggered away from the counter he struck the bag of tools which\nCoupeau had over his shoulder.", "Coupeau staggered to his feet again, and a violent quarrel commenced.\nGervaise pressed her hands over her eyes; suddenly all was quiet, and\nshe opened her eyes again and looked out.", "For a week Coupeau's life hung on a thread. His family and his friends\nexpected to see him die from one hour to another. The physician, an", "Coupeau reeled in, breaking a square of glass with his shoulder as\nhe missed the doorway. He was not tipsy but drunk, with his teeth set", "Coupeau fancied, as he had been thrown back from the wall in front,\nthat he was now attacked in the rear, and he leaped over the mattress", "At the end of two months Coupeau was on his feet again and could\nmove--with difficulty, of course--as far as the window, where he sat", "When she reached the hospital she heard a strange story. It seems that\nCoupeau--how, no one could say--had escaped from the hospital and had", "\"My very lameness--\" she continued.\n\n\"Your lameness?\" interrupted Coupeau gallantly. \"Why, it is almost\nnothing. No one would ever notice it!\"" ], [ "Coupeau was looking down on the floor intently. He raised his head\nand said with an idiotic laugh:", "the two men fall to the ground. Virginie and Mme Boche had something\nof the same feeling. Coupeau had been so overcome by the fresh air\nthat when he rushed forward to take Lantier by the collar he missed", "Coupeau staggered to his feet again, and a violent quarrel commenced.\nGervaise pressed her hands over her eyes; suddenly all was quiet, and\nshe opened her eyes again and looked out.", "Coupeau shook hands with the ladies in succession, with difficulty\nkeeping his feet as he did so, and Gervaise, in a choked voice, begged", "About seven o'clock Coupeau woke. When he heard what had happened he\ndeclared they were jesting. But when he saw the body he fell on his", "Goujet left the women outside and, going in, placed his hand on\nCoupeau's shoulder, who, when he saw his wife and Virginie, fell\ninto a great rage.", "Coupeau behaved very oddly. This blind and complacent husband, who\nhad closed his eyes to all that was going on at home, was filled with", "Coupeau said he could do it. After all, it was a simple thing\nenough--he should just tear it to pieces.\n\nThere was a cry of dismay.", "Gervaise stood aghast at the disgusting sight that met her eyes as\nshe entered the room where Coupeau lay wallowing on the floor.", "The keeper lifted Coupeau. No, he was not dead; his bare feet quivered\nwith a regular motion. The surgeon in chief came in, bringing two", "For a week Coupeau's life hung on a thread. His family and his friends\nexpected to see him die from one hour to another. The physician, an", "Coupeau fancied, as he had been thrown back from the wall in front,\nthat he was now attacked in the rear, and he leaped over the mattress", "But Coupeau knew that Lantier was there, for he said:\n\n\"There's a fellow I know, and you know him too!\"", "As to Coupeau, if he worked he brought no money home, and his wife had\nceased to count upon it. Sometimes he declared he had lost it through", "Coupeau, in fact, did not seem to notice his wife, who had not yet\nseen his face. She went nearer. Was that really he? She never would", "\"I have made you wait too long, I am afraid,\" said Coupeau, whom she\nsuddenly heard at her side. \"They make a great fuss when I do not dine", "She leaned against the wall, utterly overcome. The physician turned\naway. He knelt on the mattress and carefully watched Coupeau; he", "At this moment Coupeau entered.", "his devotions, passed out into the shop and said to Coupeau:", "Coupeau by this time appeared, and more wine was sent for. But Poisson\ndared linger no longer, and, stiff and haughty, he departed through\nthe courtyard." ], [ "In addition to her own sorrows and privations, Gervaise, whose\nheart was not yet altogether hard, was condemned to hear now of the", "Almost unconsciously Gervaise took her way to the shop where her\nhusband worked or, rather, pretended to work. She would wait for him\nand get the money before he had a chance to spend it.", "by the gorgeous entertainment given by the Coupeaus. She liked the\nexcitement; she liked to cook. She generally lived pretty well with\nGervaise, but on those days which occur in all households, when the", "The next day Gervaise was miserable, unhappy and restless. She could\nnot iron a handkerchief. She wanted to see Goujet and tell him just", "Gervaise now quarreled with her husband incessantly. The warmth of\naffection of husband and wife, of parents for their children and\nchildren for their parents had fled and left them all shivering,\neach apart from the other.", "In spite of her debts, in spite of the shifts to which her increasing\npoverty condemned her, Gervaise would have considered herself quite\nwell off, but for the exacting selfishness of Lantier and Coupeau.", "Gervaise, in her turn, had made her preparations, had worked late\ninto the night and laid aside thirty francs. She had set her heart", "Gervaise, to be sure, still made money, but she supported two men who\ndid nothing, and the shop, of course, did not make enough for that.", "Gervaise did her best, but, after all, what can a wife do in such\ncircumstances?", "\"Pshaw! It is only one drunkard the less!\"\n\nAfter this day Gervaise was not always quite right in her mind, and\nit was one of the attractions of the house to see her act Coupeau.", "In reality Gervaise was more afraid of Lantier than she was willing\nto admit even to herself. She was fully determined never to allow\nthe smallest familiarity, but she was afraid that she might yield", "\"Your mother likes me no longer,\" said Gervaise in a low voice. \"Do\nnot say no; how can it be otherwise? We owe you so much money.\"", "No! This life could not last. She no longer cared for her father. He\nhad thoroughly disgusted her, and now her mother drank too. Gervaise", "\"Everything is here,\" answered Gervaise with a smile. \"You know I\nnever leave anything behind.\"\n\n\"That is true,\" replied the elder woman. \"You have many faults, my\ndear, but not that one yet.\"", "After that Gervaise never dared to ask him for a centime. She got\nbread, wine and meat on credit; bills were running up everywhere, for", "had known nothing of the innocent happiness of her years. And Gervaise\ntook this slender creature for example, whose eyes alone told the\nstory of her misery and hardships, for in the Coupeau family the", "years old, nearly blind and helpless. They must all unite in doing\nsomething for her now. Gervaise thought it a burning shame that a\nwoman of her age, with three well-to-do children, should be allowed", "Lantier all this time was fretting and scolding at the Coupeaus,\nasking Gervaise what on earth she intended to do, begging her to", "might come in, they said, or stay out, just as she pleased, provided\nshe kept the door shut. Only one thing exasperated Gervaise now, and", "Gervaise melted by degrees. Her resolution forsook her, and a weakness\nof her heart and her senses overwhelmed her in the face of this brutal" ], [ "In addition to her own sorrows and privations, Gervaise, whose\nheart was not yet altogether hard, was condemned to hear now of the", "down and never rise again--to feel that all toil was over. And this\nwas the end of her life! Gervaise, amid the pangs of hunger, thought", "Gervaise felt faint and ill; all hope was gone. It seemed to her that\nall was over and that Lantier would come no more. She looked from the", "years old, nearly blind and helpless. They must all unite in doing\nsomething for her now. Gervaise thought it a burning shame that a\nwoman of her age, with three well-to-do children, should be allowed", "Gervaise melted by degrees. Her resolution forsook her, and a weakness\nof her heart and her senses overwhelmed her in the face of this brutal", "Amid this sudden and fierce indignation Gervaise lived--indifferent,\ndull and stupid. At first she loathed herself, and if Coupeau laid", "had, in fact, spent the whole five hundred francs and were penniless,\ncontrary to their intentions. The morning that Gervaise first took", "Gervaise, to be sure, still made money, but she supported two men who\ndid nothing, and the shop, of course, did not make enough for that.", "Gervaise staggered to her feet. He, too, rejected her and would have\nnothing to do with her. She crawled into her room and threw herself on\nher straw. She was sorry she had eaten anything and delayed the work\nof starvation.", "It was said in the street that Lantier had deserted Gervaise,\nthat she gave him no peace running after him, but this was not true,", "When Gervaise went back to her room she found Coupeau sitting on the\nside of the bed, weeping and moaning. She took a chair near by and\nlooked at him without speaking.", "This was really a terrible blow to Gervaise, who had no longer the\nsmallest motive for self-control, and she abandoned herself at once", "In the meantime Gervaise went directly to Mme Lerat and Mme Lorilleux\nand said faintly:\n\n\"He is dead--after four days of horror.\"", "had known nothing of the innocent happiness of her years. And Gervaise\ntook this slender creature for example, whose eyes alone told the\nstory of her misery and hardships, for in the Coupeau family the", "Her workwomen had been gone some time. Nana and Mamma Coupeau were in\nbed, and Gervaise, who was just closing her shutters when her husband", "\"Pshaw! It is only one drunkard the less!\"\n\nAfter this day Gervaise was not always quite right in her mind, and\nit was one of the attractions of the house to see her act Coupeau.", "After that Gervaise never dared to ask him for a centime. She got\nbread, wine and meat on credit; bills were running up everywhere, for", "Gervaise turned pale; it was clear that Mme Goujet meant to take away\nher custom from her. She sank into a chair. She made no attempt at\nexcuses; she only asked a question.", "\"Your mother likes me no longer,\" said Gervaise in a low voice. \"Do\nnot say no; how can it be otherwise? We owe you so much money.\"", "These words frightened Gervaise nearly out of her wits. One Saturday\nevening, however, she consented. Coupeau came for her at half-past" ], [ "Amid this sudden and fierce indignation Gervaise lived--indifferent,\ndull and stupid. At first she loathed herself, and if Coupeau laid", "These words frightened Gervaise nearly out of her wits. One Saturday\nevening, however, she consented. Coupeau came for her at half-past", "Coupeau discovered that his daughter's partner was the young man for\nwhom he had been looking. Gervaise pushed him aside and walked up to", "They finished their coffee. This tale might or might not be true; it\nwas not improbable, at all events. And after this it was circulated\nand generally believed in the _Quartier_ that Gervaise had sold\nher daughter.", "had known nothing of the innocent happiness of her years. And Gervaise\ntook this slender creature for example, whose eyes alone told the\nstory of her misery and hardships, for in the Coupeau family the", "Her workwomen had been gone some time. Nana and Mamma Coupeau were in\nbed, and Gervaise, who was just closing her shutters when her husband", "When Gervaise went back to her room she found Coupeau sitting on the\nside of the bed, weeping and moaning. She took a chair near by and\nlooked at him without speaking.", "It was still raining and a cold, sharp wind blowing. Gervaise lost\nCoupeau, found him and then lost him again. She wanted to go home,", "They hurried through their dinner, and as she went out with Lantier\nat eight o'clock Gervaise begged Nana and Mamma Coupeau to go to bed", "Lantier all this time was fretting and scolding at the Coupeaus,\nasking Gervaise what on earth she intended to do, begging her to", "When she saw Coupeau out of danger Gervaise allowed his family to\napproach him as they saw fit. His convalescence would be a matter of\nmonths. This again was a ground of indignation for Mme Lorilleux.", "The Coupeaus pretended to be rather pleased, but in their hearts they\nraged, particularly as they soon learned that Nana was frequently seen\nin the _Quartier_. Gervaise declared this was done by the girl to\nannoy them.", "But her face bore the traces of such frightful agony that Gervaise\nfell on her knees by the side of the bed. She knew that the child\nhad had a cough for a month, and she saw the blood trickling from\nthe corners of her mouth.", "Gervaise hunted in a bureau to find a little crucifix which she had\nbrought from Plassans, when she suddenly remembered that Mamma Coupeau\nhad sold it. They each took a glass of wine and sat by the stove until\ndaybreak.", "\"Of course. No it must be, Monsieur Coupeau,\" answered Gervaise with\na smile. \"Surely you do not intend to begin that again here! You", "When Coupeau saw her go he was in actual consternation, and Gervaise\nsaw that it was best to make a move at once. Mme Boche had agreed to\nkeep the children with her for a day or two.", "Gervaise.", "Gervaise went to Lantier and waked him.\n\n\"She is dead,\" she said.\n\n\"Well, what of it?\" he muttered, half asleep. \"Why don't you go to\nsleep?\"", "In addition to her own sorrows and privations, Gervaise, whose\nheart was not yet altogether hard, was condemned to hear now of the", "Meanwhile Gervaise, who had disappeared, returned, pushing Etienne\nbefore her. The boy was half asleep but smiled as he rubbed his eyes.\nWhen he saw Lantier he stared and looked uneasily from him to Coupeau." ] ]

[ "What did Lantier do to Gervaise and her two sons?", "Who is Anna?", "How did Coupeau injure himself?", "Who returns into Gervaise's life?", "What does Coupeau engage in after his injury?", "Who becomes an alcoholic besides Coupeau?", "What was the nickname of Anna?", "What happens to Coupeau from his excessive drinking?", "Who does Gervaise Macquart run away with?", "What employment does Gervaise get when they arrive in Paris?", "Where are Coupeau and Gervaise married?", "When things are looking up for Gervaise, what business is she able to open?", "What event forces Coupeau out of work?", "What addiction does Coupeau suffer from after losing his employment?", "What character flaw causes Gervaise to eventually lose her business?", "Who does Coupeau welcome back after his long absence?", "What employment does Nana find after running away from home?", "What event ends this tragic story?", "Where do Gervaise and her lover move to at the beginning of the novel?", "What job does Gervaise take when she moves to Paris?", "Who is Coupeau?", "What landmark does the couples wedding party visit?", "What is Gervaise saving money for?", "How is Coupeau injured?", "What happens as a result of Coupeau's fall?", "What prevents Gervaise from keeping her household together?", "What happens to Gervaise after her business fails?", "What happens to Gervaise and Coupeau's daughter?" ]

[ [ "He abandoned them.", "LEFT" ], [ "The daughter of Gervaise and Coupeau.", "The daughter" ], [ "He fell from a hospital roof.", "He falls off a roof" ], [ "Lantier.", "Lanier" ], [ "Drinking.", "he starts drinking" ], [ "Gervaise.", "Gervaise. " ], [ "Nana.", "Nana" ], [ "He becomes an alcoholic.", "He becomes very ill. " ], [ "Her lover Lantier", "GERVIASE HER LOVER" ], [ "Gervaise becomes a washerwoman", "washerwoman" ], [ "In the Louvre", "The louvre. " ], [ "A laundry", "LAUNDRY SHOP" ], [ "A fall from a hospital roof", "He's injured in a fall from a roof." ], [ "Alcololism", "alcoholism " ], [ "Excessive pride", "pride" ], [ "Lantier", "Lantier" ], [ "Nana becomes a streetwalker", "streetwalker" ], [ "The death of Gervaise", "Gervaise dies." ], [ "Paris.", "Paris" ], [ "Works in a laundry washing clothes.", "Washerwoman " ], [ "The man that Gervaise marries.", "Gervaise's husband. " ], [ "The Loovre.", "LOUVRE" ], [ "To open her own laundry business.", "Gervaise saves money to open her own laundry." ], [ "Falling off the roof of a hospital.", "FELL OFF A ROOF" ], [ "He becomes an unemployed alcoholic.", "Coupeau becomes an alcoholic." ], [ "Her pride.", "Her and her husband's drinking along with other bad decisions" ], [ "She becomes an alcoholic.", "she becomes an alcoholic" ], [ "She becomes a prostitute.", "she ran away from home and became a streetwalker" ] ]

[ [ "conducted Genji to the hill-side mansion, and introduced him to the\nmaiden. In the course of time they gradually became more than mere\nacquaintances to each other. For some time Genji often found himself", "passionately he had desired to see her. She, however, listened to him\nalmost in silence, and gave no plain answer. Genji was disconcerted,\nand at last said,", "The evening breeze blew chill, and Genji it appears was becoming very\nindifferent. Choosing this moment Tô-no-Chiûjiô slyly stepped forth to\nthe spot where Genji was resting.", "She was older than Genji by four years, and was as cold and stately in\nher mien as ever. Her father, however, received him joyfully whenever\nhe called, although he was not always satisfied with the", "you will no longer pain me thus,\" said Genji; and he made every effort\nto conciliate her. But she was not easily appeased. He was\nunsuccessful in his effort, and presently they retired to their", "considered unfavorable. This Kokimi, as we know, had received much\nkindness from Genji up to the time of his becoming a man; but when", "Genji could not help feeling touched. Not knowing exactly how to\nsoothe her, he exclaimed, \"What makes you treat me so coolly? It is", "favorite and her indifference. Kokimi said nothing. Genji then\nmurmured, \"I was clearly slighted. Oh wretched me! I cannot rival the", "appearance. It happened that, when the eyes of the younger were turned\nin another direction, Genji ventured to touch slightly the shoulder of\nhis favorite, who, startled at the action rose suddenly and left the", "Genji finished his visit to the Temple, and was coming back, Kokimi\nonce more came from the capital to meet him. Through him Genji sent a\nletter to his sister, asking her if she had recognized him when he", "Genji, faltered as he did so. As to the Emperor, a sudden thought\nstole into his mind. \"Ah! could his mother but have lived to have seen", "such intrigues. He tried every means to favor his designs, and to\ningratiate himself with the lady, and at last succeeded in bringing\nher and Genji together. The details of the plans by which all this was", "Genji, who witnessed their passing, and sent the following to the\nlady-mother with a twig of Sakaki (divine tree):--", "had any communication with her, or did he visit her. These\ncircumstances made her feel Genji's affection more keenly than she\notherwise would have; hence her sorrow at the thought of parting with", "And, after a long and friendly conversation, Genji returned to his\nhome. One may say that the character of Genji was changeable, it is", "the Princess, when she had leave of absence from the Court, chiefly\nbecause she did not like being at home with her stepmother. For this\nreason Tayû had plenty of chances for gratifying the wish of Genji to", "Genji pushed the hair back from her face, as he said to her, \"I am\ncome from your father;\" but this she knew to be false, and was", "with her. As I told you before she is very bashful and reserved; but\nyet is perhaps more desirable for this very reason,\" and she detailed\nmany more particulars about her. This enabled Genji to fully picture", "Genji and his father-in-law were subjected. She was convinced she\nwould never suffer such cruel treatment as that which Seki-Foojin[98]", "Genji did not like that they should know that he had seen and heard\nall this, so he slyly withdrew some distance, and then advancing with\na firm step, approached the door and knocked." ], [ "To this another name, Murasaki, was added, in order to distinguish her\nfrom other ladies who may also have been called Shikib. \"Murasaki\"", "Such, then, was the condition of society at the time when the\nauthoress, Murasaki Shikib, lived; and such was the sphere of her", "better known by her surname, Jiôtô-Monin, and who is especially famous\nas having been the patroness of our authoress. Murasaki Shikib married", "The enunciation of these words was not that of Lady Aoi herself; and\nwhen Genji came to reflect, it clearly belonged to the Lady of Rokjiô.", "\"Ah, then,\" thought Genji, \"the little one is her daughter, and no\nwonder that she resembles the one in the palace (because Prince", "favorite and her indifference. Kokimi said nothing. Genji then\nmurmured, \"I was clearly slighted. Oh wretched me! I cannot rival the", "She was a charming lady, and the Emperor was not without a certain\nliking for her; yet Lady Kokiden, the daughter of Gon-Chiûnagon", "Thus a faint allusion was made to the circumstances which were the\ncause of their acquaintance, and it became known that the verse and\nthe fan had been sent by her attendant mistaking Genji for her\nmistress's former lover.", "century after Christ, and was generally called Murasaki Shikib. About\nthese names a few remarks are necessary. The word \"Shikib\" means", "\"See how childish she still is,\" remarked Shiônagon.\n\n\"Why are you so timid, little one, come here and sleep on my knees,\"\nsaid Genji.", "passionately he had desired to see her. She, however, listened to him\nalmost in silence, and gave no plain answer. Genji was disconcerted,\nand at last said,", "She was the daughter of Fujiwara Tametoki, a petty Court noble,\nremotely connected with the great family of Fujiwara, in the tenth", "such intrigues. He tried every means to favor his designs, and to\ningratiate himself with the lady, and at last succeeded in bringing\nher and Genji together. The details of the plans by which all this was", "Nijiô, and became thoughtful and preoccupied. At length he endeavored\nto cajole Ô Miôbu, Wistaria's attendant, into arranging an opportunity", "alone. I know not how it came to pass, but she became secretly\nintimate with Prince Hiôbkiô. But the Prince's wife was very jealous", "because her sister, the Empress-mother, was at this time staying in\nthe same mansion. We cannot regard either the lady or Genji as", "with her. As I told you before she is very bashful and reserved; but\nyet is perhaps more desirable for this very reason,\" and she detailed\nmany more particulars about her. This enabled Genji to fully picture", "Genji sent his attendants very early to their own quarters, and then,\nthrough Kokimi, requested an interview with the lady. Kokimi at first", "Genji, who witnessed their passing, and sent the following to the\nlady-mother with a twig of Sakaki (divine tree):--", "Genji at once noticed this. \"Just as I imagined. She is so simple,\"\nthought he, and then he commenced to talk with her, and to explain how" ], [ "with her. As I told you before she is very bashful and reserved; but\nyet is perhaps more desirable for this very reason,\" and she detailed\nmany more particulars about her. This enabled Genji to fully picture", "passionately he had desired to see her. She, however, listened to him\nalmost in silence, and gave no plain answer. Genji was disconcerted,\nand at last said,", "Genji at once noticed this. \"Just as I imagined. She is so simple,\"\nthought he, and then he commenced to talk with her, and to explain how", "During these autumn evenings the thoughts of Genji were often directed\nto the granddaughter of the nun, especially because she resembled the\nPrincess so much. His desire to possess her was considerably", "Shiônagon the whole affair seemed like a dream. \"What am I to do?\" she\nsaid to Genji, who teasingly answered, \"What you choose. You may go if", "\"How like her grandmother's it is,\" thought Genji. \"Were she to take\nlessons from a good professor she might become a master of the art.\"", "behalf, referring to her, said, 'What has become of her?' Is she here\nnow?\" said Genji; and lowering his voice, added, \"How changeable are\nthe fortunes of the world!\"", "\"See how childish she still is,\" remarked Shiônagon.\n\n\"Why are you so timid, little one, come here and sleep on my knees,\"\nsaid Genji.", "The girl, glancing with shy timidity at Genji, for whom she already\nhad some liking, and thinking that perhaps there was impropriety in", "endeavored to persuade her to see Genji, in an anxious and half\ntrembling voice, while she replied in a tone slightly angry, \"What\nmakes you so busy? Why do you trouble yourself? Boys carrying such", "favorite and her indifference. Kokimi said nothing. Genji then\nmurmured, \"I was clearly slighted. Oh wretched me! I cannot rival the", "\"Well,\" said Genji, and bending over his beloved, shook her gently,\nbut she neither spoke nor moved. She had apparently fainted, and he\nbecame seriously alarmed.", "Genji could not help feeling touched. Not knowing exactly how to\nsoothe her, he exclaimed, \"What makes you treat me so coolly? It is", "\"But what? Do you mean that she is not worth seeing?\" retorted Genji;\nand would fain have told the boy that he had already seen her, but", "Genji at once showed this to the Emperor, asking whether he had better\ngo. \"Ah!\" said the latter, smiling, \"This is from a great personage.\nYou had better go, I should think; besides there are the Princesses\nthere.\"", "\"I must see her once more,\" said Genji, sorrowfully. \"I will go with\nyou to behold her, before she is lost to my sight forever.\" And he\ninsisted on accompanying him.", "earnestness than many regular priests.\" Here Genji interrupted. \"What\nis his daughter like?\" \"Without doubt,\" answered his companion, \"the\nbeauty of her person is unrivalled, and she is endowed with", "\"If a man had such a daughter, he might be satisfied,\" thought Genji.\n\"But perhaps she may be a little deficient in quietness. No matter how\nthis may be, she has sufficient attractions.\"", "She was older than Genji by four years, and was as cold and stately in\nher mien as ever. Her father, however, received him joyfully whenever\nhe called, although he was not always satisfied with the", "She went back again to her toys, and presented a toy prince, whom she\ncalled Genji, at the Court of her toy house. Shiônagon was beside her.\nShe said:--" ], [ "The Emperor then constantly told her that if Genji were left in his\npresent condition it might induce evil, and, therefore, it would be", "Return we now to Genji. He went to the ex-Emperor, to whom he still\nseemed thin and careworn. He had some affectionate conversation with", "Emperor, his enemy. When he sent off the assassin this event took\nplace. The allusion here seems to imply the allegation that Genji\nintended high treason.]", "Genji and his father-in-law were subjected. She was convinced she\nwould never suffer such cruel treatment as that which Seki-Foojin[98]", "public was general, and the Emperor went to visit him. Notwithstanding\nhis weakness, the former gave him every injunction, first about the\nHeir-apparent, then about Genji, and said:--", "the Emperor, in front of the palace, looking reproachfully upon him.\nThe Emperor showed every token of submission and respect when the dead\nEmperor told him of many things, all of which concerned Genji's", "Genji had to quit the capital he left him and joined his\nbrother-in-law in his official province. This was not viewed as very\nsatisfactory; but Genji manifested no bad feeling to him, and treated", "After this conversation Genji left. On his way he came across a nephew\nof the Empress-mother, who seems to have been a person of rather", "The evening breeze blew chill, and Genji it appears was becoming very\nindifferent. Choosing this moment Tô-no-Chiûjiô slyly stepped forth to\nthe spot where Genji was resting.", "Genji at once showed this to the Emperor, asking whether he had better\ngo. \"Ah!\" said the latter, smiling, \"This is from a great personage.\nYou had better go, I should think; besides there are the Princesses\nthere.\"", "Genji pushed the hair back from her face, as he said to her, \"I am\ncome from your father;\" but this she knew to be false, and was", "So saying Tô-no-Chiûjiô paused, and appeared as if he were ashamed of\nhaving such an experience, when Genji smilingly remarked, \"Can any one\nof them, however, exist without at least one good point?\"", "The priest said one day to his wife, \"Prince Genji, the imperial son\nof the Kôyi of Kiritsubo is now at Suma in exile, having offended the", "Genji, faltered as he did so. As to the Emperor, a sudden thought\nstole into his mind. \"Ah! could his mother but have lived to have seen", "The way that Genji neglected his bride gradually became known to the\npublic--nay, to the Emperor himself, who sometimes admonished him,", "The young Prince, whom we now style Genji (the Gen), was still with\nthe Emperor, and passed his time pleasantly enough in visiting the", "Genji still resided in the palace, where his society was a source of\nmuch pleasure to the Emperor, and he did not take up his abode in a", "Genji, while sympathizing with the anxiety of the Emperor about her,\nlonged greatly for an opportunity of seeing her, ill though she was.\nHence at this time he went nowhere, but kept himself in his mansion at", "Kokimi still made no reply. Genji closed his eyes but could not\nsleep, so he started up and, taking writing materials, began to write,\napparently without any fixed purpose, and indited the following\ndistich:--", "This recalls to our mind that there was in the olden time an exile\nwho gave a stanza even to the postmaster of a village.[110] Why then\nshould not Genji have sent to her whom he knew this stanza?" ], [ "encourage him. He had, on the other hand, some idea of Genji, and had\nsounded the Emperor on the subject. He regarded the idea with favor,", "The young Prince, whom we now style Genji (the Gen), was still with\nthe Emperor, and passed his time pleasantly enough in visiting the", "The Emperor, it is true, never forgot the dying injunctions of his\nfather, and never failed in sympathy with Genji; but he was still", "father, to whom Genji's exile became soon known, and who wished to see\nhim for a reason not altogether agreeable to himself. It should be\nremembered that this old man always entertained aspirations on behalf", "the Emperor, in front of the palace, looking reproachfully upon him.\nThe Emperor showed every token of submission and respect when the dead\nEmperor told him of many things, all of which concerned Genji's", "Genji at once showed this to the Emperor, asking whether he had better\ngo. \"Ah!\" said the latter, smiling, \"This is from a great personage.\nYou had better go, I should think; besides there are the Princesses\nthere.\"", "the Empress-mother (the Princess Wistaria). All the arrangements and\npreparations were made, though not quite openly, under the eye of\nGenji, who took a parental interest in her. It may be remembered that", "public was general, and the Emperor went to visit him. Notwithstanding\nhis weakness, the former gave him every injunction, first about the\nHeir-apparent, then about Genji, and said:--", "Genji pushed the hair back from her face, as he said to her, \"I am\ncome from your father;\" but this she knew to be false, and was", "Genji well remembered the dream which he had dreamt at Suma, and in\nwhich his father, the late ex-Emperor, had made a faint allusion to", "Return we now to Genji. He went to the ex-Emperor, to whom he still\nseemed thin and careworn. He had some affectionate conversation with", "\"Not the Prince, your father,\" uttered Genji, \"but I am here, and I\ntoo am your friend. Come here!\"", "considered unfavorable. This Kokimi, as we know, had received much\nkindness from Genji up to the time of his becoming a man; but when", "She was older than Genji by four years, and was as cold and stately in\nher mien as ever. Her father, however, received him joyfully whenever\nhe called, although he was not always satisfied with the", "daughter--that is, the Empress-mother, and told her that he had found\npapers which clearly were in the handwriting of Genji, and that though", "Genji finished his visit to the Temple, and was coming back, Kokimi\nonce more came from the capital to meet him. Through him Genji sent a\nletter to his sister, asking her if she had recognized him when he", "Yoshikiyo then returned and faithfully told Genji all about his\nconversation with the priest. When Genji came to reflect, he thought", "Genji still resided in the palace, where his society was a source of\nmuch pleasure to the Emperor, and he did not take up his abode in a", "Genji, while sympathizing with the anxiety of the Emperor about her,\nlonged greatly for an opportunity of seeing her, ill though she was.\nHence at this time he went nowhere, but kept himself in his mansion at", "The new reign opened with several changes in public affairs. Genji had\nbeen made Naidaijin. He filled this extra office of Daijin because" ], [ "All at once his late father appeared before his eyes in the exact\nimage of life, and said to him, \"Why are you in so strange a place?\"", "Genji pushed the hair back from her face, as he said to her, \"I am\ncome from your father;\" but this she knew to be false, and was", "presented to her father. The latter had for a long time regarded her\nas lost, and even now he never forgave the way in which his daughter\nhad been taken away by Genji.", "In the meantime, the Prince, her father, had duly arrived at the old\nhome of Violet and asked for her. The servants were embarrassed, but", "Shiônagon was thunderstruck. \"We are expecting her father to-morrow,\nand what are we to say to him?\" She added, \"Surely, you can find some\nbetter opportunity to manage matters than this.\"", "\"Not the Prince, your father,\" uttered Genji, \"but I am here, and I\ntoo am your friend. Come here!\"", "Genji was much interested in this conversation, and the rest of the\ncompany laughingly said, \"Ah! she is a woman who is likely to become\nthe Queen of the Blue Main. In very truth her father must be an\nextraordinary being!\"", "corpse there. She was my father's nurse; she is living there in strict\nseclusion. That is the best plan I can think of.\"", "\"All the circumstances of your family history are known to me,\"\ncontinued he. \"Look upon me, I pray, as a substitute for your once", "\"Are you? Nevertheless he trusts her to such a one as you. He is a\nkind father! But where are they all?\"\n\n\"All in their private apartments.\"", "longer see the fair loved one whom she resembles!\" He now returned to\nthe monastery, and retired to his quarters. Soon after a disciple of\nthe priest came and delivered a message from him through Koremitz,", "Warrior yet dar'd lay hands upon his lord.\n He to the left, the trembling father cries,\n Was sure my boy, nor lifts his tear-stain'd eyes:--", "Now, the home of Tayû's father was at some distance from the\nPrincess's mansion; but Tayû used to spend her time very often with", "to his daughter. I tell you frankly, however, that I had no particular\naffection for her, though she seemed already to regard me as her\nvictim. She seized every opportunity of pointing out to me the way in", "\"Who is there?\"\n\nTo which Kokimi immediately replied, \"It is I!\"\n\n\"What brings you here so late?\" asked the old woman, in a querulous\ntone.", "noticed that she was scarcely ever with her father, even from\nchildhood. He strongly disapproved of his daughter being with Genji,\nand of the way in which she had been carried off, so he scarcely ever", "Nor eke himself, with heart all stony hard,\n Might, as a father, ev'ry pang discard:--\n Behold him now, oh! lamentable sight!", "her relations. It seems that her father was not quite averse to this\nliking, and he told his eldest daughter, the reigning Emperor's", "affairs of this world, and have almost forgotten the secret of my\nexorcisms. I wonder why you have come here for me.\" So saying, he", "by a vision. Go to Koremitz and tell him to come at once; and if his\nbrother, the priest, is there, ask him to come also. Tell them\ncautiously; don't alarm their mother.\"" ], [ "Of these fifty-four chapters, the first forty-one relate to the life\nand adventures of Prince Genji; and those which come after refer", "The evening breeze blew chill, and Genji it appears was becoming very\nindifferent. Choosing this moment Tô-no-Chiûjiô slyly stepped forth to\nthe spot where Genji was resting.", "They entered. Genji's heart was beating fast with emotion. He saw Ukon\nreclining beside a screen, with her back to the lamp. He did not speak", "Night was now advancing, and they unconsciously dropped off to sleep,\nwhen suddenly over the pillow of Genji hovered the figure of a lady of", "GENJI MONOGATARI\n\nCHAPTER I\n\nTHE CHAMBER OF KIRI[2]", "She went back again to her toys, and presented a toy prince, whom she\ncalled Genji, at the Court of her toy house. Shiônagon was beside her.\nShe said:--", "Genji smiled slightly, and said: \"That is a very great compliment; but\nthe Udon tree does not blossom so easily.\"\n\nThe hermit also raised the cup to his lips, and said:--", "conducted Genji to the hill-side mansion, and introduced him to the\nmaiden. In the course of time they gradually became more than mere\nacquaintances to each other. For some time Genji often found himself", "and to the ladies of the \"Villa of Falling Flowers.\" When all these\nthings were accomplished, he occupied himself in writing farewell\nletters to his intimate friends, such as the young daughter of Udaijin", "Kokimi still made no reply. Genji closed his eyes but could not\nsleep, so he started up and, taking writing materials, began to write,\napparently without any fixed purpose, and indited the following\ndistich:--", "CONTENTS\n\n\nGENJI MONOGATARI\n\nIntroduction\n\nCHAPTER\n\n I.--The Chamber of Kiri", "\"See how childish she still is,\" remarked Shiônagon.\n\n\"Why are you so timid, little one, come here and sleep on my knees,\"\nsaid Genji.", "the road. Tô-no-Chiûjiô was very anxious to find out where Genji was\ngoing. He therefore followed him unperceived. When he saw Genji enter", "To Genji it brought back the cries of that strange bird, which cry he\nhad heard on that fearful night in Rokjiô, and the subject recurred to\nhis mind once more, and he said to Ukon, \"How old was she?\"", "Genji was alone. A slight shower fell over the surrounding country,\nand the mountain breezes blew cool. The waters of the torrent were", "fearfully. Do come here, Ukon, for a little while, and look after your\nmistress.\" So pulling Ukon near Yûgao, he advanced to the entrance of", "Breakfast was accordingly brought, of which they partook. Two\ncarriages, Genji's and Tô-no-Chiûjiô's, were driven to the door, but", "And, after a long and friendly conversation, Genji returned to his\nhome. One may say that the character of Genji was changeable, it is", "So said Tô-no-Chiûjiô, who implied by this allusion that his sister\nwas a woman so circumstanced. But Genji was still dozing, and no\nremark came from his lips.", "Main Waves,\" with Tô-no-Chiûjiô for his partner. They stood and danced\ntogether, forming a most pleasing contrast--one, so to speak, like a" ], [ "you will no longer pain me thus,\" said Genji; and he made every effort\nto conciliate her. But she was not easily appeased. He was\nunsuccessful in his effort, and presently they retired to their", "The troubles of Genji increased day by day, and the world became\nirksome to him. One incident, however, deserves a brief notice before\nwe enter into the main consequences of these troubles.", "passionately he had desired to see her. She, however, listened to him\nalmost in silence, and gave no plain answer. Genji was disconcerted,\nand at last said,", "The priest said one day to his wife, \"Prince Genji, the imperial son\nof the Kôyi of Kiritsubo is now at Suma in exile, having offended the", "\"Well,\" said Genji, and bending over his beloved, shook her gently,\nbut she neither spoke nor moved. She had apparently fainted, and he\nbecame seriously alarmed.", "Genji had to quit the capital he left him and joined his\nbrother-in-law in his official province. This was not viewed as very\nsatisfactory; but Genji manifested no bad feeling to him, and treated", "conducted Genji to the hill-side mansion, and introduced him to the\nmaiden. In the course of time they gradually became more than mere\nacquaintances to each other. For some time Genji often found himself", "The evening breeze blew chill, and Genji it appears was becoming very\nindifferent. Choosing this moment Tô-no-Chiûjiô slyly stepped forth to\nthe spot where Genji was resting.", "favorite and her indifference. Kokimi said nothing. Genji then\nmurmured, \"I was clearly slighted. Oh wretched me! I cannot rival the", "Kokimi still made no reply. Genji closed his eyes but could not\nsleep, so he started up and, taking writing materials, began to write,\napparently without any fixed purpose, and indited the following\ndistich:--", "The troubled state of Genji and the lady may be easily imagined, and\nin great anxiety he left the scene.", "Genji and his father-in-law were subjected. She was convinced she\nwould never suffer such cruel treatment as that which Seki-Foojin[98]", "The way that Genji neglected his bride gradually became known to the\npublic--nay, to the Emperor himself, who sometimes admonished him,", "endeavored to persuade her to see Genji, in an anxious and half\ntrembling voice, while she replied in a tone slightly angry, \"What\nmakes you so busy? Why do you trouble yourself? Boys carrying such", "Genji, while sympathizing with the anxiety of the Emperor about her,\nlonged greatly for an opportunity of seeing her, ill though she was.\nHence at this time he went nowhere, but kept himself in his mansion at", "conversation. She was very uninteresting to Genji. He thought that it\nwould only lead to a very unpleasant state of affairs, as years grew", "Tô-no-Chiûjiô was somehow informed of Genji's fun with this lady, and\nbecame anxious to discover how far he meant to carry on the joke. He", "\"What is the matter? What does it mean? What foolish fear is this?\"\nexclaimed Genji, greatly alarmed. \"Perhaps in lonely places like this", "Long before dawn broke, Genji prepared to leave the mansion. Lady Aoi,\nas usual, was a little out of temper, but Genji told her that he had", "The lady being placed in such an awkward position, and not knowing\nwhat Chiûjiô might imagine, became, as it were, bewildered. Genji was," ], [ "chapters is somewhat dissimilar to that of those which precede. The\nperiod of time covered by the entire story is some sixty years, and\nthis volume of translation comprises the first seventeen chapters.", "The traditional account given of the circumstances which preceded the\nwriting of the story is this: when the above-mentioned Empress was", "Yet this work affords fair ground for criticism. The thread of her\nstory is often diffuse and somewhat disjointed, a fault probably due", "The aims which the authoress seems always to have kept in view are\nrevealed to us at some length by the mouth of her hero: \"ordinary", "The period to which her story relates is supposed to be the earlier\npart of the tenth century after Christ, a time contemporary with her\nown life. For some centuries before this period, our country had made", "labors, a description of which she was destined to hand down to\nposterity by her writings. In fact, there is no better history than\nher story, which so vividly illustrates the society of her time. True", "The exact date when her story was written is not given in the work,\nbut her diary proves that it was evidently composed before she arrived\nat old age.", "and loved her very dearly. He was always aspiring to better his\nposition, and wore out his life in the struggle. After his death, she\nwas left helpless and poor. She was however, by chance, introduced to", "about him from the outside world reached her ears. This gave her aunt\na further opportunity of repeating the same taunts. She said, \"See now\nwho cares for you in your present circumstances. It is not", "story. A roll of Daihannia is there also, which is asserted to be the\nvery same one copied by her.", "That the story might pass from mouth to mouth,\n While heav'n and earth shall stand;\n So they laid the maiden in the midst,\n And the champions on either hand.", "extraordinarily intricate plot like those which excite the readers of\nthe sensational romances of the modern western style. It has many\nheroines, but only one hero, and this comes no doubt from the peculiar", "\"And now, Shikib, it is your turn. Tell us your story,\" exclaimed\nTô-no-Chiûjiô, turning to him.\n\n\"What worth hearing can your humble servant tell you?\"", "The incidents of the rivalry between them, therefore, were often very\namusing, though we cannot relate them all.", "Of these fifty-four chapters, the first forty-one relate to the life\nand adventures of Prince Genji; and those which come after refer", "It was a long one, and among other things contained the following\nlines:--", "\"How strange!\" thought he. The next moment he noticed some papers\nlying about, on which something had been scribbled. \"This is more", "It was on an evening in the above-mentioned season. Rain was falling\ndrearily. The inhabitants of the Palace had almost all retired, and", "yet moonless, the stars alone twinkled in the heavens, and the gentle\nwinds blew plaintively over the tall trees around the mansion. The\nconversation gradually led to times gone by, and the Princess was", "gave occasion to one of his companions to observe: \"Ah! perhaps you\nalso have been trying to disappoint the hopes of the aged father.\"\nAnother said, \"Well, our friend has given us a long account, but we" ], [ "Genji pushed the hair back from her face, as he said to her, \"I am\ncome from your father;\" but this she knew to be false, and was", "\"Not the Prince, your father,\" uttered Genji, \"but I am here, and I\ntoo am your friend. Come here!\"", "She was older than Genji by four years, and was as cold and stately in\nher mien as ever. Her father, however, received him joyfully whenever\nhe called, although he was not always satisfied with the", "Genji and his father-in-law were subjected. She was convinced she\nwould never suffer such cruel treatment as that which Seki-Foojin[98]", "Genji well remembered the dream which he had dreamt at Suma, and in\nwhich his father, the late ex-Emperor, had made a faint allusion to", "presented to her father. The latter had for a long time regarded her\nas lost, and even now he never forgave the way in which his daughter\nhad been taken away by Genji.", "the Empress-mother (the Princess Wistaria). All the arrangements and\npreparations were made, though not quite openly, under the eye of\nGenji, who took a parental interest in her. It may be remembered that", "father, to whom Genji's exile became soon known, and who wished to see\nhim for a reason not altogether agreeable to himself. It should be\nremembered that this old man always entertained aspirations on behalf", "Genji, faltered as he did so. As to the Emperor, a sudden thought\nstole into his mind. \"Ah! could his mother but have lived to have seen", "This Chikzen-no-Kami had been for some time previously a Kurand (a\nsort of equerry) to Genji, therefore his visit was especially welcome", "noticed that she was scarcely ever with her father, even from\nchildhood. He strongly disapproved of his daughter being with Genji,\nand of the way in which she had been carried off, so he scarcely ever", "\"Ah, then,\" thought Genji, \"the little one is her daughter, and no\nwonder that she resembles the one in the palace (because Prince", "The long-continued rainy weather had now cleared up bright and fine,\nand the Prince Genji proceeded to the mansion of his father-in-law,", "The young Prince, whom we now style Genji (the Gen), was still with\nthe Emperor, and passed his time pleasantly enough in visiting the", "Kokimi still made no reply. Genji closed his eyes but could not\nsleep, so he started up and, taking writing materials, began to write,\napparently without any fixed purpose, and indited the following\ndistich:--", "and full of mirth and life. Genji was wont to make her useful when in\nthe palace. Her father, who had been remotely connected with the Royal", "Sadaijin, the father-in-law of the Prince, here entered, and entreated\nGenji to accompany him to his mansion, and spend a few days. Genji did", "The priest said one day to his wife, \"Prince Genji, the imperial son\nof the Kôyi of Kiritsubo is now at Suma in exile, having offended the", "Genji at once showed this to the Emperor, asking whether he had better\ngo. \"Ah!\" said the latter, smiling, \"This is from a great personage.\nYou had better go, I should think; besides there are the Princesses\nthere.\"", "The evening breeze blew chill, and Genji it appears was becoming very\nindifferent. Choosing this moment Tô-no-Chiûjiô slyly stepped forth to\nthe spot where Genji was resting." ], [ "And, after a long and friendly conversation, Genji returned to his\nhome. One may say that the character of Genji was changeable, it is", "The new reign opened with several changes in public affairs. Genji had\nbeen made Naidaijin. He filled this extra office of Daijin because", "The young Prince, whom we now style Genji (the Gen), was still with\nthe Emperor, and passed his time pleasantly enough in visiting the", "The evening breeze blew chill, and Genji it appears was becoming very\nindifferent. Choosing this moment Tô-no-Chiûjiô slyly stepped forth to\nthe spot where Genji was resting.", "He had, however, a personal sympathy with Genji, and thus came to see\nhim, at the risk of offending the Court.", "Genji pushed the hair back from her face, as he said to her, \"I am\ncome from your father;\" but this she knew to be false, and was", "FOOTNOTES:\n\n[Footnote 106: When a person was exiled, he was generally deprived of\nhis own title, or was degraded. Genji appears to have been deprived of\nhis.]", "This Chikzen-no-Kami had been for some time previously a Kurand (a\nsort of equerry) to Genji, therefore his visit was especially welcome", "She went back again to her toys, and presented a toy prince, whom she\ncalled Genji, at the Court of her toy house. Shiônagon was beside her.\nShe said:--", "\"Well,\" said Genji, and bending over his beloved, shook her gently,\nbut she neither spoke nor moved. She had apparently fainted, and he\nbecame seriously alarmed.", "Genji did not like that they should know that he had seen and heard\nall this, so he slyly withdrew some distance, and then advancing with\na firm step, approached the door and knocked.", "behalf, referring to her, said, 'What has become of her?' Is she here\nnow?\" said Genji; and lowering his voice, added, \"How changeable are\nthe fortunes of the world!\"", "Genji finished his visit to the Temple, and was coming back, Kokimi\nonce more came from the capital to meet him. Through him Genji sent a\nletter to his sister, asking her if she had recognized him when he", "called by the public Hikal-Genji-no-Kimi (the shining Prince Gen).", "Genji had to quit the capital he left him and joined his\nbrother-in-law in his official province. This was not viewed as very\nsatisfactory; but Genji manifested no bad feeling to him, and treated", "Genji gradually perceived that the man's rage was only simulated, and\nsoon became aware who it was that was there; so he suddenly rushed", "considered unfavorable. This Kokimi, as we know, had received much\nkindness from Genji up to the time of his becoming a man; but when", "Genji was now alone. He tried to doze, but could not. It was late in\nthe evening, and all was still around. His sharpened senses made him", "Of these fifty-four chapters, the first forty-one relate to the life\nand adventures of Prince Genji; and those which come after refer", "pen from his pocket and presented it to Genji, who took it and wrote\nthe following on a piece of paper, which he sent to the maiden by one\nof his attendants who knew her whereabouts:--" ], [ "She was older than Genji by four years, and was as cold and stately in\nher mien as ever. Her father, however, received him joyfully whenever\nhe called, although he was not always satisfied with the", "Genji, who witnessed their passing, and sent the following to the\nlady-mother with a twig of Sakaki (divine tree):--", "capital. Her health, however, began to fail, and she became a nun, and\nafter some time died. Before her death Genji visited her, and with her", "Genji, faltered as he did so. As to the Emperor, a sudden thought\nstole into his mind. \"Ah! could his mother but have lived to have seen", "\"She is dead,\" returned Genji in a broken voice; \"dead without any\napparent cause.\"", "character were good. She was, however, in spite of her age, still\ncoquettish, which was her only fault. Genji often felt amused at her\nbeing so young in temperament, and he enjoyed occasionally talking", "After this conversation Genji left. On his way he came across a nephew\nof the Empress-mother, who seems to have been a person of rather", "It happened that when Genji was driving about in the Rokjiô quarter,\nhe was informed that his old nurse, Daini, was ill, and had become a", "chamber. She had borne no child to him, and after his death she,\ntogether with a younger sister, was living in straitened\ncircumstances. Genji had long known both of them, and they were often", "and was at this time his survivor. The life that she passed was\nsomewhat lonely, and her circumstances miserable. Tayû mentioned this\nyoung lady to Genji, who exclaimed:--", "appearance. It happened that, when the eyes of the younger were turned\nin another direction, Genji ventured to touch slightly the shoulder of\nhis favorite, who, startled at the action rose suddenly and left the", "Genji was now alone. He tried to doze, but could not. It was late in\nthe evening, and all was still around. His sharpened senses made him", "Genji still felt lonely. He wrote a letter to the Princess Momo-zono\n(peach-gardens). He had known her long. He admired her, too. She had", "Genji, while sympathizing with the anxiety of the Emperor about her,\nlonged greatly for an opportunity of seeing her, ill though she was.\nHence at this time he went nowhere, but kept himself in his mansion at", "\"Well,\" said Genji, and bending over his beloved, shook her gently,\nbut she neither spoke nor moved. She had apparently fainted, and he\nbecame seriously alarmed.", "have spoken before. Yoshikiyo well remembered his lovely daughter,\nand, after he came to Suma with Genji, he wrote to her now and then.\nHe did not get any answer from her, but sometimes heard from her", "Now the young maiden also, whom Genji had left behind at Akashi, and\nwho had been in delicate health, did not pass away from his thoughts.", "The years rolled on, and Genji being now older was no longer allowed\nto continue his visits to the private rooms of the Princess as before.", "The evening breeze blew chill, and Genji it appears was becoming very\nindifferent. Choosing this moment Tô-no-Chiûjiô slyly stepped forth to\nthe spot where Genji was resting.", "On this Genji threw a long sad farewell glance at the face of the\ndead, and rose to depart. He was so feeble and powerless that he could" ], [ "She was older than Genji by four years, and was as cold and stately in\nher mien as ever. Her father, however, received him joyfully whenever\nhe called, although he was not always satisfied with the", "father, to whom Genji's exile became soon known, and who wished to see\nhim for a reason not altogether agreeable to himself. It should be\nremembered that this old man always entertained aspirations on behalf", "presented to her father. The latter had for a long time regarded her\nas lost, and even now he never forgave the way in which his daughter\nhad been taken away by Genji.", "Shiônagon was thunderstruck. \"We are expecting her father to-morrow,\nand what are we to say to him?\" She added, \"Surely, you can find some\nbetter opportunity to manage matters than this.\"", "Sadaijin, the father-in-law of the Prince, here entered, and entreated\nGenji to accompany him to his mansion, and spend a few days. Genji did", "\"Not the Prince, your father,\" uttered Genji, \"but I am here, and I\ntoo am your friend. Come here!\"", "her relations. It seems that her father was not quite averse to this\nliking, and he told his eldest daughter, the reigning Emperor's", "Genji well remembered the dream which he had dreamt at Suma, and in\nwhich his father, the late ex-Emperor, had made a faint allusion to", "Genji pushed the hair back from her face, as he said to her, \"I am\ncome from your father;\" but this she knew to be false, and was", "and full of mirth and life. Genji was wont to make her useful when in\nthe palace. Her father, who had been remotely connected with the Royal", "Genji and his father-in-law were subjected. She was convinced she\nwould never suffer such cruel treatment as that which Seki-Foojin[98]", "The evening breeze blew chill, and Genji it appears was becoming very\nindifferent. Choosing this moment Tô-no-Chiûjiô slyly stepped forth to\nthe spot where Genji was resting.", "There was a lady who had been a Niogo at the Court of the late\nex-Emperor, and who was called Reikeiden-Niogo, from the name of her", "Her father, who was a Dainagon,[4] was dead; but her mother, being a\nwoman of good sense, gave her every possible guidance in the due", "noticed that she was scarcely ever with her father, even from\nchildhood. He strongly disapproved of his daughter being with Genji,\nand of the way in which she had been carried off, so he scarcely ever", "\"Ah, then,\" thought Genji, \"the little one is her daughter, and no\nwonder that she resembles the one in the palace (because Prince", "have spoken before. Yoshikiyo well remembered his lovely daughter,\nand, after he came to Suma with Genji, he wrote to her now and then.\nHe did not get any answer from her, but sometimes heard from her", "what another had thought best to reserve,\" replied Ukon. \"Her parents\ndied when she was a mere girl. Her father was called Sammi-Chiûjiô,", "recognized. He therefore began to retreat slowly on tip-toe, when\nTô-no-Chiûjiô came up to him from behind, and addressed him: \"You", "that of her father, Udaijin, who had long been his political\nadversary." ], [ "The enunciation of these words was not that of Lady Aoi herself; and\nwhen Genji came to reflect, it clearly belonged to the Lady of Rokjiô.", "of Genji. He thought that Lady Aoi was too modest to be the instigator\nof such a dispute; but her house was one of great and powerful\nfamilies famous for overweening pride, a tendency shared by its", "Some days passed, and the day of autumn appointments arrived. By this\ntime, Lady Aoi's health seemed progressing favorably, and Genji left\nher in order to attend the Court.", "capital. Her health, however, began to fail, and she became a nun, and\nafter some time died. Before her death Genji visited her, and with her", "of Lady Aoi, however, was the most striking, and as he passed by the\nattendants saluted him courteously, which act Genji acknowledged. What", "Now the young maiden also, whom Genji had left behind at Akashi, and\nwho had been in delicate health, did not pass away from his thoughts.", "Long before dawn broke, Genji prepared to leave the mansion. Lady Aoi,\nas usual, was a little out of temper, but Genji told her that he had", "where Lady Aoi, his bride, still resided with him. She was in her\nprivate suite of apartments, and he soon joined her there. She was", "\"Well,\" said Genji, and bending over his beloved, shook her gently,\nbut she neither spoke nor moved. She had apparently fainted, and he\nbecame seriously alarmed.", "In these days much of Genji's time was passed at Nijiô with Violet,\nand Lady Aoi was still greatly neglected. The circumstances which", "conducted Genji to the hill-side mansion, and introduced him to the\nmaiden. In the course of time they gradually became more than mere\nacquaintances to each other. For some time Genji often found himself", "Autumn had now come; Genji was still thoughtful. Lady Aoi saw him but\nseldom, and was constantly disquieted by his protracted absence from", "passionately he had desired to see her. She, however, listened to him\nalmost in silence, and gave no plain answer. Genji was disconcerted,\nand at last said,", "Thus the modest and virtuous Lady Aoi passed away forever.", "Night was now advancing, and they unconsciously dropped off to sleep,\nwhen suddenly over the pillow of Genji hovered the figure of a lady of", "Genji, who witnessed their passing, and sent the following to the\nlady-mother with a twig of Sakaki (divine tree):--", "\"I must see her once more,\" said Genji, sorrowfully. \"I will go with\nyou to behold her, before she is lost to my sight forever.\" And he\ninsisted on accompanying him.", "From the Court, Genji went to the mansion of Sadaijin. Lady Aoi was as\ncool to him as ever. His persuasive eloquence availed him but little.", "Genji sent his attendants very early to their own quarters, and then,\nthrough Kokimi, requested an interview with the lady. Kokimi at first", "She was older than Genji by four years, and was as cold and stately in\nher mien as ever. Her father, however, received him joyfully whenever\nhe called, although he was not always satisfied with the" ], [ "The young Prince, whom we now style Genji (the Gen), was still with\nthe Emperor, and passed his time pleasantly enough in visiting the", "After this conversation Genji left. On his way he came across a nephew\nof the Empress-mother, who seems to have been a person of rather", "public was general, and the Emperor went to visit him. Notwithstanding\nhis weakness, the former gave him every injunction, first about the\nHeir-apparent, then about Genji, and said:--", "the Emperor, in front of the palace, looking reproachfully upon him.\nThe Emperor showed every token of submission and respect when the dead\nEmperor told him of many things, all of which concerned Genji's", "In the course of a few days Genji was invited by the Emperor to come\nand see him. The latter had scarcely recovered from his indisposition,", "Genji well remembered the dream which he had dreamt at Suma, and in\nwhich his father, the late ex-Emperor, had made a faint allusion to", "The Emperor, it is true, never forgot the dying injunctions of his\nfather, and never failed in sympathy with Genji; but he was still", "Return we now to Genji. He went to the ex-Emperor, to whom he still\nseemed thin and careworn. He had some affectionate conversation with", "Genji at once showed this to the Emperor, asking whether he had better\ngo. \"Ah!\" said the latter, smiling, \"This is from a great personage.\nYou had better go, I should think; besides there are the Princesses\nthere.\"", "Genji, faltered as he did so. As to the Emperor, a sudden thought\nstole into his mind. \"Ah! could his mother but have lived to have seen", "In the meantime, public affairs entirely changed their aspects, and\nthe world seemed at this time to have been divided between the\nDajiôdaijin and his son-in-law, Genji, by whose influence all things\nin public were swayed.", "Genji, while sympathizing with the anxiety of the Emperor about her,\nlonged greatly for an opportunity of seeing her, ill though she was.\nHence at this time he went nowhere, but kept himself in his mansion at", "Emperor, his enemy. When he sent off the assassin this event took\nplace. The allusion here seems to imply the allegation that Genji\nintended high treason.]", "After they had quitted the mountain, Genji first of all went to the\nPalace, where he immediately had an interview with the Emperor, who", "Sadaijin, the father-in-law of the Prince, here entered, and entreated\nGenji to accompany him to his mansion, and spend a few days. Genji did", "She was older than Genji by four years, and was as cold and stately in\nher mien as ever. Her father, however, received him joyfully whenever\nhe called, although he was not always satisfied with the", "the Empress-mother (the Princess Wistaria). All the arrangements and\npreparations were made, though not quite openly, under the eye of\nGenji, who took a parental interest in her. It may be remembered that", "In the meantime, as time went on, more sympathizers with Genji were\nfound in the capital, including no less a personage than the Emperor", "\"Not the Prince, your father,\" uttered Genji, \"but I am here, and I\ntoo am your friend. Come here!\"", "The evening breeze blew chill, and Genji it appears was becoming very\nindifferent. Choosing this moment Tô-no-Chiûjiô slyly stepped forth to\nthe spot where Genji was resting." ], [ "\"Ah, then,\" thought Genji, \"the little one is her daughter, and no\nwonder that she resembles the one in the palace (because Prince", "\"Ah, yes,\" said Genji, venturing upon a guess, \"and I heard that she\nbore a daughter to Dainagon.\"", "She was older than Genji by four years, and was as cold and stately in\nher mien as ever. Her father, however, received him joyfully whenever\nhe called, although he was not always satisfied with the", "last breath she consigned her daughter to his care. Genji was\nthinking, therefore, of introducing her at Court at some future time.", "by the fierce jealousy of her rivals, she left behind the royal child,\nwho is no other person than Prince Genji. A woman should always be", "passionately he had desired to see her. She, however, listened to him\nalmost in silence, and gave no plain answer. Genji was disconcerted,\nand at last said,", "Genji pushed the hair back from her face, as he said to her, \"I am\ncome from your father;\" but this she knew to be false, and was", "with her. As I told you before she is very bashful and reserved; but\nyet is perhaps more desirable for this very reason,\" and she detailed\nmany more particulars about her. This enabled Genji to fully picture", "presented to her father. The latter had for a long time regarded her\nas lost, and even now he never forgave the way in which his daughter\nhad been taken away by Genji.", "Genji, where she lived happily under the kind care of the Prince,\nthough he had much difficulty in coming often to see her. I would fain\ndescribe the astonishment of her aunt when she returned from the", "\"Well,\" said Genji, and bending over his beloved, shook her gently,\nbut she neither spoke nor moved. She had apparently fainted, and he\nbecame seriously alarmed.", "conducted Genji to the hill-side mansion, and introduced him to the\nmaiden. In the course of time they gradually became more than mere\nacquaintances to each other. For some time Genji often found himself", "have spoken before. Yoshikiyo well remembered his lovely daughter,\nand, after he came to Suma with Genji, he wrote to her now and then.\nHe did not get any answer from her, but sometimes heard from her", "capital. Her health, however, began to fail, and she became a nun, and\nafter some time died. Before her death Genji visited her, and with her", "Some were surprised at this change, while others even said, \"What a\nstrange Ishi-kawa!\" One only said nothing, but looked down, and thus\nbetrayed herself as the one whom he was seeking, and Genji was soon at\nher side.", "chamber. She had borne no child to him, and after his death she,\ntogether with a younger sister, was living in straitened\ncircumstances. Genji had long known both of them, and they were often", "\"See how childish she still is,\" remarked Shiônagon.\n\n\"Why are you so timid, little one, come here and sleep on my knees,\"\nsaid Genji.", "\"If a man had such a daughter, he might be satisfied,\" thought Genji.\n\"But perhaps she may be a little deficient in quietness. No matter how\nthis may be, she has sufficient attractions.\"", "noticed that she was scarcely ever with her father, even from\nchildhood. He strongly disapproved of his daughter being with Genji,\nand of the way in which she had been carried off, so he scarcely ever", "brought about are too long to be given here. Genji visited her often,\nbut it was with the greatest caution and privacy; he never asked her\nwhen they met any particulars about her past life, nor did he reveal" ], [ "Genji at once showed this to the Emperor, asking whether he had better\ngo. \"Ah!\" said the latter, smiling, \"This is from a great personage.\nYou had better go, I should think; besides there are the Princesses\nthere.\"", "So saying, Sama-no-Kami advanced his seat, and Genji awoke.\nTô-no-Chiûjiô was quite interested in the conversation, and was", "Genji finished his visit to the Temple, and was coming back, Kokimi\nonce more came from the capital to meet him. Through him Genji sent a\nletter to his sister, asking her if she had recognized him when he", "This Chikzen-no-Kami had been for some time previously a Kurand (a\nsort of equerry) to Genji, therefore his visit was especially welcome", "The young Prince, whom we now style Genji (the Gen), was still with\nthe Emperor, and passed his time pleasantly enough in visiting the", "mother, the late Empress; and her rank therefore was unequivocal. When\nto this we add the union of their daughter with Genji, it was easy to", "He had, however, a personal sympathy with Genji, and thus came to see\nhim, at the risk of offending the Court.", "The new reign opened with several changes in public affairs. Genji had\nbeen made Naidaijin. He filled this extra office of Daijin because", "Now even some Royal Princes would give way to Genji, on account of his\nfather's favor towards him, but Tô-no-Chiûjiô, on the contrary, was", "considered unfavorable. This Kokimi, as we know, had received much\nkindness from Genji up to the time of his becoming a man; but when", "\"That's very good, especially on such a close evening,\" exclaimed\nGenji, rousing himself, and he at once intimated to Ki-no-Kami his", "Towards the evening Prince Sotz came with Tô-no-Chiûjiô and some\nothers to pay him a visit. Genji, in order to receive them, rose to", "As to Genji, he thought he had obtained a position too exalted, and an\ninfluence too great. There were, indeed, several instances of public", "conducted Genji to the hill-side mansion, and introduced him to the\nmaiden. In the course of time they gradually became more than mere\nacquaintances to each other. For some time Genji often found himself", "Genji to his exile, and after their return he was more than ever\nfavored by Genji. This state of things made many feel for the bad\ntaste of the ordinary weakness of the world, exhibited by the", "Yoshikiyo then returned and faithfully told Genji all about his\nconversation with the priest. When Genji came to reflect, he thought", "Genji sent his attendants very early to their own quarters, and then,\nthrough Kokimi, requested an interview with the lady. Kokimi at first", "such intrigues. He tried every means to favor his designs, and to\ningratiate himself with the lady, and at last succeeded in bringing\nher and Genji together. The details of the plans by which all this was", "She was older than Genji by four years, and was as cold and stately in\nher mien as ever. Her father, however, received him joyfully whenever\nhe called, although he was not always satisfied with the", "In the meantime, as time went on, more sympathizers with Genji were\nfound in the capital, including no less a personage than the Emperor" ], [ "Such, then, was the condition of society at the time when the\nauthoress, Murasaki Shikib, lived; and such was the sphere of her", "To this another name, Murasaki, was added, in order to distinguish her\nfrom other ladies who may also have been called Shikib. \"Murasaki\"", "capital. Her health, however, began to fail, and she became a nun, and\nafter some time died. Before her death Genji visited her, and with her", "century after Christ, and was generally called Murasaki Shikib. About\nthese names a few remarks are necessary. The word \"Shikib\" means", "better known by her surname, Jiôtô-Monin, and who is especially famous\nas having been the patroness of our authoress. Murasaki Shikib married", "survived her husband, Nobtaka, some years, and spent her latter days\nin quiet retirement, dying in the year 992 after Christ. The diary\nwhich she wrote during her retirement is still in existence, and her", "She was older than Genji by four years, and was as cold and stately in\nher mien as ever. Her father, however, received him joyfully whenever\nhe called, although he was not always satisfied with the", "alone. I know not how it came to pass, but she became secretly\nintimate with Prince Hiôbkiô. But the Prince's wife was very jealous", "and was at this time his survivor. The life that she passed was\nsomewhat lonely, and her circumstances miserable. Tayû mentioned this\nyoung lady to Genji, who exclaimed:--", "Azechi Dainagon, who was my uncle. She enjoyed a good reputation, and\nwhen she was introduced at Court, became both prosperous and\ndistinguished. Although her life was shortened by the suffering caused", "\"See how childish she still is,\" remarked Shiônagon.\n\n\"Why are you so timid, little one, come here and sleep on my knees,\"\nsaid Genji.", "character were good. She was, however, in spite of her age, still\ncoquettish, which was her only fault. Genji often felt amused at her\nbeing so young in temperament, and he enjoyed occasionally talking", "When the time of full mourning was over, Shiônagon, together with the\nyoung girl, returned to their house in the capital. There one evening", "There was a lady who had been a Niogo at the Court of the late\nex-Emperor, and who was called Reikeiden-Niogo, from the name of her", "with her. As I told you before she is very bashful and reserved; but\nyet is perhaps more desirable for this very reason,\" and she detailed\nmany more particulars about her. This enabled Genji to fully picture", "By and by she became sleepy, and Genji, as skilfully as any nurse\ncould, removed all her outer clothing, and placed her on the couch to", "presentation took place late in the evening, and henceforth she was\ncalled the Niogo of the Ume-Tsubo (plum-chamber), from the name of her\napartment.", "Let us now proceed to the Princess Wistaria. Since she had been\nbereaved of the late Emperor she retired to her private residence. She\nfully participated in all those inglorious mortifications to which", "Nijiô, and became thoughtful and preoccupied. At length he endeavored\nto cajole Ô Miôbu, Wistaria's attendant, into arranging an opportunity", "herself. In her youth she was maid of honor to a daughter of the then\nprime minister, who became eventually the wife of the Emperor Ichijiô," ], [ "In the Palace, the Empress-mother was with her Royal son on this day.\nHe was still a mere boy, and scarcely understood what was going on;", "When the sagacious Empress-mother heard this, her anger was something\nfearful. \"See the Emperor,\" she said; \"though he is Emperor, how", "The conversation then led to the little Prince, the Heir-apparent. The\nEmperor said, \"Our father has enjoined me to adopt him as my son, and", "Emperor, was intimately acquainted with the Empress and familiar with\nthe Princess, her daughter, from her very childhood. This person now\nrecommended the Emperor to see the Princess, because her features", "should be brought on the day when the Emperor paid his visit, but it\nwas postponed to avoid any possible confusion. The boy Prince was\napparently more pleased at seeing his father than concerned at his", "Meanwhile the Empress-mother, who was by nature sagacious and\nrevengeful, and who during the late Emperor's life had been fain to", "Upon this, the Empress-mother interceded. She said, that \"The exalted\nnobility of Lord Hiôye[131] may not, indeed, be passed over without", "source of danger. The Emperor, therefore, betrayed no such desire, and\nrepressed all outward appearance of it. And now the public expressed\nits satisfaction at the self-restraint of the Emperor, and the mother", "A few days after the visit of the Emperor the Heir-apparent was\nbrought before his dying father. There had been some idea that he", "After this conversation Genji left. On his way he came across a nephew\nof the Empress-mother, who seems to have been a person of rather", "to the grandmother of the child, and to make inquiries after them. It\nwas now autumn, and the evening winds blew chill and cold. The\nEmperor--who, when he saw the first Prince, could not refrain from", "There was, however, living at this time a young Princess, the fourth\nchild of a late Emperor. She had great promise of beauty, and was", "\"I should like to see the boy awake, and to tell the Emperor all about\nhim, but he will already be impatiently awaiting my return,\" said the\nmessenger. And she prepared to depart.", "upon her. Her eyes were half-closed: she lay like a fading flower in\nthe last stage of exhaustion, and she became so much enfeebled that\nher mother appeared before the Emperor and entreated with tears that", "The Emperor has at last abdicated his throne, as he has long intended,\nin favor of the Heir-apparent, and the only child of the Princess\nWistaria is made Heir-apparent to the new Emperor.", "proclaimed heir-apparent to the throne. Had the Emperor consulted his\nprivate feelings, he would have substituted the younger Prince for the\nelder one. But this was not possible, and, especially for this", "The Emperor showed equal affection to both of them, and he sometimes\ntold her that he hoped she would not treat the boy with coldness or", "proclaimed Empress. Indeed she was the mother of the Heir-apparent,\nand had been so for more than twenty years. And the public remarked", "The suddenness of these changes struck the Empress-mother with\nsurprise, but she was told by her son that his abdication had been\noccasioned by his desire to enjoy quiet and repose.", "He remembered the prediction of an astrologer who had told him that an\nEmperor would be born to him, and another son who would eventually" ], [ "She was older than Genji by four years, and was as cold and stately in\nher mien as ever. Her father, however, received him joyfully whenever\nhe called, although he was not always satisfied with the", "character were good. She was, however, in spite of her age, still\ncoquettish, which was her only fault. Genji often felt amused at her\nbeing so young in temperament, and he enjoyed occasionally talking", "conducted Genji to the hill-side mansion, and introduced him to the\nmaiden. In the course of time they gradually became more than mere\nacquaintances to each other. For some time Genji often found himself", "The girl, glancing with shy timidity at Genji, for whom she already\nhad some liking, and thinking that perhaps there was impropriety in", "therefore sought her acquaintance. Genji knew nothing of this. It\nhappened on a cool summer evening that Genji was sauntering round the", "years. \"Ah! I know him,\" said Genji. \"Strange, indeed, would it be if\nhe were to discover that I am here in this privacy.\" They noticed a", "with her. As I told you before she is very bashful and reserved; but\nyet is perhaps more desirable for this very reason,\" and she detailed\nmany more particulars about her. This enabled Genji to fully picture", "Genji at once noticed this. \"Just as I imagined. She is so simple,\"\nthought he, and then he commenced to talk with her, and to explain how", "\"See how childish she still is,\" remarked Shiônagon.\n\n\"Why are you so timid, little one, come here and sleep on my knees,\"\nsaid Genji.", "Such, then, was the condition of society at the time when the\nauthoress, Murasaki Shikib, lived; and such was the sphere of her", "Genji finished his visit to the Temple, and was coming back, Kokimi\nonce more came from the capital to meet him. Through him Genji sent a\nletter to his sister, asking her if she had recognized him when he", "Of these fifty-four chapters, the first forty-one relate to the life\nand adventures of Prince Genji; and those which come after refer", "appearance. It happened that, when the eyes of the younger were turned\nin another direction, Genji ventured to touch slightly the shoulder of\nhis favorite, who, startled at the action rose suddenly and left the", "brought about are too long to be given here. Genji visited her often,\nbut it was with the greatest caution and privacy; he never asked her\nwhen they met any particulars about her past life, nor did he reveal", "capital. Her health, however, began to fail, and she became a nun, and\nafter some time died. Before her death Genji visited her, and with her", "passionately he had desired to see her. She, however, listened to him\nalmost in silence, and gave no plain answer. Genji was disconcerted,\nand at last said,", "\"How timid the little girl must feel!\" thought Genji, as he was shown\nin. Shiônagon now told him with tearful eyes every circumstance which", "too zealous, or, we may say, jealous; besides, her age exceeded that\nof Genji by some years. The following incident will illustrate the\nstate of matters between them:--", "* * * * *\n\n\n\n\nGENJI MONOGATARI\n\nBY\n\nMURASAKI SHIKIB", "graceful head was very pleasing. Genji, as he surveyed the scene from\nwithout, thought within himself, \"If she is thus fair in her girlhood," ], [ "Sadaijin had several children. One of them, who was the issue of his\nRoyal wife, was the Kurand Shiôshiô.", "These last words alluding to the object which occupied his thoughts\ncaused Genji to start, but he said with apparent calmness--\n\n\"Has the lady presented you yet with a brother or a sister?\"", "She was older than Genji by four years, and was as cold and stately in\nher mien as ever. Her father, however, received him joyfully whenever\nhe called, although he was not always satisfied with the", "Of these fifty-four chapters, the first forty-one relate to the life\nand adventures of Prince Genji; and those which come after refer", "chamber. She had borne no child to him, and after his death she,\ntogether with a younger sister, was living in straitened\ncircumstances. Genji had long known both of them, and they were often", "\"Ah, then,\" thought Genji, \"the little one is her daughter, and no\nwonder that she resembles the one in the palace (because Prince", "Genji, who witnessed their passing, and sent the following to the\nlady-mother with a twig of Sakaki (divine tree):--", "Genji pushed the hair back from her face, as he said to her, \"I am\ncome from your father;\" but this she knew to be false, and was", "capital. Her health, however, began to fail, and she became a nun, and\nafter some time died. Before her death Genji visited her, and with her", "considered unfavorable. This Kokimi, as we know, had received much\nkindness from Genji up to the time of his becoming a man; but when", "have spoken before. Yoshikiyo well remembered his lovely daughter,\nand, after he came to Suma with Genji, he wrote to her now and then.\nHe did not get any answer from her, but sometimes heard from her", "\"The Chiûjiô told me once,\" said Genji, \"that she had a little one.\nWas there any such?\"", "Kokimi still made no reply. Genji closed his eyes but could not\nsleep, so he started up and, taking writing materials, began to write,\napparently without any fixed purpose, and indited the following\ndistich:--", "same time saying \"Ten! twenty! thirty! forty!\" When Genji came in this\nway to see them together, he perceived that his idol, in the matter of", "\"See how childish she still is,\" remarked Shiônagon.\n\n\"Why are you so timid, little one, come here and sleep on my knees,\"\nsaid Genji.", "by the fierce jealousy of her rivals, she left behind the royal child,\nwho is no other person than Prince Genji. A woman should always be", "conducted Genji to the hill-side mansion, and introduced him to the\nmaiden. In the course of time they gradually became more than mere\nacquaintances to each other. For some time Genji often found himself", "years. \"Ah! I know him,\" said Genji. \"Strange, indeed, would it be if\nhe were to discover that I am here in this privacy.\" They noticed a", "So saying Tô-no-Chiûjiô paused, and appeared as if he were ashamed of\nhaving such an experience, when Genji smilingly remarked, \"Can any one\nof them, however, exist without at least one good point?\"", "favorite and her indifference. Kokimi said nothing. Genji then\nmurmured, \"I was clearly slighted. Oh wretched me! I cannot rival the" ], [ "Genji at last made up his mind to undergo a voluntary exile, before\nthe opinion of the Imperial Court should be publicly announced against", "told that Genji was there in exile. Daini therefore sent his son\nChikzen-no-Kami to the Prince with these words: \"Coming back from a", "father, to whom Genji's exile became soon known, and who wished to see\nhim for a reason not altogether agreeable to himself. It should be\nremembered that this old man always entertained aspirations on behalf", "Genji to his exile, and after their return he was more than ever\nfavored by Genji. This state of things made many feel for the bad\ntaste of the ordinary weakness of the world, exhibited by the", "FOOTNOTES:\n\n[Footnote 106: When a person was exiled, he was generally deprived of\nhis own title, or was degraded. Genji appears to have been deprived of\nhis.]", "This recalls to our mind that there was in the olden time an exile\nwho gave a stanza even to the postmaster of a village.[110] Why then\nshould not Genji have sent to her whom he knew this stanza?", "Genji had to quit the capital he left him and joined his\nbrother-in-law in his official province. This was not viewed as very\nsatisfactory; but Genji manifested no bad feeling to him, and treated", "As to Genji, he thought he had obtained a position too exalted, and an\ninfluence too great. There were, indeed, several instances of public", "[Footnote 64: The authoress represents her in a subsequent chapter as\nsuffering punishment in the next world for this sin. The real cause of\nGenji's exile is also supposed to have resulted from the same sin.]", "Emperor, his enemy. When he sent off the assassin this event took\nplace. The allusion here seems to imply the allegation that Genji\nintended high treason.]", "He had, however, a personal sympathy with Genji, and thus came to see\nhim, at the risk of offending the Court.", "The evening breeze blew chill, and Genji it appears was becoming very\nindifferent. Choosing this moment Tô-no-Chiûjiô slyly stepped forth to\nthe spot where Genji was resting.", "Genji at once showed this to the Emperor, asking whether he had better\ngo. \"Ah!\" said the latter, smiling, \"This is from a great personage.\nYou had better go, I should think; besides there are the Princesses\nthere.\"", "Such being the state of things, Sadaijin seldom appeared at Court, and\nhis loss of influence became manifest. Genji, too, had become less", "The Emperor then constantly told her that if Genji were left in his\npresent condition it might induce evil, and, therefore, it would be", "The priest said one day to his wife, \"Prince Genji, the imperial son\nof the Kôyi of Kiritsubo is now at Suma in exile, having offended the", "Return we now to Genji. He went to the ex-Emperor, to whom he still\nseemed thin and careworn. He had some affectionate conversation with", "Genji was now alone. He tried to doze, but could not. It was late in\nthe evening, and all was still around. His sharpened senses made him", "When Genji was an exile on the sea-coast, many people had been longing\nfor his return. Among these was the Princess Hitachi. She was, as we", "considered unfavorable. This Kokimi, as we know, had received much\nkindness from Genji up to the time of his becoming a man; but when" ], [ "Genji pushed the hair back from her face, as he said to her, \"I am\ncome from your father;\" but this she knew to be false, and was", "\"Ah, then,\" thought Genji, \"the little one is her daughter, and no\nwonder that she resembles the one in the palace (because Prince", "what another had thought best to reserve,\" replied Ukon. \"Her parents\ndied when she was a mere girl. Her father was called Sammi-Chiûjiô,", "She was older than Genji by four years, and was as cold and stately in\nher mien as ever. Her father, however, received him joyfully whenever\nhe called, although he was not always satisfied with the", "Shiônagon was thunderstruck. \"We are expecting her father to-morrow,\nand what are we to say to him?\" She added, \"Surely, you can find some\nbetter opportunity to manage matters than this.\"", "Her father, who was a Dainagon,[4] was dead; but her mother, being a\nwoman of good sense, gave her every possible guidance in the due", "She was the daughter of Fujiwara Tametoki, a petty Court noble,\nremotely connected with the great family of Fujiwara, in the tenth", "It was about this time that the daughter of Iyo-no-Kami was engaged to\na certain Kurando Shiôshiô, and he was her frequent visitor. Genji", "presented to her father. The latter had for a long time regarded her\nas lost, and even now he never forgave the way in which his daughter\nhad been taken away by Genji.", "alone. I know not how it came to pass, but she became secretly\nintimate with Prince Hiôbkiô. But the Prince's wife was very jealous", "have spoken before. Yoshikiyo well remembered his lovely daughter,\nand, after he came to Suma with Genji, he wrote to her now and then.\nHe did not get any answer from her, but sometimes heard from her", "The introduction of the late Saigû, the daughter of the Lady of\nRokjiô, at Court, was now arranged to take place, with the approval of", "me clearly.\" At these words, strange to say, the face of the Lady Aoi\nseemed momentarily to assume the likeness of that of Rokjiô. On this,", "Genji and his father-in-law were subjected. She was convinced she\nwould never suffer such cruel treatment as that which Seki-Foojin[98]", "The enunciation of these words was not that of Lady Aoi herself; and\nwhen Genji came to reflect, it clearly belonged to the Lady of Rokjiô.", "MITSUNAKA.--As thou well knowest, Bijiyau was mine only child. Go and\ncall thy son Kauzhiyu, and I will adopt him as mine heir.", "Udaijin, to whose daughter, as you know, Tô-no-Chiûjiô is married.\nPoor girl, she was terrified at this. She knew not what to do, and hid", "Sadaijin had several children. One of them, who was the issue of his\nRoyal wife, was the Kurand Shiôshiô.", "when this may happen is uncertain--what shall I do?\" He at last\ndecided to carry her off secretly to his own mansion in Nijiô. True,", "a noble, named Nobtaka, to whom she bore a daughter, who, herself,\nwrote a work of fiction, called \"Sagoromo\" (narrow sleeves). She" ], [ "Genji pushed the hair back from her face, as he said to her, \"I am\ncome from your father;\" but this she knew to be false, and was", "She was older than Genji by four years, and was as cold and stately in\nher mien as ever. Her father, however, received him joyfully whenever\nhe called, although he was not always satisfied with the", "the Empress-mother (the Princess Wistaria). All the arrangements and\npreparations were made, though not quite openly, under the eye of\nGenji, who took a parental interest in her. It may be remembered that", "Genji and his father-in-law were subjected. She was convinced she\nwould never suffer such cruel treatment as that which Seki-Foojin[98]", "\"Not the Prince, your father,\" uttered Genji, \"but I am here, and I\ntoo am your friend. Come here!\"", "Genji, faltered as he did so. As to the Emperor, a sudden thought\nstole into his mind. \"Ah! could his mother but have lived to have seen", "presented to her father. The latter had for a long time regarded her\nas lost, and even now he never forgave the way in which his daughter\nhad been taken away by Genji.", "Genji, who witnessed their passing, and sent the following to the\nlady-mother with a twig of Sakaki (divine tree):--", "Genji well remembered the dream which he had dreamt at Suma, and in\nwhich his father, the late ex-Emperor, had made a faint allusion to", "The young Prince, whom we now style Genji (the Gen), was still with\nthe Emperor, and passed his time pleasantly enough in visiting the", "father, to whom Genji's exile became soon known, and who wished to see\nhim for a reason not altogether agreeable to himself. It should be\nremembered that this old man always entertained aspirations on behalf", "\"Ah, then,\" thought Genji, \"the little one is her daughter, and no\nwonder that she resembles the one in the palace (because Prince", "and full of mirth and life. Genji was wont to make her useful when in\nthe palace. Her father, who had been remotely connected with the Royal", "Kokimi still made no reply. Genji closed his eyes but could not\nsleep, so he started up and, taking writing materials, began to write,\napparently without any fixed purpose, and indited the following\ndistich:--", "Genji at once showed this to the Emperor, asking whether he had better\ngo. \"Ah!\" said the latter, smiling, \"This is from a great personage.\nYou had better go, I should think; besides there are the Princesses\nthere.\"", "After this conversation Genji left. On his way he came across a nephew\nof the Empress-mother, who seems to have been a person of rather", "Genji, while sympathizing with the anxiety of the Emperor about her,\nlonged greatly for an opportunity of seeing her, ill though she was.\nHence at this time he went nowhere, but kept himself in his mansion at", "The long-continued rainy weather had now cleared up bright and fine,\nand the Prince Genji proceeded to the mansion of his father-in-law,", "daughter--that is, the Empress-mother, and told her that he had found\npapers which clearly were in the handwriting of Genji, and that though", "conducted Genji to the hill-side mansion, and introduced him to the\nmaiden. In the course of time they gradually became more than mere\nacquaintances to each other. For some time Genji often found himself" ], [ "The young Prince, whom we now style Genji (the Gen), was still with\nthe Emperor, and passed his time pleasantly enough in visiting the", "Genji at once showed this to the Emperor, asking whether he had better\ngo. \"Ah!\" said the latter, smiling, \"This is from a great personage.\nYou had better go, I should think; besides there are the Princesses\nthere.\"", "Genji still resided in the palace, where his society was a source of\nmuch pleasure to the Emperor, and he did not take up his abode in a", "Return we now to Genji. He went to the ex-Emperor, to whom he still\nseemed thin and careworn. He had some affectionate conversation with", "After this conversation Genji left. On his way he came across a nephew\nof the Empress-mother, who seems to have been a person of rather", "He had, however, a personal sympathy with Genji, and thus came to see\nhim, at the risk of offending the Court.", "Genji, while sympathizing with the anxiety of the Emperor about her,\nlonged greatly for an opportunity of seeing her, ill though she was.\nHence at this time he went nowhere, but kept himself in his mansion at", "the Emperor, in front of the palace, looking reproachfully upon him.\nThe Emperor showed every token of submission and respect when the dead\nEmperor told him of many things, all of which concerned Genji's", "In the course of a few days Genji was invited by the Emperor to come\nand see him. The latter had scarcely recovered from his indisposition,", "This Chikzen-no-Kami had been for some time previously a Kurand (a\nsort of equerry) to Genji, therefore his visit was especially welcome", "Emperor, his enemy. When he sent off the assassin this event took\nplace. The allusion here seems to imply the allegation that Genji\nintended high treason.]", "After they had quitted the mountain, Genji first of all went to the\nPalace, where he immediately had an interview with the Emperor, who", "Genji, faltered as he did so. As to the Emperor, a sudden thought\nstole into his mind. \"Ah! could his mother but have lived to have seen", "The Emperor, it is true, never forgot the dying injunctions of his\nfather, and never failed in sympathy with Genji; but he was still", "encourage him. He had, on the other hand, some idea of Genji, and had\nsounded the Emperor on the subject. He regarded the idea with favor,", "public was general, and the Emperor went to visit him. Notwithstanding\nhis weakness, the former gave him every injunction, first about the\nHeir-apparent, then about Genji, and said:--", "Genji well remembered the dream which he had dreamt at Suma, and in\nwhich his father, the late ex-Emperor, had made a faint allusion to", "the Empress-mother (the Princess Wistaria). All the arrangements and\npreparations were made, though not quite openly, under the eye of\nGenji, who took a parental interest in her. It may be remembered that", "conducted Genji to the hill-side mansion, and introduced him to the\nmaiden. In the course of time they gradually became more than mere\nacquaintances to each other. For some time Genji often found himself", "Genji to his exile, and after their return he was more than ever\nfavored by Genji. This state of things made many feel for the bad\ntaste of the ordinary weakness of the world, exhibited by the" ], [ "Nijiô, and became thoughtful and preoccupied. At length he endeavored\nto cajole Ô Miôbu, Wistaria's attendant, into arranging an opportunity", "when this may happen is uncertain--what shall I do?\" He at last\ndecided to carry her off secretly to his own mansion in Nijiô. True,", "The evening breeze blew chill, and Genji it appears was becoming very\nindifferent. Choosing this moment Tô-no-Chiûjiô slyly stepped forth to\nthe spot where Genji was resting.", "Then takes his leave, low bending to the dust.\n Forward they're borne; but Nakamitsu stays,\n Watching and weeping with heart-broken gaze,", "improvement. He then left and returned to his mansion in Nijiô, where\nhe saw the young Violet innocently amusing herself. She wore with", "alone. I know not how it came to pass, but she became secretly\nintimate with Prince Hiôbkiô. But the Prince's wife was very jealous", "favorite and her indifference. Kokimi said nothing. Genji then\nmurmured, \"I was clearly slighted. Oh wretched me! I cannot rival the", "The Chiûjiô spoke not a word lest he should betray himself, but making\na pretended angry expostulation, he drew his sword. All at once the", "So mournfully finished Tô-no-Chiûjiô; and all his companions, who had\nbeen attentively listening, burst simultaneously into laughter at his\nlast allusion.", "\"Nonsense, nonsense!\" cried Genji and the others, who either were, or\npretended to be, quite shocked. \"Where can there be such a woman as", "\"And now, Shikib, it is your turn. Tell us your story,\" exclaimed\nTô-no-Chiûjiô, turning to him.\n\n\"What worth hearing can your humble servant tell you?\"", "While this was going on, Genji arrived on the scene. He suggested to\nthem that if there was any competition at all it should be decided on", "Tô-no-Chiûjiô gently approached him. They had, as usual, some pathetic\nconversation, and then the latter hummed, as if to himself--", "some particular arrangements to make at his mansion at Nijiô, but that\nhe would soon return to her. He soon started, Koremitz alone following\nhim on horseback.", "Shikib-no-Jiô, however, quietly remarked: \"I have nothing else to\nrelate,\" and remained silent.\n\nHereupon a conversation took place to the following effect:--", "Hitherto Genji did not confide the story of his relations with the\nmaiden of Akashi to Violet, but he thought he had better do so, as the", "On the return of the Miôbu she found that the Emperor had not yet\nretired to rest. He was really awaiting her return, but was apparently", "_Sosei._\n\n\nXXIV\n\n_Parting_", "\"When Naishi-no-Ske returned from you,\" said the Miôbu, \"she reported\nto the Emperor that when she saw you, face to face, her sympathy for", "\"Do take my horse and ride back to Nijiô at once,\" he said, and\nordered the horse for him. Then taking Ukon away in the same carriage" ], [ "She was a charming lady, and the Emperor was not without a certain\nliking for her; yet Lady Kokiden, the daughter of Gon-Chiûnagon", "with her. As I told you before she is very bashful and reserved; but\nyet is perhaps more desirable for this very reason,\" and she detailed\nmany more particulars about her. This enabled Genji to fully picture", "Genji at once showed this to the Emperor, asking whether he had better\ngo. \"Ah!\" said the latter, smiling, \"This is from a great personage.\nYou had better go, I should think; besides there are the Princesses\nthere.\"", "\"Ah, then,\" thought Genji, \"the little one is her daughter, and no\nwonder that she resembles the one in the palace (because Prince", "During these autumn evenings the thoughts of Genji were often directed\nto the granddaughter of the nun, especially because she resembled the\nPrincess so much. His desire to possess her was considerably", "\"When Naishi-no-Ske returned from you,\" said the Miôbu, \"she reported\nto the Emperor that when she saw you, face to face, her sympathy for", "Genji at once noticed this. \"Just as I imagined. She is so simple,\"\nthought he, and then he commenced to talk with her, and to explain how", "passionately he had desired to see her. She, however, listened to him\nalmost in silence, and gave no plain answer. Genji was disconcerted,\nand at last said,", "\"See how childish she still is,\" remarked Shiônagon.\n\n\"Why are you so timid, little one, come here and sleep on my knees,\"\nsaid Genji.", "favorite and her indifference. Kokimi said nothing. Genji then\nmurmured, \"I was clearly slighted. Oh wretched me! I cannot rival the", "alone. I know not how it came to pass, but she became secretly\nintimate with Prince Hiôbkiô. But the Prince's wife was very jealous", "Genji, while sympathizing with the anxiety of the Emperor about her,\nlonged greatly for an opportunity of seeing her, ill though she was.\nHence at this time he went nowhere, but kept himself in his mansion at", "On the return of the Miôbu she found that the Emperor had not yet\nretired to rest. He was really awaiting her return, but was apparently", "The priest said one day to his wife, \"Prince Genji, the imperial son\nof the Kôyi of Kiritsubo is now at Suma in exile, having offended the", "For these reasons she retired while her brother was with Genji, to a\nprivate chamber of Chiûjiô, her companion, in the rear of the main", "mother, the late Empress; and her rank therefore was unequivocal. When\nto this we add the union of their daughter with Genji, it was easy to", "such intrigues. He tried every means to favor his designs, and to\ningratiate himself with the lady, and at last succeeded in bringing\nher and Genji together. The details of the plans by which all this was", "Genji observing this movement quickly returned to the monastery,\nthinking as he went what a lovely girl he had seen. \"I can guess from", "Emperor, was intimately acquainted with the Empress and familiar with\nthe Princess, her daughter, from her very childhood. This person now\nrecommended the Emperor to see the Princess, because her features", "one of these. The Prince Genji seems to have made her the object of\nsome attentions. He is not one to waste his time without reason. He\nknows what he is doing.\"" ], [ "Of these fifty-four chapters, the first forty-one relate to the life\nand adventures of Prince Genji; and those which come after refer", "conducted Genji to the hill-side mansion, and introduced him to the\nmaiden. In the course of time they gradually became more than mere\nacquaintances to each other. For some time Genji often found himself", "capital. Her health, however, began to fail, and she became a nun, and\nafter some time died. Before her death Genji visited her, and with her", "The priest said one day to his wife, \"Prince Genji, the imperial son\nof the Kôyi of Kiritsubo is now at Suma in exile, having offended the", "sex. And his Court was full of ladies who were well versed in the ways\nof the world. Some of these would occasionally amuse themselves by\npaying attentions to Genji. We will here relate the following amusing", "She was older than Genji by four years, and was as cold and stately in\nher mien as ever. Her father, however, received him joyfully whenever\nhe called, although he was not always satisfied with the", "And, after a long and friendly conversation, Genji returned to his\nhome. One may say that the character of Genji was changeable, it is", "Genji and his father-in-law were subjected. She was convinced she\nwould never suffer such cruel treatment as that which Seki-Foojin[98]", "same time saying \"Ten! twenty! thirty! forty!\" When Genji came in this\nway to see them together, he perceived that his idol, in the matter of", "\"Well,\" said Genji, and bending over his beloved, shook her gently,\nbut she neither spoke nor moved. She had apparently fainted, and he\nbecame seriously alarmed.", "years. \"Ah! I know him,\" said Genji. \"Strange, indeed, would it be if\nhe were to discover that I am here in this privacy.\" They noticed a", "Night was now advancing, and they unconsciously dropped off to sleep,\nwhen suddenly over the pillow of Genji hovered the figure of a lady of", "passionately he had desired to see her. She, however, listened to him\nalmost in silence, and gave no plain answer. Genji was disconcerted,\nand at last said,", "Kokimi still made no reply. Genji closed his eyes but could not\nsleep, so he started up and, taking writing materials, began to write,\napparently without any fixed purpose, and indited the following\ndistich:--", "present, and participated, Genji being one of them. Different presents\nwere made by them all. At the end of the third day's performance her\nvows of retirement were, to the surprise of all, announced by the", "So saying Tô-no-Chiûjiô paused, and appeared as if he were ashamed of\nhaving such an experience, when Genji smilingly remarked, \"Can any one\nof them, however, exist without at least one good point?\"", "\"If a man had such a daughter, he might be satisfied,\" thought Genji.\n\"But perhaps she may be a little deficient in quietness. No matter how\nthis may be, she has sufficient attractions.\"", "Genji was now alone. He tried to doze, but could not. It was late in\nthe evening, and all was still around. His sharpened senses made him", "Genji, who witnessed their passing, and sent the following to the\nlady-mother with a twig of Sakaki (divine tree):--", "Genji, where she lived happily under the kind care of the Prince,\nthough he had much difficulty in coming often to see her. I would fain\ndescribe the astonishment of her aunt when she returned from the" ], [ "you will no longer pain me thus,\" said Genji; and he made every effort\nto conciliate her. But she was not easily appeased. He was\nunsuccessful in his effort, and presently they retired to their", "She went back again to her toys, and presented a toy prince, whom she\ncalled Genji, at the Court of her toy house. Shiônagon was beside her.\nShe said:--", "capital. Her health, however, began to fail, and she became a nun, and\nafter some time died. Before her death Genji visited her, and with her", "Genji, where she lived happily under the kind care of the Prince,\nthough he had much difficulty in coming often to see her. I would fain\ndescribe the astonishment of her aunt when she returned from the", "present, and participated, Genji being one of them. Different presents\nwere made by them all. At the end of the third day's performance her\nvows of retirement were, to the surprise of all, announced by the", "Now the young maiden also, whom Genji had left behind at Akashi, and\nwho had been in delicate health, did not pass away from his thoughts.", "passionately he had desired to see her. She, however, listened to him\nalmost in silence, and gave no plain answer. Genji was disconcerted,\nand at last said,", "Genji had to quit the capital he left him and joined his\nbrother-in-law in his official province. This was not viewed as very\nsatisfactory; but Genji manifested no bad feeling to him, and treated", "Genji at once showed this to the Emperor, asking whether he had better\ngo. \"Ah!\" said the latter, smiling, \"This is from a great personage.\nYou had better go, I should think; besides there are the Princesses\nthere.\"", "Genji finished his visit to the Temple, and was coming back, Kokimi\nonce more came from the capital to meet him. Through him Genji sent a\nletter to his sister, asking her if she had recognized him when he", "\"Do you mean to send me away again disappointed? How inglorious it\nis,\" replied Genji.\n\n\"No; why so? The lady may leave shortly. I will then announce you.\"", "The priest said one day to his wife, \"Prince Genji, the imperial son\nof the Kôyi of Kiritsubo is now at Suma in exile, having offended the", "It was then that he was informed by Koremitz that he had seen the\nmaiden of Akashi in a boat. On the morrow Genji and his party set off\nfor their homes. As they proceeded Genji hummed,", "Koremitz recognized her as an aunt of the latter. He then asked her\nabout the Princess, and told her of Genji's intention. To his", "left her to receive his friends, who, however, did not remain long,\nleaving the mansion after a short conversation of a consolatory\nnature. This evening Genji paid his visit to the sisters of the", "After this conversation Genji left. On his way he came across a nephew\nof the Empress-mother, who seems to have been a person of rather", "Such, then, was the condition of society at the time when the\nauthoress, Murasaki Shikib, lived; and such was the sphere of her", "\"Well,\" said Genji, and bending over his beloved, shook her gently,\nbut she neither spoke nor moved. She had apparently fainted, and he\nbecame seriously alarmed.", "with her. As I told you before she is very bashful and reserved; but\nyet is perhaps more desirable for this very reason,\" and she detailed\nmany more particulars about her. This enabled Genji to fully picture", "Some were surprised at this change, while others even said, \"What a\nstrange Ishi-kawa!\" One only said nothing, but looked down, and thus\nbetrayed herself as the one whom he was seeking, and Genji was soon at\nher side." ] ]

[ "How do Genji's feelings change toward his stepmother, Lady Fujitsubo?", "Who is Murasaki to Lady Fujitsubo?", "Who does Genji want Murasaki to be like?", "What is Emperor Suzaku forced to do to Genji as a result of his affair?", "Knowing Genji is his real father, what does Reizei do for him when he becomes Emperor?", "Who is Karou's real father?", "Who are the two main characters in \"The Uji Chapters\"?", "What happens as a result of Genji having problems with his wife and his frustration involving Lady Fujitsubo?", "What is the main concentration of the story?", "Who is Hikaru Genji's father?", "What was Genji's sir name changed to?", "How old was Genji when his mother died?", "Who is the father of Reizei?", "Who does Genji marry after Lady Aoe dies?", "Who becomes Emporer after Genji's father dies?", "She gives birth to Genji's only daughter?", "Who raises Genji's rank?", "What does murasaki become late in life?", "Who is the Emperess' son?", "How old is Murasaki when she meets Genji?", "How many biological children does Genji have?", "Why was Genji exiled?", "Who are Kaoru's biological parents?", "Who are Genji's parents?", "What is Genji's relationship with Emperor Suzaku?", "What is the conflict between Kaoru and Niou at the end of the story?", "Why does Emperor Kiritsubo choose Lady Fujitsubo as his wife?", "How many wives does Genji have?", "What does Murasaki do after Genji's marriage to the Third Princess?" ]

[ [ "He falls in love with her.", "He falls in love with her." ], [ "Her niece.", "Lady Fujitsubo's niece." ], [ "Lady Fujitsubo.", "Lady Fujitsubu" ], [ "Exile him.", "exiles him" ], [ "He raises his rank to the highest possible.", "Raises his rank" ], [ "Kashiwagi.", "Genji's nephew." ], [ "Karou and Niou.", "Kaoru and Niou." ], [ "He begins having love affairs with other women.", "He engages in unfulfilling love afffairs." ], [ "Genji's romantic life.", "The life of Hikaru Genji." ], [ "Emperor Kiritsubo", "Emporer Kiritsubo" ], [ "Minamoto", "Minamoto." ], [ "Three years old", "three" ], [ "Genji", "Genji" ], [ "Murasaki", "Lady Fujitsubo" ], [ "Suzaku", "Suzaku" ], [ "Akashi's daughter", "Akashi's daughter" ], [ "His son Reizei", "emporer reizei" ], [ "A nun", "A nun." ], [ "Niou", "Reizei." ], [ "10 years old.", "10." ], [ "He has three children, two sons and one daughter.", "3" ], [ "His affair with Oborozukiyo, one of Emperor Suzaku's concubines, is discovered.", "Genji's secret affair with Emperor Suzaku's concubine is exposed." ], [ "The Third Princess and Genji's nephew.", "The third princess and Genji's nephew" ], [ "Emperor Kiritsubo and the concubine Lady Kiritsubo.", "Emperor Kiritsubo and Lady Kiritsubo " ], [ "They are half-brothers.", "They are half-brothers." ], [ "Kaoru believes that Niou has stolen the woman he loves.", "They have a rivalry over daughters of an Uji prince. " ], [ "She resembles Lady Kiritsubo, who died.", "she resembles his deceased concubine" ], [ "He has three wives, Lady Aoi, Murasaki, and the Third Princess.", "3" ], [ "She becomes a bikuni (nun).", "Becomes a nun" ] ]

[ [ "The place is packed with gambling tables and attractive women. \n \n \n FRIEND\n Not bad huh?\n\n CHRIS\n Not bad.", "to leave it in the truck. Instead he takes a piece of wood from \n the back of his truck. He enters the casino with it. He smashes", "PROSECUTOR\n So dangerous, so violent, so highly \n trained that he despatched six of the \n casino staff single handedly. His weapon", "Shots are still being fired in the lounge. Ray and the gunman \n begin to wrestle. Ray wins and punches the man repeatedly. Chris", "SHERIFF WATKINS\n Well this isn't about that incident \n at the casino a while back is it?\n \n \n CHRIS\n Yea, it is.", "RAY\n Isn't it wonderful? All your gambling \n needs under one great big roof. You", "CASINO GUARD 2\n I think he had a point to prove yeah.", "gimme my money.\n \n The security guy grabs Chris around the neck. Chris elbows him \n and throws him onto the table. The croupier takes a fighting", "open fire again. Another gunman tries to approach but he's shot \n in the legs as well. Watkins enters the station and fires repeatedly \n at the floor.", "Did he give you any kind of advanced \n warning? A chance to defend yourself.\n \n \n CASINO GUARD 2", "a fruit machine. A guard comes up and Chris beats him. A fight \n scene breaks out with Chris beating the guards and generally \n trashing the place. He takes back his special forces dogtag from", "DENI\n I have my moments.\n\n CHRIS\n So the casino huh?", "More security men appear, one of them knocks Jimmy out. A whole \n fight breaks out, Ray gets knocked out. Chris beats off several", "CHRIS\n I saw the switch.\n\n CROUPIER\n Hey this is a clean game asshole.\n\n CHRIS\n Yea?", "what the casino is. Since the mill closed \n down that casino is the main source \n of revenue in this town. So, case closed", "SHERIFF WATKINS\n Nah just simple economics. Y'know we \n have a really nice casino here, the", "INT. WILD CHERRY CASINO", "INT. WILD CHERRY CASINO", "The gunman takes off his mask and hits him with a pistol.\n\n GUNMAN\n (Calling downstairs) Burke?", "gun, they're gonna.. ne... Chris!\n \n \n Chris drives to the casino, he cocks the shotgun but decides" ], [ "CHRIS\n Excuse me.\n\n An officer is on the phone ignoring him.\n\n CHRIS\n Excuse me.", "SHERIFF WATKINS\n They did an internal investigation. \n That's good enough for me.\n \n CHRIS\n An internal investigation.", "open fire again. Another gunman tries to approach but he's shot \n in the legs as well. Watkins enters the station and fires repeatedly \n at the floor.", "SHERIFF WATKINS\n Cause that matter's closed.\n\n CHRIS\n Did you look into it?", "Chris reads a closure notice on the door. A police car rolls \n up.\n \n SHERIFF WATKINS\n How ya doin'?", "Jay hits Chris in the stomach with a pole a few times. Chris \n grabs the pole and they both fall. Chris has hurt his leg. Chris", "We tussled, but he's a big guy. He was \n on a mission. Besides, he seemed to \n be too busy enjoying himself from what", "SHERIFF WATKINS\n Harstad, yeah. Sad story. About 5 months \n back he fell asleep at the wheel and", "More security men appear, one of them knocks Jimmy out. A whole \n fight breaks out, Ray gets knocked out. Chris beats off several", "SHERIFF WATKINS\n I won't take no for an answer (jokingly \n reaches for his gun). HEY! Get in the", "One of the men outside has a canister. Watkins gives him the \n nod and he begins walking towards the station. Chris is beneath \n the floor and shoots him in the legs. The two remaining men outside", "The gunman takes off his mask and hits him with a pistol.\n\n GUNMAN\n (Calling downstairs) Burke?", "DENI\n How you been?\n\n CHRIS\n Been better.\n\n DENI\n Talked to the sheriff yet?", "cameras didn't catch that.\n \n Jay starts to help Chris taking wood off the truck but Chris \n throws it back on.", "Chris leaves. As he drives off in his truck, police cars appear \n with sirens going. He pulls over.\n \n SHERIFF WATKINS", "Deni fires off some shots. Watkins is distracted by the shots, \n Chris appears in the floor hole and blasts Watkins at close range \n with a shotgun.", "car.\n \n Chris raises his hands and the sheriff chuckles.", "has come back to the house and tries to pull Ray off the man, \n Ray mistakenly hits Chris in the face.\n \n RAY", "JUDGE\n I order the jury to ignore what they \n have just seen. Mr Vaughn take your", "You're lucky to be alive right now, \n that's all you need to be concentrating \n on. This is my town ok, I'm the sheriff" ], [ "Shots are still being fired in the lounge. Ray and the gunman \n begin to wrestle. Ray wins and punches the man repeatedly. Chris", "open fire again. Another gunman tries to approach but he's shot \n in the legs as well. Watkins enters the station and fires repeatedly \n at the floor.", "One of the men outside has a canister. Watkins gives him the \n nod and he begins walking towards the station. Chris is beneath \n the floor and shoots him in the legs. The two remaining men outside", "Chris helps Ray over to a chair, Ray has taken a shot to the \n leg.\n \n The injured gunman from the kitchen appears brandishing a pistol.", "to leave it in the truck. Instead he takes a piece of wood from \n the back of his truck. He enters the casino with it. He smashes", "The gunman takes off his mask and hits him with a pistol.\n\n GUNMAN\n (Calling downstairs) Burke?", "Deni fires off some shots. Watkins is distracted by the shots, \n Chris appears in the floor hole and blasts Watkins at close range \n with a shotgun.", "Ray stabs the gunman with a potato peeler and knocks him out \n with a frying pan.\n \n \n INT. POLICE STATION", "Jay hits Chris in the stomach with a pole a few times. Chris \n grabs the pole and they both fall. Chris has hurt his leg. Chris", "Chris and Ray hold up their hands. He aims at Ray but he's shot \n in the back of the head by Dad who is approaching down the stairs.", "PROSECUTOR\n So dangerous, so violent, so highly \n trained that he despatched six of the \n casino staff single handedly. His weapon", "The gunman enters a room, Ray is there pointing a shotgun at \n him.\n \n RAY\n Drop it!\n\n \n INT. POLICE STATION", "gun, they're gonna.. ne... Chris!\n \n \n Chris drives to the casino, he cocks the shotgun but decides", "Chris is searching about and forces open a cupboard.\n\n DAD\n What are you doin?\n\n Chris pulls out a shotgun and loads it.", "More security men appear, one of them knocks Jimmy out. A whole \n fight breaks out, Ray gets knocked out. Chris beats off several", "Chris smashes up the back end of Jay's car with his trusty piece \n of cedar wood.\n \n CHRIS\n They're broken.", "a fruit machine. A guard comes up and Chris beats him. A fight \n scene breaks out with Chris beating the guards and generally \n trashing the place. He takes back his special forces dogtag from", "Music plays while the two chop up the dealer's car into pieces \n while laughing.\n \n RAY", "WORKER\n He started bustin up the machines...\n \n \n GIRL\n There was a gunshot..\n\n WORKER\n Went crazy...", "And I will make sure that THIS (He opens \n his shirt revealing huge scarring) never \n happens to anyone again without punishing \n those who did it." ], [ "earthy embankment. At the bottom they come to their senses and \n begin fighting again, Jay with his axe and Chris with a log he's", "stumbles off into the woods. Jay grabs an axe and goes after \n him, he swings the axe but misses and they both fall down a large", "out on the sidewalk, then sees the mother is in an alleyway doing \n what looks like a drug deal.\n \n EXT. LUMBER YARD", "The crowd breaks into cheer. Chris takes a tag from his piece \n of cedar wood which is laying on the evidence table.\n \n CHRIS", "Dad nods.\n\n \n EXT. THE MILL", "to leave it in the truck. Instead he takes a piece of wood from \n the back of his truck. He enters the casino with it. He smashes", "right now.\n \n They laugh as they drive off. The mill makes a horn noise.", "CHRIS\n You gonna think I'm crazy. I been thinking \n about the mill. When I was a kid goin", "Chris smashes up the back end of Jay's car with his trusty piece \n of cedar wood.\n \n CHRIS\n They're broken.", "uhhh... hit a tree. Good man, good man \n and a good sheriff.", "Chris leaves. As he drives off in his truck, police cars appear \n with sirens going. He pulls over.\n \n SHERIFF WATKINS", "that's the closest mill work you're \n gonna find around here.\n \n CHRIS\n That's too bad.", "cameras didn't catch that.\n \n Jay starts to help Chris taking wood off the truck but Chris \n throws it back on.", "DAD\n I got my business, you saw the furniture \n outside.\n \n CONNIE", "CHRIS\n You got it. On the first hut!\n\n JAY\n Ok Vaughn, last chance.", "SHERIFF WATKINS\n Harstad, yeah. Sad story. About 5 months \n back he fell asleep at the wheel and", "They laugh.\n\n \n EXT. OUTSIDE THE HOUSE\n\n Jay pulls up in his car.", "The mill is dark, Chris is finding his way around using a torch. \n He finds Jay sitting.\n \n JAY\n Hey Chris.\n\n CHRIS\n Get up Jay.", "Chris pulls up to the station in his police truck, it's clear \n he's now the sheriff.\n \n WATKINS\n Sheriff.", "Jay hits Chris in the stomach with a pole a few times. Chris \n grabs the pole and they both fall. Chris has hurt his leg. Chris" ], [ "to leave it in the truck. Instead he takes a piece of wood from \n the back of his truck. He enters the casino with it. He smashes", "earthy embankment. At the bottom they come to their senses and \n begin fighting again, Jay with his axe and Chris with a log he's", "Chris smashes up the back end of Jay's car with his trusty piece \n of cedar wood.\n \n CHRIS\n They're broken.", "of choice a simple piece of cedar. Which \n in his hand became a devastating force \n with one aim, to hurt people, destroy \n property.", "ripped off a tree. Chris knocks Jay out by hitting him hard in \n the legs.\n \n CHRIS", "stumbles off into the woods. Jay grabs an axe and goes after \n him, he swings the axe but misses and they both fall down a large", "The crowd breaks into cheer. Chris takes a tag from his piece \n of cedar wood which is laying on the evidence table.\n \n CHRIS", "uhhh... hit a tree. Good man, good man \n and a good sheriff.", "Jay hits Chris in the stomach with a pole a few times. Chris \n grabs the pole and they both fall. Chris has hurt his leg. Chris", "out on the sidewalk, then sees the mother is in an alleyway doing \n what looks like a drug deal.\n \n EXT. LUMBER YARD", "Chris shoots up the floor with a shotgun and breaks a hole in \n it. \n \n \n INT. FAMILY HOUSE", "Chris is searching about and forces open a cupboard.\n\n DAD\n What are you doin?\n\n Chris pulls out a shotgun and loads it.", "CHRIS\n You got it. On the first hut!\n\n JAY\n Ok Vaughn, last chance.", "One of the men outside has a canister. Watkins gives him the \n nod and he begins walking towards the station. Chris is beneath \n the floor and shoots him in the legs. The two remaining men outside", "the guard who stole it. Chris hurls his piece of wood at the \n VIP lounge window, smashing it to pieces. Jay emerges from behind \n it.", "Jay hits a switch on the floor which opens a hatch. Chris falls \n into the hatch but hangs onto the saw which is swinging over \n it.\n \n Jay hits more switches, powering up the machinery.", "Jay hits a metal saw which resonates making a metallic sound.\n \n \n JAY\n That was my favourite sound.", "Deni fires off some shots. Watkins is distracted by the shots, \n Chris appears in the floor hole and blasts Watkins at close range \n with a shotgun.", "open fire again. Another gunman tries to approach but he's shot \n in the legs as well. Watkins enters the station and fires repeatedly \n at the floor.", "More security men appear, one of them knocks Jimmy out. A whole \n fight breaks out, Ray gets knocked out. Chris beats off several" ], [ "open fire again. Another gunman tries to approach but he's shot \n in the legs as well. Watkins enters the station and fires repeatedly \n at the floor.", "One of the men outside has a canister. Watkins gives him the \n nod and he begins walking towards the station. Chris is beneath \n the floor and shoots him in the legs. The two remaining men outside", "Deni fires off some shots. Watkins is distracted by the shots, \n Chris appears in the floor hole and blasts Watkins at close range \n with a shotgun.", "Chris and Ray hold up their hands. He aims at Ray but he's shot \n in the back of the head by Dad who is approaching down the stairs.", "The gunman takes off his mask and hits him with a pistol.\n\n GUNMAN\n (Calling downstairs) Burke?", "He goes downstairs to find Burke dead on the kitchen floor. He \n follows traces of blood across the floor.\n \n \n INT. POLICE STATION\n\n Chris is making his way towards Booth under fire.", "SHERIFF WATKINS\n Harstad, yeah. Sad story. About 5 months \n back he fell asleep at the wheel and", "uhhh... hit a tree. Good man, good man \n and a good sheriff.", "Chris leaves. As he drives off in his truck, police cars appear \n with sirens going. He pulls over.\n \n SHERIFF WATKINS", "Shots are still being fired in the lounge. Ray and the gunman \n begin to wrestle. Ray wins and punches the man repeatedly. Chris", "stumbles off into the woods. Jay grabs an axe and goes after \n him, he swings the axe but misses and they both fall down a large", "Ray steps into the kitchen but gunmen have infiltrated the home. \n A fight breaks out and Pete flees. Ray jumps onto the back of \n a gunman.\n \n \n INT. POLICE STATION", "CHRIS\n Stay down!\n\n Booth is standing and gets shot dead.\n\n \n INT. FAMILY HOUSE", "CHRIS\n When I say 'now' start shooting, over \n there. Stay low.\n \n Booth is now under fire and is scared.", "earthy embankment. At the bottom they come to their senses and \n begin fighting again, Jay with his axe and Chris with a log he's", "SHERIFF WATKINS\n Did I scare ya with that one?\n\n CHRIS\n Lil bit.", "to take it out on an innocent truck. \n Where you headin?\n \n CHRIS", "CHRIS\n You got it. On the first hut!\n\n JAY\n Ok Vaughn, last chance.", "out on the sidewalk, then sees the mother is in an alleyway doing \n what looks like a drug deal.\n \n EXT. LUMBER YARD", "Gunman 2 looks away for a second and Michelle kicks him down \n the stairs. As he tumbles down Ray reloads his shotgun. The two" ], [ "They laugh.\n\n \n EXT. OUTSIDE THE HOUSE\n\n Jay pulls up in his car.", "Music plays while the two chop up the dealer's car into pieces \n while laughing.\n \n RAY", "Chris is in a police car driving at speed. He approaches the \n mill and busts through the locked gates. \n \n \n INT. THE MILL", "INT. CAR", "to leave it in the truck. Instead he takes a piece of wood from \n the back of his truck. He enters the casino with it. He smashes", "Chris leaves. As he drives off in his truck, police cars appear \n with sirens going. He pulls over.\n \n SHERIFF WATKINS", "One of the men outside has a canister. Watkins gives him the \n nod and he begins walking towards the station. Chris is beneath \n the floor and shoots him in the legs. The two remaining men outside", "to take it out on an innocent truck. \n Where you headin?\n \n CHRIS", "right now.\n \n They laugh as they drive off. The mill makes a horn noise.", "gun, they're gonna.. ne... Chris!\n \n \n Chris drives to the casino, he cocks the shotgun but decides", "Shots are still being fired in the lounge. Ray and the gunman \n begin to wrestle. Ray wins and punches the man repeatedly. Chris", "open fire again. Another gunman tries to approach but he's shot \n in the legs as well. Watkins enters the station and fires repeatedly \n at the floor.", "uhhh... hit a tree. Good man, good man \n and a good sheriff.", "car.\n \n Chris raises his hands and the sheriff chuckles.", "Chris smashes up the back end of Jay's car with his trusty piece \n of cedar wood.\n \n CHRIS\n They're broken.", "You're lucky to be alive right now, \n that's all you need to be concentrating \n on. This is my town ok, I'm the sheriff", "Chris reads a closure notice on the door. A police car rolls \n up.\n \n SHERIFF WATKINS\n How ya doin'?", "out on the sidewalk, then sees the mother is in an alleyway doing \n what looks like a drug deal.\n \n EXT. LUMBER YARD", "The sheriff chuckles and steps out of the car.", "CHRIS\n Do you?\n\n She begins to drive off.\n\n CHRIS\n Thanks for the jacket." ], [ "Deni fires off some shots. Watkins is distracted by the shots, \n Chris appears in the floor hole and blasts Watkins at close range \n with a shotgun.", "open fire again. Another gunman tries to approach but he's shot \n in the legs as well. Watkins enters the station and fires repeatedly \n at the floor.", "Chris and Ray hold up their hands. He aims at Ray but he's shot \n in the back of the head by Dad who is approaching down the stairs.", "Music plays while the two chop up the dealer's car into pieces \n while laughing.\n \n RAY", "Chris leaves. As he drives off in his truck, police cars appear \n with sirens going. He pulls over.\n \n SHERIFF WATKINS", "One of the men outside has a canister. Watkins gives him the \n nod and he begins walking towards the station. Chris is beneath \n the floor and shoots him in the legs. The two remaining men outside", "INT. CAR", "Shots are still being fired in the lounge. Ray and the gunman \n begin to wrestle. Ray wins and punches the man repeatedly. Chris", "SHERIFF WATKINS\n Harstad, yeah. Sad story. About 5 months \n back he fell asleep at the wheel and", "uhhh... hit a tree. Good man, good man \n and a good sheriff.", "More security men appear, one of them knocks Jimmy out. A whole \n fight breaks out, Ray gets knocked out. Chris beats off several", "Chris smashes up the back end of Jay's car with his trusty piece \n of cedar wood.\n \n CHRIS\n They're broken.", "He goes downstairs to find Burke dead on the kitchen floor. He \n follows traces of blood across the floor.\n \n \n INT. POLICE STATION\n\n Chris is making his way towards Booth under fire.", "The gunman takes off his mask and hits him with a pistol.\n\n GUNMAN\n (Calling downstairs) Burke?", "to take it out on an innocent truck. \n Where you headin?\n \n CHRIS", "CHRIS\n Do you?\n\n She begins to drive off.\n\n CHRIS\n Thanks for the jacket.", "They laugh.\n\n \n EXT. OUTSIDE THE HOUSE\n\n Jay pulls up in his car.", "Chris is in a police car driving at speed. He approaches the \n mill and busts through the locked gates. \n \n \n INT. THE MILL", "CHRIS\n Stay down!\n\n Booth is standing and gets shot dead.\n\n \n INT. FAMILY HOUSE", "car.\n \n Chris raises his hands and the sheriff chuckles." ], [ "You're lucky to be alive right now, \n that's all you need to be concentrating \n on. This is my town ok, I'm the sheriff", "out on the sidewalk, then sees the mother is in an alleyway doing \n what looks like a drug deal.\n \n EXT. LUMBER YARD", "to take it out on an innocent truck. \n Where you headin?\n \n CHRIS", "to leave it in the truck. Instead he takes a piece of wood from \n the back of his truck. He enters the casino with it. He smashes", "right now.\n \n They laugh as they drive off. The mill makes a horn noise.", "They laugh.\n\n \n EXT. OUTSIDE THE HOUSE\n\n Jay pulls up in his car.", "Cause you owned the town Jay. It's changed \n now.\n \n JAY", "a voice shouts 'HEADS UP' Chris catches a fast ball thrown from \n behind. Jay steps out of his vehicle.\n \n JAY\n Cause I opened my Casino.", "uhhh... hit a tree. Good man, good man \n and a good sheriff.", "Sustained. Mr Vaughn stay on point.\n \n \n CHRIS\n I grew up in this town. People used", "to walk tall in this town, they wouldn't \n have traded the mill for a crooked casino.\n \n \n JUDGE", "He walks through a town, passing various stores and the general \n bustle of the people there. He notices a baby in a pram left", "More security men appear, one of them knocks Jimmy out. A whole \n fight breaks out, Ray gets knocked out. Chris beats off several", "what the casino is. Since the mill closed \n down that casino is the main source \n of revenue in this town. So, case closed", "Shots are still being fired in the lounge. Ray and the gunman \n begin to wrestle. Ray wins and punches the man repeatedly. Chris", "open fire again. Another gunman tries to approach but he's shot \n in the legs as well. Watkins enters the station and fires repeatedly \n at the floor.", "cameras didn't catch that.\n \n Jay starts to help Chris taking wood off the truck but Chris \n throws it back on.", "We home in on a boat coming in to shore. Off walks a man, he \n is carrying a backpack and wearing shades. \n \n \n EXT. TOWN", "Chris leaves. As he drives off in his truck, police cars appear \n with sirens going. He pulls over.\n \n SHERIFF WATKINS", "Chris smashes up the back end of Jay's car with his trusty piece \n of cedar wood.\n \n CHRIS\n They're broken." ], [ "SHERIFF WATKINS\n Harstad, yeah. Sad story. About 5 months \n back he fell asleep at the wheel and", "this left him for dead. A lesser man \n wouldn't have survived.\n \n SHERIFF WATKINS", "Chris reads a closure notice on the door. A police car rolls \n up.\n \n SHERIFF WATKINS\n How ya doin'?", "Chris leaves. As he drives off in his truck, police cars appear \n with sirens going. He pulls over.\n \n SHERIFF WATKINS", "First of all I was a sergeant. I worked \n for a living.\n \n PETE\n Did you ever smoke anybody?", "Chris pulls up to the station in his police truck, it's clear \n he's now the sheriff.\n \n WATKINS\n Sheriff.", "uhhh... hit a tree. Good man, good man \n and a good sheriff.", "open fire again. Another gunman tries to approach but he's shot \n in the legs as well. Watkins enters the station and fires repeatedly \n at the floor.", "Sustained. Mr Vaughn stay on point.\n \n \n CHRIS\n I grew up in this town. People used", "The sheriff chuckles and steps out of the car.", "SHERIFF WATKINS\n Well hell, I know all about you Chris. \n I know your folks, I'm sheriff Stan \n Watkins.\n \n They shake hands.", "We tussled, but he's a big guy. He was \n on a mission. Besides, he seemed to \n be too busy enjoying himself from what", "Cause you owned the town Jay. It's changed \n now.\n \n JAY", "Please step away from the vehicle. Now \n Mr Booth are you still upset over that \n body cavity search? WOOOOOOOO! I forgot,", "SHERIFF WATKINS\n Did I scare ya with that one?\n\n CHRIS\n Lil bit.", "SHERIFF WATKINS\n Cause that matter's closed.\n\n CHRIS\n Did you look into it?", "car.\n \n Chris raises his hands and the sheriff chuckles.", "You're lucky to be alive right now, \n that's all you need to be concentrating \n on. This is my town ok, I'm the sheriff", "PROSECUTOR\n So dangerous, so violent, so highly \n trained that he despatched six of the \n casino staff single handedly. His weapon", "DENI\n Lasted about 8 minutes, a long long \n time ago.\n \n CHRIS\n You still work for him though." ], [ "The place is packed with gambling tables and attractive women. \n \n \n FRIEND\n Not bad huh?\n\n CHRIS\n Not bad.", "RAY\n Isn't it wonderful? All your gambling \n needs under one great big roof. You", "what the casino is. Since the mill closed \n down that casino is the main source \n of revenue in this town. So, case closed", "DENI\n I have my moments.\n\n CHRIS\n So the casino huh?", "INT. WILD CHERRY CASINO", "INT. WILD CHERRY CASINO", "SHERIFF WATKINS\n Nah just simple economics. Y'know we \n have a really nice casino here, the", "got a casino in the pen? \n \n CHRIS\n Could be.", "to leave it in the truck. Instead he takes a piece of wood from \n the back of his truck. He enters the casino with it. He smashes", "CROUPIER\n It's not your roll sir. SIR! It's not \n your roll. Call security.\n \n Chris has taken the dice.", "CHRIS\n Deni..\n\n The screen goes down again, Chris leaves the booth.\n\n \n INT. CASINO", "to walk tall in this town, they wouldn't \n have traded the mill for a crooked casino.\n \n \n JUDGE", "EXT. WILD CHERRY CASINO\n\n Jay calls a number on his celphone.\n\n JAY\n Do it.", "gimme my money.\n \n The security guy grabs Chris around the neck. Chris elbows him \n and throws him onto the table. The croupier takes a fighting", "a voice shouts 'HEADS UP' Chris catches a fast ball thrown from \n behind. Jay steps out of his vehicle.\n \n JAY\n Cause I opened my Casino.", "JAY\n If you can, try to think this through. \n A casino is a license to print money.", "INT. CRAPS TABLE", "CHRIS\n You. And the drugs you're pedalling \n out of your casino.", "JAY\n Oh. Only thing that's going on in my \n casino right now is reconstruction. \n You took care of that.", "EXT. OUTSIDE THE WILD CHERRY CASINO" ], [ "More security men appear, one of them knocks Jimmy out. A whole \n fight breaks out, Ray gets knocked out. Chris beats off several", "Shots are still being fired in the lounge. Ray and the gunman \n begin to wrestle. Ray wins and punches the man repeatedly. Chris", "Jay hits Chris in the stomach with a pole a few times. Chris \n grabs the pole and they both fall. Chris has hurt his leg. Chris", "a fruit machine. A guard comes up and Chris beats him. A fight \n scene breaks out with Chris beating the guards and generally \n trashing the place. He takes back his special forces dogtag from", "One of the men outside has a canister. Watkins gives him the \n nod and he begins walking towards the station. Chris is beneath \n the floor and shoots him in the legs. The two remaining men outside", "open fire again. Another gunman tries to approach but he's shot \n in the legs as well. Watkins enters the station and fires repeatedly \n at the floor.", "to leave it in the truck. Instead he takes a piece of wood from \n the back of his truck. He enters the casino with it. He smashes", "The gunman takes off his mask and hits him with a pistol.\n\n GUNMAN\n (Calling downstairs) Burke?", "Deni fires off some shots. Watkins is distracted by the shots, \n Chris appears in the floor hole and blasts Watkins at close range \n with a shotgun.", "Look Chris I hate seein ya like this.\n \n \n CHRIS\n Your boys did it.", "Chris smashes up the back end of Jay's car with his trusty piece \n of cedar wood.\n \n CHRIS\n They're broken.", "Chris and Ray hold up their hands. He aims at Ray but he's shot \n in the back of the head by Dad who is approaching down the stairs.", "You're lucky to be alive right now, \n that's all you need to be concentrating \n on. This is my town ok, I'm the sheriff", "has come back to the house and tries to pull Ray off the man, \n Ray mistakenly hits Chris in the face.\n \n RAY", "Chris helps Ray over to a chair, Ray has taken a shot to the \n leg.\n \n The injured gunman from the kitchen appears brandishing a pistol.", "Chris is searching about and forces open a cupboard.\n\n DAD\n What are you doin?\n\n Chris pulls out a shotgun and loads it.", "The place is packed with gambling tables and attractive women. \n \n \n FRIEND\n Not bad huh?\n\n CHRIS\n Not bad.", "And I will make sure that THIS (He opens \n his shirt revealing huge scarring) never \n happens to anyone again without punishing \n those who did it.", "Music plays while the two chop up the dealer's car into pieces \n while laughing.\n \n RAY", "to take it out on an innocent truck. \n Where you headin?\n \n CHRIS" ], [ "Chris leaves. As he drives off in his truck, police cars appear \n with sirens going. He pulls over.\n \n SHERIFF WATKINS", "uhhh... hit a tree. Good man, good man \n and a good sheriff.", "You're right Jay, this does change our \n relationship. This is my town, you're \n under arrest.", "Chris reads a closure notice on the door. A police car rolls \n up.\n \n SHERIFF WATKINS\n How ya doin'?", "SHERIFF WATKINS\n I'm just doing my job Michelle. Ok? \n I understand how you feel. But we still", "open fire again. Another gunman tries to approach but he's shot \n in the legs as well. Watkins enters the station and fires repeatedly \n at the floor.", "SHERIFF WATKINS\n Harstad, yeah. Sad story. About 5 months \n back he fell asleep at the wheel and", "SHERIFF WATKINS\n They did an internal investigation. \n That's good enough for me.\n \n CHRIS\n An internal investigation.", "More security men appear, one of them knocks Jimmy out. A whole \n fight breaks out, Ray gets knocked out. Chris beats off several", "SHERIFF WATKINS\n Did I scare ya with that one?\n\n CHRIS\n Lil bit.", "CHRIS\n Officer.\n\n RAY\n Yeah.\n\n CHRIS\n Search him.", "car.\n \n Chris raises his hands and the sheriff chuckles.", "SHERIFF WATKINS\n I won't take no for an answer (jokingly \n reaches for his gun). HEY! Get in the", "Chris pulls up to the station in his police truck, it's clear \n he's now the sheriff.\n \n WATKINS\n Sheriff.", "DENI\n How you been?\n\n CHRIS\n Been better.\n\n DENI\n Talked to the sheriff yet?", "SHERIFF WATKINS\n Cause that matter's closed.\n\n CHRIS\n Did you look into it?", "The gunman enters a room, Ray is there pointing a shotgun at \n him.\n \n RAY\n Drop it!\n\n \n INT. POLICE STATION", "Ray stabs the gunman with a potato peeler and knocks him out \n with a frying pan.\n \n \n INT. POLICE STATION", "Chris is searching about and forces open a cupboard.\n\n DAD\n What are you doin?\n\n Chris pulls out a shotgun and loads it.", "Chris and Ray hold up their hands. He aims at Ray but he's shot \n in the back of the head by Dad who is approaching down the stairs." ], [ "run for sheriff. And if elected, I'm \n gonna fix this town. \n \n JUDGE", "The sheriff comes out.", "Chris pulls up to the station in his police truck, it's clear \n he's now the sheriff.\n \n WATKINS\n Sheriff.", "Sure as hell didn't seem like much of \n a sheriff.\n \n DENI", "uhhh... hit a tree. Good man, good man \n and a good sheriff.", "SHERIFF WATKINS\n I won't take no for an answer (jokingly \n reaches for his gun). HEY! Get in the", "SHERIFF WATKINS\n Nah just simple economics. Y'know we \n have a really nice casino here, the", "The sheriff chuckles and steps out of the car.", "Chris leaves. As he drives off in his truck, police cars appear \n with sirens going. He pulls over.\n \n SHERIFF WATKINS", "this left him for dead. A lesser man \n wouldn't have survived.\n \n SHERIFF WATKINS", "SHERIFF WATKINS\n Well hell, I know all about you Chris. \n I know your folks, I'm sheriff Stan \n Watkins.\n \n They shake hands.", "SHERIFF WATKINS\n I'm just doing my job Michelle. Ok? \n I understand how you feel. But we still", "car.\n \n Chris raises his hands and the sheriff chuckles.", "SHERIFF WATKINS\n Harstad, yeah. Sad story. About 5 months \n back he fell asleep at the wheel and", "SHERIFF WATKINS\n They did an internal investigation. \n That's good enough for me.\n \n CHRIS\n An internal investigation.", "SHERIFF WATKINS\n Did I scare ya with that one?\n\n CHRIS\n Lil bit.", "DENI\n How you been?\n\n CHRIS\n Been better.\n\n DENI\n Talked to the sheriff yet?", "You're lucky to be alive right now, \n that's all you need to be concentrating \n on. This is my town ok, I'm the sheriff", "SHERIFF WATKINS\n No problem, and uh Chris (hands him \n a piece of paper). It's election month...", "He's up for re-election you know. Maybe \n you could take his job. \n \n CHRIS" ], [ "to leave it in the truck. Instead he takes a piece of wood from \n the back of his truck. He enters the casino with it. He smashes", "Chris is searching about and forces open a cupboard.\n\n DAD\n What are you doin?\n\n Chris pulls out a shotgun and loads it.", "Chris smashes up the back end of Jay's car with his trusty piece \n of cedar wood.\n \n CHRIS\n They're broken.", "Music plays while the two chop up the dealer's car into pieces \n while laughing.\n \n RAY", "The crowd breaks into cheer. Chris takes a tag from his piece \n of cedar wood which is laying on the evidence table.\n \n CHRIS", "a fruit machine. A guard comes up and Chris beats him. A fight \n scene breaks out with Chris beating the guards and generally \n trashing the place. He takes back his special forces dogtag from", "RAY\n That's the lovemachine. \n\n CHRIS\n Girls actually get in there?\n\n Ray shrugs.", "of choice a simple piece of cedar. Which \n in his hand became a devastating force \n with one aim, to hurt people, destroy \n property.", "More security men appear, one of them knocks Jimmy out. A whole \n fight breaks out, Ray gets knocked out. Chris beats off several", "Jay hits Chris in the stomach with a pole a few times. Chris \n grabs the pole and they both fall. Chris has hurt his leg. Chris", "A group of guys are there waiting, one of them holding a ball. \n They salute as Chris walks up. They all laugh. \n \n CHRIS\n Playin ball?", "Jay hits a metal saw which resonates making a metallic sound.\n \n \n JAY\n That was my favourite sound.", "out on the sidewalk, then sees the mother is in an alleyway doing \n what looks like a drug deal.\n \n EXT. LUMBER YARD", "The place is packed with gambling tables and attractive women. \n \n \n FRIEND\n Not bad huh?\n\n CHRIS\n Not bad.", "One of the men outside has a canister. Watkins gives him the \n nod and he begins walking towards the station. Chris is beneath \n the floor and shoots him in the legs. The two remaining men outside", "Shots are still being fired in the lounge. Ray and the gunman \n begin to wrestle. Ray wins and punches the man repeatedly. Chris", "They laugh.\n\n \n EXT. OUTSIDE THE HOUSE\n\n Jay pulls up in his car.", "Chris leaves. As he drives off in his truck, police cars appear \n with sirens going. He pulls over.\n \n SHERIFF WATKINS", "open fire again. Another gunman tries to approach but he's shot \n in the legs as well. Watkins enters the station and fires repeatedly \n at the floor.", "CHRIS\n You got it. On the first hut!\n\n JAY\n Ok Vaughn, last chance." ], [ "I'm your man.\n \n Chris takes the paper and smiles. He walks up the lane toward \n the house, a simple white building clad in wood. A lady dressed", "She toots the horn as she goes.\n\n \n INT. FAMILY HOUSE\n\n Connie is on the phone.", "SHERIFF WATKINS\n Harstad, yeah. Sad story. About 5 months \n back he fell asleep at the wheel and", "Chris leaves. As he drives off in his truck, police cars appear \n with sirens going. He pulls over.\n \n SHERIFF WATKINS", "out on the sidewalk, then sees the mother is in an alleyway doing \n what looks like a drug deal.\n \n EXT. LUMBER YARD", "SHERIFF WATKINS\n Well hell, I know all about you Chris. \n I know your folks, I'm sheriff Stan \n Watkins.\n \n They shake hands.", "DENI\n How you been?\n\n CHRIS\n Been better.\n\n DENI\n Talked to the sheriff yet?", "Chris turns around and the sheriff notices his name on a bag.\n \n \n SHERIFF WATKINS\n You're Chris Vaughn?", "They laugh.\n\n \n EXT. OUTSIDE THE HOUSE\n\n Jay pulls up in his car.", "Chris reads a closure notice on the door. A police car rolls \n up.\n \n SHERIFF WATKINS\n How ya doin'?", "CHRIS\n Stay down!\n\n Booth is standing and gets shot dead.\n\n \n INT. FAMILY HOUSE", "CHRIS\n Do you?\n\n She begins to drive off.\n\n CHRIS\n Thanks for the jacket.", "Sustained. Mr Vaughn stay on point.\n \n \n CHRIS\n I grew up in this town. People used", "SHERIFF WATKINS\n Here Chris, (opens the back door) We'll \n give ya a ride up to your folks.", "this left him for dead. A lesser man \n wouldn't have survived.\n \n SHERIFF WATKINS", "MICHELLE\n Sit down, say hello. Last time he saw \n you you were barely walking.\n \n PETE\n And now I'm camping.", "open fire again. Another gunman tries to approach but he's shot \n in the legs as well. Watkins enters the station and fires repeatedly \n at the floor.", "has come back to the house and tries to pull Ray off the man, \n Ray mistakenly hits Chris in the face.\n \n RAY", "DENI\n This belongs to you.\n\n She hands him a leather jacket.", "RAY\n Hello puddin'.\n\n They hug.\n\n CHRIS\n How ya doin?" ], [ "The sheriff comes out.", "SHERIFF WATKINS\n Well hell, I know all about you Chris. \n I know your folks, I'm sheriff Stan \n Watkins.\n \n They shake hands.", "SHERIFF WATKINS\n Harstad, yeah. Sad story. About 5 months \n back he fell asleep at the wheel and", "DENI\n How you been?\n\n CHRIS\n Been better.\n\n DENI\n Talked to the sheriff yet?", "The sheriff chuckles and steps out of the car.", "SHERIFF WATKINS\n Did I scare ya with that one?\n\n CHRIS\n Lil bit.", "this left him for dead. A lesser man \n wouldn't have survived.\n \n SHERIFF WATKINS", "Chris pulls up to the station in his police truck, it's clear \n he's now the sheriff.\n \n WATKINS\n Sheriff.", "You're lucky to be alive right now, \n that's all you need to be concentrating \n on. This is my town ok, I'm the sheriff", "Sure as hell didn't seem like much of \n a sheriff.\n \n DENI", "SHERIFF WATKINS\n Nah just simple economics. Y'know we \n have a really nice casino here, the", "SHERIFF WATKINS\n I won't take no for an answer (jokingly \n reaches for his gun). HEY! Get in the", "uhhh... hit a tree. Good man, good man \n and a good sheriff.", "SHERIFF WATKINS\n Chris, I know you're familiar with the \n term 'no fly zone'. Hmm? Cause that's", "Chris leaves. As he drives off in his truck, police cars appear \n with sirens going. He pulls over.\n \n SHERIFF WATKINS", "SHERIFF WATKINS\n I'll do my best Mr Vaughn. I really \n will. In the meantime I have to file", "car.\n \n Chris raises his hands and the sheriff chuckles.", "SHERIFF WATKINS\n Hey it's my pleasure.\n\n CHRIS\n It's ok.", "SHERIFF WATKINS\n They did an internal investigation. \n That's good enough for me.\n \n CHRIS\n An internal investigation.", "Chris turns around and the sheriff notices his name on a bag.\n \n \n SHERIFF WATKINS\n You're Chris Vaughn?" ], [ "what the casino is. Since the mill closed \n down that casino is the main source \n of revenue in this town. So, case closed", "Deni fires off some shots. Watkins is distracted by the shots, \n Chris appears in the floor hole and blasts Watkins at close range \n with a shotgun.", "to leave it in the truck. Instead he takes a piece of wood from \n the back of his truck. He enters the casino with it. He smashes", "out on the sidewalk, then sees the mother is in an alleyway doing \n what looks like a drug deal.\n \n EXT. LUMBER YARD", "open fire again. Another gunman tries to approach but he's shot \n in the legs as well. Watkins enters the station and fires repeatedly \n at the floor.", "CHRIS\n Deni..\n\n The screen goes down again, Chris leaves the booth.\n\n \n INT. CASINO", "The place is packed with gambling tables and attractive women. \n \n \n FRIEND\n Not bad huh?\n\n CHRIS\n Not bad.", "Shots are still being fired in the lounge. Ray and the gunman \n begin to wrestle. Ray wins and punches the man repeatedly. Chris", "More security men appear, one of them knocks Jimmy out. A whole \n fight breaks out, Ray gets knocked out. Chris beats off several", "DENI\n I have my moments.\n\n CHRIS\n So the casino huh?", "Chris and Ray are packing everything, the place is boarded up. \n \n \n CHRIS", "JAY\n Oh. Only thing that's going on in my \n casino right now is reconstruction. \n You took care of that.", "Chris rolls the dice and sure enough it's a seven.\n\n COMMISSIONER\n No folks, no payout.", "Cause you owned the town Jay. It's changed \n now.\n \n JAY", "to walk tall in this town, they wouldn't \n have traded the mill for a crooked casino.\n \n \n JUDGE", "The dice have landed and it's a 7. Jimmy hangs his head.", "Jay hits Chris in the stomach with a pole a few times. Chris \n grabs the pole and they both fall. Chris has hurt his leg. Chris", "right now.\n \n They laugh as they drive off. The mill makes a horn noise.", "One of the men outside has a canister. Watkins gives him the \n nod and he begins walking towards the station. Chris is beneath \n the floor and shoots him in the legs. The two remaining men outside", "a fruit machine. A guard comes up and Chris beats him. A fight \n scene breaks out with Chris beating the guards and generally \n trashing the place. He takes back his special forces dogtag from" ], [ "Chris leaves. As he drives off in his truck, police cars appear \n with sirens going. He pulls over.\n \n SHERIFF WATKINS", "uhhh... hit a tree. Good man, good man \n and a good sheriff.", "Chris pulls up to the station in his police truck, it's clear \n he's now the sheriff.\n \n WATKINS\n Sheriff.", "SHERIFF WATKINS\n Harstad, yeah. Sad story. About 5 months \n back he fell asleep at the wheel and", "Chris reads a closure notice on the door. A police car rolls \n up.\n \n SHERIFF WATKINS\n How ya doin'?", "this left him for dead. A lesser man \n wouldn't have survived.\n \n SHERIFF WATKINS", "SHERIFF WATKINS\n Well hell, I know all about you Chris. \n I know your folks, I'm sheriff Stan \n Watkins.\n \n They shake hands.", "SHERIFF WATKINS\n Did I scare ya with that one?\n\n CHRIS\n Lil bit.", "SHERIFF WATKINS\n Nah just simple economics. Y'know we \n have a really nice casino here, the", "First of all I was a sergeant. I worked \n for a living.\n \n PETE\n Did you ever smoke anybody?", "SHERIFF WATKINS\n Cause that matter's closed.\n\n CHRIS\n Did you look into it?", "DENI\n How you been?\n\n CHRIS\n Been better.\n\n DENI\n Talked to the sheriff yet?", "car.\n \n Chris raises his hands and the sheriff chuckles.", "Sure as hell didn't seem like much of \n a sheriff.\n \n DENI", "SHERIFF WATKINS\n I won't take no for an answer (jokingly \n reaches for his gun). HEY! Get in the", "Please step away from the vehicle. Now \n Mr Booth are you still upset over that \n body cavity search? WOOOOOOOO! I forgot,", "SHERIFF WATKINS\n They did an internal investigation. \n That's good enough for me.\n \n CHRIS\n An internal investigation.", "Sustained. Mr Vaughn stay on point.\n \n \n CHRIS\n I grew up in this town. People used", "SHERIFF WATKINS\n Ralston get outta the car, you're lookin \n at a real soldier here pay some respect.", "open fire again. Another gunman tries to approach but he's shot \n in the legs as well. Watkins enters the station and fires repeatedly \n at the floor." ], [ "SHERIFF WATKINS\n Harstad, yeah. Sad story. About 5 months \n back he fell asleep at the wheel and", "Shots are still being fired in the lounge. Ray and the gunman \n begin to wrestle. Ray wins and punches the man repeatedly. Chris", "Chris leaves. As he drives off in his truck, police cars appear \n with sirens going. He pulls over.\n \n SHERIFF WATKINS", "We tussled, but he's a big guy. He was \n on a mission. Besides, he seemed to \n be too busy enjoying himself from what", "open fire again. Another gunman tries to approach but he's shot \n in the legs as well. Watkins enters the station and fires repeatedly \n at the floor.", "Chris pulls up to the station in his police truck, it's clear \n he's now the sheriff.\n \n WATKINS\n Sheriff.", "SHERIFF WATKINS\n Did I scare ya with that one?\n\n CHRIS\n Lil bit.", "this left him for dead. A lesser man \n wouldn't have survived.\n \n SHERIFF WATKINS", "uhhh... hit a tree. Good man, good man \n and a good sheriff.", "Sustained. Mr Vaughn stay on point.\n \n \n CHRIS\n I grew up in this town. People used", "SHERIFF WATKINS\n Well hell, I know all about you Chris. \n I know your folks, I'm sheriff Stan \n Watkins.\n \n They shake hands.", "SHERIFF WATKINS\n Nah just simple economics. Y'know we \n have a really nice casino here, the", "SHERIFF WATKINS\n Ahh 3 years this August. If ya lookin \n for work you might wanna try Aberdeen,", "Chris reads a closure notice on the door. A police car rolls \n up.\n \n SHERIFF WATKINS\n How ya doin'?", "SHERIFF WATKINS\n Cause that matter's closed.\n\n CHRIS\n Did you look into it?", "More security men appear, one of them knocks Jimmy out. A whole \n fight breaks out, Ray gets knocked out. Chris beats off several", "SHERIFF WATKINS\n I won't take no for an answer (jokingly \n reaches for his gun). HEY! Get in the", "Please step away from the vehicle. Now \n Mr Booth are you still upset over that \n body cavity search? WOOOOOOOO! I forgot,", "to Seattle, got a guitar and became \n all about music. And then pretty soon \n I was about music and drugs, n pretty", "First of all I was a sergeant. I worked \n for a living.\n \n PETE\n Did you ever smoke anybody?" ], [ "Chris leaves. As he drives off in his truck, police cars appear \n with sirens going. He pulls over.\n \n SHERIFF WATKINS", "uhhh... hit a tree. Good man, good man \n and a good sheriff.", "Chris pulls up to the station in his police truck, it's clear \n he's now the sheriff.\n \n WATKINS\n Sheriff.", "DENI\n How you been?\n\n CHRIS\n Been better.\n\n DENI\n Talked to the sheriff yet?", "SHERIFF WATKINS\n Well hell, I know all about you Chris. \n I know your folks, I'm sheriff Stan \n Watkins.\n \n They shake hands.", "SHERIFF WATKINS\n I won't take no for an answer (jokingly \n reaches for his gun). HEY! Get in the", "SHERIFF WATKINS\n Did I scare ya with that one?\n\n CHRIS\n Lil bit.", "Sustained. Mr Vaughn stay on point.\n \n \n CHRIS\n I grew up in this town. People used", "SHERIFF WATKINS\n Harstad, yeah. Sad story. About 5 months \n back he fell asleep at the wheel and", "SHERIFF WATKINS\n Nah just simple economics. Y'know we \n have a really nice casino here, the", "Chris reads a closure notice on the door. A police car rolls \n up.\n \n SHERIFF WATKINS\n How ya doin'?", "this left him for dead. A lesser man \n wouldn't have survived.\n \n SHERIFF WATKINS", "SHERIFF WATKINS\n Here Chris, (opens the back door) We'll \n give ya a ride up to your folks.", "SHERIFF WATKINS\n Cause that matter's closed.\n\n CHRIS\n Did you look into it?", "SHERIFF WATKINS\n I'm just doing my job Michelle. Ok? \n I understand how you feel. But we still", "First of all I was a sergeant. I worked \n for a living.\n \n PETE\n Did you ever smoke anybody?", "EXT. RAY'S PLACE\n\n RAY\n Mornin sheriff.\n\n CHRIS\n Mornin deputy.", "SHERIFF WATKINS\n I insist.\n\n CHRIS\n I'll walk.", "Sure as hell didn't seem like much of \n a sheriff.\n \n DENI", "to take it out on an innocent truck. \n Where you headin?\n \n CHRIS" ], [ "The place is packed with gambling tables and attractive women. \n \n \n FRIEND\n Not bad huh?\n\n CHRIS\n Not bad.", "DENI\n I have my moments.\n\n CHRIS\n So the casino huh?", "to leave it in the truck. Instead he takes a piece of wood from \n the back of his truck. He enters the casino with it. He smashes", "a fruit machine. A guard comes up and Chris beats him. A fight \n scene breaks out with Chris beating the guards and generally \n trashing the place. He takes back his special forces dogtag from", "RAY\n That's the lovemachine. \n\n CHRIS\n Girls actually get in there?\n\n Ray shrugs.", "One of the men outside has a canister. Watkins gives him the \n nod and he begins walking towards the station. Chris is beneath \n the floor and shoots him in the legs. The two remaining men outside", "No, we gonna let it ride Jimmy. The \n dice are comin up seven.\n \n CROUPIER", "a voice shouts 'HEADS UP' Chris catches a fast ball thrown from \n behind. Jay steps out of his vehicle.\n \n JAY\n Cause I opened my Casino.", "You're lucky to be alive right now, \n that's all you need to be concentrating \n on. This is my town ok, I'm the sheriff", "RAY\n Isn't it wonderful? All your gambling \n needs under one great big roof. You", "CHRIS\n You got it. On the first hut!\n\n JAY\n Ok Vaughn, last chance.", "Jay hits a metal saw which resonates making a metallic sound.\n \n \n JAY\n That was my favourite sound.", "Shots are still being fired in the lounge. Ray and the gunman \n begin to wrestle. Ray wins and punches the man repeatedly. Chris", "CHRIS\n Jimmy. Don't roll. Gimme the dice. \n \n \n CROUPIER\n Lookin' for a 6. Ohhhhh.", "CROUPIER\n It's not your roll sir. SIR! It's not \n your roll. Call security.\n \n Chris has taken the dice.", "CHRIS\n (To the croupier) You're good, but I \n saw it. \n \n CROUPIER\n Saw what?", "Deni fires off some shots. Watkins is distracted by the shots, \n Chris appears in the floor hole and blasts Watkins at close range \n with a shotgun.", "out on the sidewalk, then sees the mother is in an alleyway doing \n what looks like a drug deal.\n \n EXT. LUMBER YARD", "INT. WILD CHERRY CASINO", "INT. WILD CHERRY CASINO" ], [ "open fire again. Another gunman tries to approach but he's shot \n in the legs as well. Watkins enters the station and fires repeatedly \n at the floor.", "And I will make sure that THIS (He opens \n his shirt revealing huge scarring) never \n happens to anyone again without punishing \n those who did it.", "this left him for dead. A lesser man \n wouldn't have survived.\n \n SHERIFF WATKINS", "Jay hits Chris in the stomach with a pole a few times. Chris \n grabs the pole and they both fall. Chris has hurt his leg. Chris", "More security men appear, one of them knocks Jimmy out. A whole \n fight breaks out, Ray gets knocked out. Chris beats off several", "Ray stabs the gunman with a potato peeler and knocks him out \n with a frying pan.\n \n \n INT. POLICE STATION", "SHERIFF WATKINS\n Did I scare ya with that one?\n\n CHRIS\n Lil bit.", "Shots are still being fired in the lounge. Ray and the gunman \n begin to wrestle. Ray wins and punches the man repeatedly. Chris", "SHERIFF WATKINS\n Harstad, yeah. Sad story. About 5 months \n back he fell asleep at the wheel and", "The gunman takes off his mask and hits him with a pistol.\n\n GUNMAN\n (Calling downstairs) Burke?", "uhhh... hit a tree. Good man, good man \n and a good sheriff.", "PROSECUTOR\n So dangerous, so violent, so highly \n trained that he despatched six of the \n casino staff single handedly. His weapon", "He's in no condition to give you one.\n \n \n SHERIFF WATKINS", "RAY\n Not good. But I tell you, that guy was \n feelin me this morning.\n \n Chris begins to laugh but is in pain.", "DENI\n How you been?\n\n CHRIS\n Been better.\n\n DENI\n Talked to the sheriff yet?", "Chris leaves. As he drives off in his truck, police cars appear \n with sirens going. He pulls over.\n \n SHERIFF WATKINS", "SHERIFF WATKINS\n Well hell, I know all about you Chris. \n I know your folks, I'm sheriff Stan \n Watkins.\n \n They shake hands.", "SHERIFF WATKINS\n They did an internal investigation. \n That's good enough for me.\n \n CHRIS\n An internal investigation.", "Sustained. Mr Vaughn stay on point.\n \n \n CHRIS\n I grew up in this town. People used", "Chris and Ray hold up their hands. He aims at Ray but he's shot \n in the back of the head by Dad who is approaching down the stairs." ], [ "More security men appear, one of them knocks Jimmy out. A whole \n fight breaks out, Ray gets knocked out. Chris beats off several", "Jay hits Chris in the stomach with a pole a few times. Chris \n grabs the pole and they both fall. Chris has hurt his leg. Chris", "Shots are still being fired in the lounge. Ray and the gunman \n begin to wrestle. Ray wins and punches the man repeatedly. Chris", "uhhh... hit a tree. Good man, good man \n and a good sheriff.", "Look Chris I hate seein ya like this.\n \n \n CHRIS\n Your boys did it.", "open fire again. Another gunman tries to approach but he's shot \n in the legs as well. Watkins enters the station and fires repeatedly \n at the floor.", "The gunman takes off his mask and hits him with a pistol.\n\n GUNMAN\n (Calling downstairs) Burke?", "Chris leaves. As he drives off in his truck, police cars appear \n with sirens going. He pulls over.\n \n SHERIFF WATKINS", "SHERIFF WATKINS\n Harstad, yeah. Sad story. About 5 months \n back he fell asleep at the wheel and", "has come back to the house and tries to pull Ray off the man, \n Ray mistakenly hits Chris in the face.\n \n RAY", "SHERIFF WATKINS\n Did I scare ya with that one?\n\n CHRIS\n Lil bit.", "And I will make sure that THIS (He opens \n his shirt revealing huge scarring) never \n happens to anyone again without punishing \n those who did it.", "SHERIFF WATKINS\n They did an internal investigation. \n That's good enough for me.\n \n CHRIS\n An internal investigation.", "DENI\n How you been?\n\n CHRIS\n Been better.\n\n DENI\n Talked to the sheriff yet?", "this left him for dead. A lesser man \n wouldn't have survived.\n \n SHERIFF WATKINS", "SHERIFF WATKINS\n Well this isn't about that incident \n at the casino a while back is it?\n \n \n CHRIS\n Yea, it is.", "a fruit machine. A guard comes up and Chris beats him. A fight \n scene breaks out with Chris beating the guards and generally \n trashing the place. He takes back his special forces dogtag from", "Sure as hell didn't seem like much of \n a sheriff.\n \n DENI", "we were just tryin to control him. He \n was highly trained, violent, very dangerous \n person.", "SHERIFF WATKINS\n Well hell, I know all about you Chris. \n I know your folks, I'm sheriff Stan \n Watkins.\n \n They shake hands." ], [ "open fire again. Another gunman tries to approach but he's shot \n in the legs as well. Watkins enters the station and fires repeatedly \n at the floor.", "this left him for dead. A lesser man \n wouldn't have survived.\n \n SHERIFF WATKINS", "Chris helps Ray over to a chair, Ray has taken a shot to the \n leg.\n \n The injured gunman from the kitchen appears brandishing a pistol.", "uhhh... hit a tree. Good man, good man \n and a good sheriff.", "And I will make sure that THIS (He opens \n his shirt revealing huge scarring) never \n happens to anyone again without punishing \n those who did it.", "SHERIFF WATKINS\n Harstad, yeah. Sad story. About 5 months \n back he fell asleep at the wheel and", "Jay hits Chris in the stomach with a pole a few times. Chris \n grabs the pole and they both fall. Chris has hurt his leg. Chris", "Shots are still being fired in the lounge. Ray and the gunman \n begin to wrestle. Ray wins and punches the man repeatedly. Chris", "He's in no condition to give you one.\n \n \n SHERIFF WATKINS", "The gunman takes off his mask and hits him with a pistol.\n\n GUNMAN\n (Calling downstairs) Burke?", "SHERIFF WATKINS\n Did I scare ya with that one?\n\n CHRIS\n Lil bit.", "Ray stabs the gunman with a potato peeler and knocks him out \n with a frying pan.\n \n \n INT. POLICE STATION", "PROSECUTOR\n So dangerous, so violent, so highly \n trained that he despatched six of the \n casino staff single handedly. His weapon", "Chris leaves. As he drives off in his truck, police cars appear \n with sirens going. He pulls over.\n \n SHERIFF WATKINS", "The gunman enters a room, Ray is there pointing a shotgun at \n him.\n \n RAY\n Drop it!\n\n \n INT. POLICE STATION", "One of the men outside has a canister. Watkins gives him the \n nod and he begins walking towards the station. Chris is beneath \n the floor and shoots him in the legs. The two remaining men outside", "First of all I was a sergeant. I worked \n for a living.\n \n PETE\n Did you ever smoke anybody?", "Chris and Ray hold up their hands. He aims at Ray but he's shot \n in the back of the head by Dad who is approaching down the stairs.", "We see Chris is crawling, badly hurt. A truck stops directly \n in front of him. Chris passes out again.\n \n \n INT. HOSPITAL", "car.\n \n Chris raises his hands and the sheriff chuckles." ], [ "SHERIFF WATKINS\n They did an internal investigation. \n That's good enough for me.\n \n CHRIS\n An internal investigation.", "Sure as hell didn't seem like much of \n a sheriff.\n \n DENI", "SHERIFF WATKINS\n Cause that matter's closed.\n\n CHRIS\n Did you look into it?", "The sheriff comes out.", "SHERIFF WATKINS\n I won't take no for an answer (jokingly \n reaches for his gun). HEY! Get in the", "SHERIFF WATKINS\n Harstad, yeah. Sad story. About 5 months \n back he fell asleep at the wheel and", "uhhh... hit a tree. Good man, good man \n and a good sheriff.", "Chris leaves. As he drives off in his truck, police cars appear \n with sirens going. He pulls over.\n \n SHERIFF WATKINS", "SHERIFF WATKINS\n I'll do my best Mr Vaughn. I really \n will. In the meantime I have to file", "DENI\n How you been?\n\n CHRIS\n Been better.\n\n DENI\n Talked to the sheriff yet?", "The sheriff chuckles and steps out of the car.", "car.\n \n Chris raises his hands and the sheriff chuckles.", "SHERIFF WATKINS\n Did I scare ya with that one?\n\n CHRIS\n Lil bit.", "SHERIFF WATKINS\n Well hell, I know all about you Chris. \n I know your folks, I'm sheriff Stan \n Watkins.\n \n They shake hands.", "Chris pulls up to the station in his police truck, it's clear \n he's now the sheriff.\n \n WATKINS\n Sheriff.", "this left him for dead. A lesser man \n wouldn't have survived.\n \n SHERIFF WATKINS", "open fire again. Another gunman tries to approach but he's shot \n in the legs as well. Watkins enters the station and fires repeatedly \n at the floor.", "CHRIS\n I said I'm not gonna let this stand.\n \n \n SHERIFF WATKINS", "SHERIFF WATKINS\n I insist.\n\n CHRIS\n I'll walk.", "SHERIFF WATKINS\n Hey it's my pleasure.\n\n CHRIS\n It's ok." ], [ "CHRIS\n You gonna think I'm crazy. I been thinking \n about the mill. When I was a kid goin", "SHERIFF WATKINS\n Harstad, yeah. Sad story. About 5 months \n back he fell asleep at the wheel and", "Chris is in a police car driving at speed. He approaches the \n mill and busts through the locked gates. \n \n \n INT. THE MILL", "Chris leaves. As he drives off in his truck, police cars appear \n with sirens going. He pulls over.\n \n SHERIFF WATKINS", "uhhh... hit a tree. Good man, good man \n and a good sheriff.", "SHERIFF WATKINS\n Did I scare ya with that one?\n\n CHRIS\n Lil bit.", "SHERIFF WATKINS\n Well hell, I know all about you Chris. \n I know your folks, I'm sheriff Stan \n Watkins.\n \n They shake hands.", "that's the closest mill work you're \n gonna find around here.\n \n CHRIS\n That's too bad.", "JIMMY\n His parents hadn't left him the mill \n more than 2 minutes before he shut it \n down.", "Dad nods.\n\n \n EXT. THE MILL", "this left him for dead. A lesser man \n wouldn't have survived.\n \n SHERIFF WATKINS", "Chris pulls up to the station in his police truck, it's clear \n he's now the sheriff.\n \n WATKINS\n Sheriff.", "Jay hits a metal saw which resonates making a metallic sound.\n \n \n JAY\n That was my favourite sound.", "open fire again. Another gunman tries to approach but he's shot \n in the legs as well. Watkins enters the station and fires repeatedly \n at the floor.", "First of all I was a sergeant. I worked \n for a living.\n \n PETE\n Did you ever smoke anybody?", "DENI\n How you been?\n\n CHRIS\n Been better.\n\n DENI\n Talked to the sheriff yet?", "Sustained. Mr Vaughn stay on point.\n \n \n CHRIS\n I grew up in this town. People used", "Chris reads a closure notice on the door. A police car rolls \n up.\n \n SHERIFF WATKINS\n How ya doin'?", "to walk tall in this town, they wouldn't \n have traded the mill for a crooked casino.\n \n \n JUDGE", "SHERIFF WATKINS\n I insist.\n\n CHRIS\n I'll walk." ], [ "open fire again. Another gunman tries to approach but he's shot \n in the legs as well. Watkins enters the station and fires repeatedly \n at the floor.", "uhhh... hit a tree. Good man, good man \n and a good sheriff.", "Chris leaves. As he drives off in his truck, police cars appear \n with sirens going. He pulls over.\n \n SHERIFF WATKINS", "Shots are still being fired in the lounge. Ray and the gunman \n begin to wrestle. Ray wins and punches the man repeatedly. Chris", "SHERIFF WATKINS\n Did I scare ya with that one?\n\n CHRIS\n Lil bit.", "The gunman takes off his mask and hits him with a pistol.\n\n GUNMAN\n (Calling downstairs) Burke?", "this left him for dead. A lesser man \n wouldn't have survived.\n \n SHERIFF WATKINS", "Deni fires off some shots. Watkins is distracted by the shots, \n Chris appears in the floor hole and blasts Watkins at close range \n with a shotgun.", "Please step away from the vehicle. Now \n Mr Booth are you still upset over that \n body cavity search? WOOOOOOOO! I forgot,", "SHERIFF WATKINS\n Harstad, yeah. Sad story. About 5 months \n back he fell asleep at the wheel and", "Ray shoots the gunman, who falls to the floor.\n\n UPSTAIRS\n\n MICHELLE\n Ray!", "DENI\n How you been?\n\n CHRIS\n Been better.\n\n DENI\n Talked to the sheriff yet?", "Jay hits Chris in the stomach with a pole a few times. Chris \n grabs the pole and they both fall. Chris has hurt his leg. Chris", "to take it out on an innocent truck. \n Where you headin?\n \n CHRIS", "Ray stabs the gunman with a potato peeler and knocks him out \n with a frying pan.\n \n \n INT. POLICE STATION", "Chris and Ray hold up their hands. He aims at Ray but he's shot \n in the back of the head by Dad who is approaching down the stairs.", "One of the men outside has a canister. Watkins gives him the \n nod and he begins walking towards the station. Chris is beneath \n the floor and shoots him in the legs. The two remaining men outside", "Chris reads a closure notice on the door. A police car rolls \n up.\n \n SHERIFF WATKINS\n How ya doin'?", "A loud explosion happens, it's Chris' police truck outside.\n \n \n BOOTH", "More security men appear, one of them knocks Jimmy out. A whole \n fight breaks out, Ray gets knocked out. Chris beats off several" ] ]

[ "Why was Buford attacked at the gambling establishment?", "Who ignores Buford's complaint of being attacked?", "What weapon was used to injure Buford at the Lucky Spot?", "Who does Buford join the logging business with?", "Where does Buford build a club made out of tree branch?", "Where were Buford and his wife ambushed?", "Whose car does Buford drive into the Lucky Spot?", "Who is killed in Buford's car?", "What did the townspeople throw out into the Lucky Spot's parking lot?", "What profession did Buford retire from?", "What is the name of the local gambling establishment?", "Why is Buford beaten up in the Lucky Spot?", "Why is Buford arrested?", "Why does Buford run for sheriff?", "Where does Buford get his clubs?", "What is Buford's wife's name?", "What is the name of the county Buford is sheriff of?", "What happens to the Lucky Spot after Pauline dies?", "Buford Pusser retired from what industry? ", "What state did Buford Pusser move to after he retired from wrestling?", "Why did Buford Pusser and his wife move to Tennessee?", "What is the Lucky Spot?", "How many stitches did Buford Pusser receive when he was beat up?", "Why was Buford Pusser beat up?", "Where was Buford Pusser injured with?", "What did Buford Pusser do after the Sheriff ignored his complaints?", "What did Buford Pusser make at his fathers saw mill?", "What happened to Pauline when Buford Pusser and she were ambushed in the car?" ]

[ [ "He caught the house cheating.", "He caught the house cheating" ], [ "The sheriff.", "The sheriff. " ], [ "A knife.", "A knife." ], [ "His father Carl.", "His father." ], [ "His dad's lumber mill.", "His dad's lumber mill" ], [ "In their car.", "in their car " ], [ "A sheriff's car.", "A cruiser belonging to the Sheriff's office." ], [ "His wife.", "Pauline" ], [ "Gambling tables.", "The gambling tables." ], [ "Professional wrestling.", "wrestling" ], [ "The Lucky Spot.", "Lucky Spot." ], [ "He caught the house cheating at craps.", "he caught the house cheating at craps" ], [ " For beating up the men who attacked him.", "He beat up people who had previously attacked him. " ], [ "To try and clean up the town.", "The town is corrupted" ], [ "His father's lumber mill.", "lumber mill" ], [ "Pauline", "Pauline." ], [ "McNairy County", "McNairy County" ], [ "Buford drives a sheriff's car through it.", "Pusser rams his sherrif's car into it" ], [ "Professional Wrestling.", "wrestling" ], [ "Tennessee.", "tennessee" ], [ "To start a logging business with his father.", "To start a logging business" ], [ "A gambling and prostitution den.", "gambling and prostitution" ], [ "200.", "over 200" ], [ "Because he caught the Lucky Spot cheating at craps.", "he caught the house cheating at craps" ], [ "A knife.", "a knife" ], [ "Beat up the same thugs that left him for dead.", "Creates a club out of a tree branch." ], [ "A bat.", "a club out of a tree branch" ], [ "She was killed.", "she is killed" ] ]

[ [ "circumstances in Alice's engagement which made it desirable that she\nshould for a while be near her niece. Her niece, as she thought, was\nhardly managing her own affairs discreetly.", "marriage. Nor had it been by any means her first fault of the same\nkind. Till Alice had become engaged to Mr. Grey she had spoken of", "there was much in his condition, as connected with the house which\nhe was leaving, which could not but make him unhappy. Alice was\nengaged to be his wife, and had as yet said nothing to show that she", "Previous to this they had met; and Alice, at her cousin Kate's\ninstigation, had induced her father to meet him. But at first there\nhad been no renewal of real friendship. Alice had given her cordial", "But the object which he had now in view was a renewal of his\nengagement with Alice, and he felt that he must obtain an answer from", "also first cousin to Alice. He was heir to the old squire down in\nWestmoreland, with whom Kate lived, their father being dead. Nothing,\nit would seem, could be more rational than that Alice should go to", "\"When are you to be married, Alice?\" said George at last.\n\n\"Oh, George!\" said she. \"You ask me a question as though you were\nputting a pistol to my ear.\"", "should spend all your money, if you do not marry him at last.\" In\nanswer to this, Alice said nothing. On that point her father's wishes\nwere fast growing to be identical with her own.", "\"But it is quite frightful, my dear. She has been engaged, with the\nconsent of all her friends, to this young man.\"\n\n\"I know all about it.\"", "\"The fact was, Alice, that George Vavasor's mode of life was such\nthat an engagement with him would have been absolute madness.\"", "\"Alice,\" he said again. And then, as slowly she looked up at him, he\nasked her for her hand. \"You may give it me,\" he said, \"as to an old", "\"Alice!--is that true?\"\n\n\"Yes, George; it is true. If you will allow me to say so, I would\nrather not talk about it;--not just at present.\"", "The marriage was magnificent, greatly to the dismay of Alice and\nto the discomfort of Mr. Vavasor, who came down on the eve of the", "\"Then, sir, you think wrong. I am at this moment her affianced\nhusband; and I find that, in spite of all that she has said to", "with Alice, did not quarrel with her _à l'outrance_. They snubbed\nherself and her chosen husband; but they did not so far separate", "he had endeavoured to make himself agreeable. \"I will marry you,\"\nAlice had said to him,--not in words, but in acts and looks, which", "reading it was one to him of intense agony. Hitherto he had fed\nhimself with hope. That Alice should have been brought to think of\nher engagement with him in a spirit of doubt and with a mind so", "Alice to go with us.' That touched me more than anything. Only think\nif he had proposed Mrs. Marsham!\"", "\"Alice,\" he continued, \"I do not expect you to say much to me; but\nthere is a question or two which I think you will answer. Has a day\nbeen fixed for this marriage?\"\n\n\"No,\" she said.", "Cheesacre had heard that Alice was the dear friend of a lady who\nwould probably some day become a duchess. He therefore naturally" ], [ "Previous to this they had met; and Alice, at her cousin Kate's\ninstigation, had induced her father to meet him. But at first there\nhad been no renewal of real friendship. Alice had given her cordial", "marriage. Nor had it been by any means her first fault of the same\nkind. Till Alice had become engaged to Mr. Grey she had spoken of", "man. He had, however, behaved very badly to Alice, and the match had\nbeen broken off.", "there was much in his condition, as connected with the house which\nhe was leaving, which could not but make him unhappy. Alice was\nengaged to be his wife, and had as yet said nothing to show that she", "But the object which he had now in view was a renewal of his\nengagement with Alice, and he felt that he must obtain an answer from", "circumstances in Alice's engagement which made it desirable that she\nshould for a while be near her niece. Her niece, as she thought, was\nhardly managing her own affairs discreetly.", "\"The fact was, Alice, that George Vavasor's mode of life was such\nthat an engagement with him would have been absolute madness.\"", "This idea of his, however, had been greatly shaken by Alice's\ntreatment of himself personally; but still he had not, hitherto,", "reading it was one to him of intense agony. Hitherto he had fed\nhimself with hope. That Alice should have been brought to think of\nher engagement with him in a spirit of doubt and with a mind so", "Vavasor had charged him. He had been told that he had advanced\nmoney on behalf of Alice, in order that he might obtain some power\nover Alice's fortune, and thus revenge himself upon Alice for her", "he had endeavoured to make himself agreeable. \"I will marry you,\"\nAlice had said to him,--not in words, but in acts and looks, which", "also first cousin to Alice. He was heir to the old squire down in\nWestmoreland, with whom Kate lived, their father being dead. Nothing,\nit would seem, could be more rational than that Alice should go to", "do not care to marry him.\" It was thus that he read Alice's present\ntreatment of him, and he was a man who could not endure this\ntreatment with ease.", "had tried, and had in his way, believed. He had flattered himself,\ntoo, that Alice's heart had, in truth, been more prone to him than to", "Alice had occasion to remember it, for it had been in the carriage on\nthat evening that she had positively refused to give any aid to her\ncousin in that matter relating to Burgo Fitzgerald.", "with Alice, did not quarrel with her _à l'outrance_. They snubbed\nherself and her chosen husband; but they did not so far separate", "had done, he had shown himself to be unmoved by that episode in their\njoint lives, which Alice's other friends had regarded as so fatal.\nWhen she first rejected him, he would not take his rejection. When", "return, was a cruelty not to be forgiven. These were the feelings\nwith which Alice regarded her betrothed when he came to see her.", "But her own career was not the same. Glencora had married Mr.\nPalliser,--had married him without pausing to doubt;--but Alice had", "should spend all your money, if you do not marry him at last.\" In\nanswer to this, Alice said nothing. On that point her father's wishes\nwere fast growing to be identical with her own." ], [ "was from her brother George; and as she opened it looked anxiously\ninto Alice's face. \"Has he offended you?\" Kate asked.", "\"Should you?\" said she, thinking of her close attachment to himself.\n\n\"And now, about the money,\" said George. \"You must write to Alice at\nonce.\"--\"Oh, George!\"", "\"Alice!--is that true?\"\n\n\"Yes, George; it is true. If you will allow me to say so, I would\nrather not talk about it;--not just at present.\"", "At last Alice seemed to shiver. There was a slight trembling in her\narms, which George felt rather than saw. \"You are cold,\" he said.\n\n\"No indeed.\"", "Alice Vavasor, Burgo had been instigated to believe that Alice's\ncousin might assist him. Any such assistance George Vavasor would", "to Alice, so that she might show that there was nothing serious on\nthe minds of any of them. It need hardly be said that Alice at this\ntime made no appeal to George to join them. He followed them at their", "Alice when she informed him that her cousin George was to go with\nKate and her to Switzerland? He had written, with a pleasant joke,\nwords which Alice had been able to read with some little feeling of", "George left her without saying a word more about her marriage\nprospects past or future, and Alice as she went to bed felt glad that\nthis explanation between them had been made.\n\n\n\n\nCHAPTER XXII.", "George stood for a few moments thinking. Might it not be possible\nthat by means of Alice and Kate together,--by marrying the", "to you as part of Alice's fortune. Think of it, George; you would not\nlike to receive everything from her.\"", "George only as her brother, or as her friend's cousin, but now she\nwas constantly making allusion to those past occurrences, which all\nof them should have striven to forget. Under these circumstances was", "Alice and George were left together sitting in the balcony. They\nhad been alone together before many times since their travels had\ncommenced; but they both of them felt that there was something to", "\"I'm not; by any means,\" said George.\n\n\"Well, I am, and I expect to have something pretty said to me in\nreturn. Have I been cross once, Alice?\"", "of George and Alice, as living together at the old Hall. At six, the\nfather and daughter dined, and soon after dinner Mr. Vavasor went up", "Kate was very persistent in her objection to this scheme till\nGeorge's answer came. His answer to Alice was accompanied by a letter\nto his sister, and after that Kate said nothing more about the", "Alice was, as it were, a prisoner. She could not slip away without\nsome special preparation for going, and Kate had so placed her chair\nin leaving, that she must actually have asked George to move it", "\"When are you to be married, Alice?\" said George at last.\n\n\"Oh, George!\" said she. \"You ask me a question as though you were\nputting a pistol to my ear.\"", "\"The money that George had.\" As the reader is aware, Alice had heard\nnothing special about this money. She only knew, or supposed she", "also first cousin to Alice. He was heir to the old squire down in\nWestmoreland, with whom Kate lived, their father being dead. Nothing,\nit would seem, could be more rational than that Alice should go to", "during the year of the love-passages between George and Alice, George\nVavasor's politics had been as conservative as you please. He did not" ], [ "as to her engagement with George Vavasor. How could she speak of it,\ninasmuch as she had already resolved,--already almost resolved,--that\nthat engagement also should be broken?", "\"The fact was, Alice, that George Vavasor's mode of life was such\nthat an engagement with him would have been absolute madness.\"", "She had allowed that her brother George's behaviour had been such as\nto make any engagement between them impossible. The fault, therefore,\nhad been hers in making any reference to the question of such a", "\"Should you?\" said she, thinking of her close attachment to himself.\n\n\"And now, about the money,\" said George. \"You must write to Alice at\nonce.\"--\"Oh, George!\"", "\"Alice!--is that true?\"\n\n\"Yes, George; it is true. If you will allow me to say so, I would\nrather not talk about it;--not just at present.\"", "George left her without saying a word more about her marriage\nprospects past or future, and Alice as she went to bed felt glad that\nthis explanation between them had been made.\n\n\n\n\nCHAPTER XXII.", "do not care to marry him.\" It was thus that he read Alice's present\ntreatment of him, and he was a man who could not endure this\ntreatment with ease.", "man. He had, however, behaved very badly to Alice, and the match had\nbeen broken off.", "\"When are you to be married, Alice?\" said George at last.\n\n\"Oh, George!\" said she. \"You ask me a question as though you were\nputting a pistol to my ear.\"", "Kate was very persistent in her objection to this scheme till\nGeorge's answer came. His answer to Alice was accompanied by a letter\nto his sister, and after that Kate said nothing more about the", "there was much in his condition, as connected with the house which\nhe was leaving, which could not but make him unhappy. Alice was\nengaged to be his wife, and had as yet said nothing to show that she", "to you as part of Alice's fortune. Think of it, George; you would not\nlike to receive everything from her.\"", "to such matters, who at George Vavasor's age cannot understand the\nfeelings with which a woman receives him. When Alice contrived as she\nhad done to escape the embrace he was so well justified in asking, he", "unscrupulous, but she was not selfish. Many years ago she had made\nup her mind that George and Alice should be man and wife, feeling\nthat such a marriage would be good at any rate for her brother. It", "cousin. That, no doubt, was now over. There was no longer to her any\nquestion of her marrying George Vavasor. But the fact that she had", "Alice was, as it were, a prisoner. She could not slip away without\nsome special preparation for going, and Kate had so placed her chair\nin leaving, that she must actually have asked George to move it", "career in Parliament, and saying little soft things of his enduring\nlove. It was no longer possible to her now to write of George at all,\nand it was equally impossible to Alice. Indeed, no letters passed", "undertaking to do wrong, promised that she would apply to Alice for\nher money, if sufficient funds should not be forthcoming from Mrs.\nGreenow. Thereupon, George graciously consented to proceed to his", "reading it was one to him of intense agony. Hitherto he had fed\nhimself with hope. That Alice should have been brought to think of\nher engagement with him in a spirit of doubt and with a mind so", "disappointment in regard to the seat in Parliament, and that he would\nprobably not return. \"Poor George!\" Alice had said; \"he is a man" ], [ "Kate and Alice, as they drew near to their journey's end, were both\na little flurried, and I cannot but own that there was cause for", "Kate's desire was that Alice should come down to her for a while in\nWestmoreland, before the six months were over, and this desire she", "On the evening before they started for Switzerland, George and Kate\nwalked from Queen Anne Street, where they had been dining with Alice,", "\"Come along then,\" said Kate. And so they moved away. When they got\nupon the bridge Alice and Kate were together, while George strolled", "\"Whom in all the world would you best like to see?\" said Glencora.\n\n\"My cousin Kate, certainly,\" said Alice.", "Alice was resolved that she would keep her promise to Kate, and pay\nher visit to Westmoreland before she started with the Pallisers. Kate", "Kate had made up her mind that she would say nothing about Alice at\nthe present moment,--nothing, if it could be avoided, till after the", "she had spoken openly to Kate. We know that Kate had in part betrayed\nher, but Alice suspected no such treason. She had often quarrelled", "\"I hope that Kate will always live with me,\" said Alice; \"that is, as\nsoon as she has lost her home at Vavasor Hall.\"", "Alice was seated quite at the end of the gallery, and Kate's chair\nwas at her feet in the corner. When Alice and Kate had seated", "Alice had written to him occasionally from Switzerland, and her\nfirst two letters had been very charming. They had referred almost\nexclusively to the tour, and had been made pleasant with some", "Kate was very persistent in her objection to this scheme till\nGeorge's answer came. His answer to Alice was accompanied by a letter\nto his sister, and after that Kate said nothing more about the", "Alice would give no promise then. Her first objection was that\nshe had undertaken to go down to Westmoreland and comfort Kate", "word we'll do it,\" continued Kate. \"I'll slip out to George and tell\nhim, and there's nothing he'd like so much.\" But Alice would not\nconsent.", "Kate's performance of her promise with reference to Alice, if that\nanswer should be unfavourable. During these five days Kate did all\nin her power to induce her brother to be, at any rate, kind in his", "Kate had written to her at length, filling her sheet with a loud pæan\nof sincere rejoicing. To Kate, down in Westmoreland, it had seemed", "on the table.\" But neither Kate nor Alice heard this, as they were\nalready in their rooms.", "November, at which she would herself undertake to meet Alice at the\nMatching Station. On receipt of this letter, Alice, after two days'\ndoubt, accepted the invitation.", "also first cousin to Alice. He was heir to the old squire down in\nWestmoreland, with whom Kate lived, their father being dead. Nothing,\nit would seem, could be more rational than that Alice should go to", "\"Early in July, I believe. It will be very hot, but Kate must be back\nby the middle of August.\" Kate Vavasor was Alice's first cousin.\n\n\"Oh! Kate is to go with you?\"" ], [ "\"My sister,--my own sister,\" said Kate. And then, as Alice met her\nembrace, there was no longer any doubt as to the nature of the reply.", "she had spoken openly to Kate. We know that Kate had in part betrayed\nher, but Alice suspected no such treason. She had often quarrelled", "also first cousin to Alice. He was heir to the old squire down in\nWestmoreland, with whom Kate lived, their father being dead. Nothing,\nit would seem, could be more rational than that Alice should go to", "\"Whom in all the world would you best like to see?\" said Glencora.\n\n\"My cousin Kate, certainly,\" said Alice.", "Alice felt that she was blushing. The caution had been given to Kate\nbecause Kate still transgressed in her letters, by saying little\nwords about her brother. And Alice did not even now believe Kate", "Previous to this they had met; and Alice, at her cousin Kate's\ninstigation, had induced her father to meet him. But at first there\nhad been no renewal of real friendship. Alice had given her cordial", "Alice was seated quite at the end of the gallery, and Kate's chair\nwas at her feet in the corner. When Alice and Kate had seated", "knew was not properly due from her. Kate was acquainted with all the\ncircumstances of that old affair between her brother and Alice. She\nhad given in her adhesion to the propriety of what Alice had done.", "\"Kate, don't talk in that way,\" and Alice came up to her and embraced\nher.", "Kate and Alice, as they drew near to their journey's end, were both\na little flurried, and I cannot but own that there was cause for", "This letter from Alice to Kate, Vavasor read over and over again,\nthough Kate's letter to himself, which was the longer one, he had", "\"Why did you not ask Alice to come to you?\"\n\n\"Alice could not have come,\" said Kate, after a short pause.", "had chiefly reference to her two nieces, and especially to Alice.\nHow was she to account for this second lover? Kate, of course, knew\nall about it; but how could Alice be made to understand that she,", "Kate's performance of her promise with reference to Alice, if that\nanswer should be unfavourable. During these five days Kate did all\nin her power to induce her brother to be, at any rate, kind in his", "\"Early in July, I believe. It will be very hot, but Kate must be back\nby the middle of August.\" Kate Vavasor was Alice's first cousin.\n\n\"Oh! Kate is to go with you?\"", "Kate had been very false to her friend, and had sent up to her\nbrother the very letter which Alice had written to her after that\nmeeting in Queen Anne Street which was described in the last", "\"Come along then,\" said Kate. And so they moved away. When they got\nupon the bridge Alice and Kate were together, while George strolled", "given to the man who had treated her so shamefully. It might be well\nthat Alice should so feel and so act, but it behoved Kate to feel\nand act very differently. She would tell her brother, even in the", "Kate was very persistent in her objection to this scheme till\nGeorge's answer came. His answer to Alice was accompanied by a letter\nto his sister, and after that Kate said nothing more about the", "a husband worthy of her, that she might allure her into the arms of\none so utterly unworthy? Luckily for Kate, her accident was of such a\nnature that any writing to Alice was now out of the question." ], [ "\"And why not?\" said Kate, again starting up. \"What is there to\nseparate you from George now, but that unfortunate affair, that will", "\"What has brought that woman here?\" was the first question that\nGeorge asked.\n\n\"I asked her to come,\" said Kate.", "was from her brother George; and as she opened it looked anxiously\ninto Alice's face. \"Has he offended you?\" Kate asked.", "Kate was very persistent in her objection to this scheme till\nGeorge's answer came. His answer to Alice was accompanied by a letter\nto his sister, and after that Kate said nothing more about the", "Then they stopped and leaned for a while over the parapet of the\nbridge. \"Come here, George,\" said Kate; and she made room for him", "\"George,\" said Kate, speaking before she quite got up to them, \"will\nyou tell me whether you have been preparing all your things for an", "To this George consented as though he were yielding a great deal;\nand Kate, with a sore conscience, with a full knowledge that she was", "\"Grandpapa knows that you are here, George,\" said Kate, when their\nfirst greeting was over.\n\n\"The deuce he does! and why did you tell him?\"", "\"Come along then,\" said Kate. And so they moved away. When they got\nupon the bridge Alice and Kate were together, while George strolled", "George stood for a few moments thinking. Might it not be possible\nthat by means of Alice and Kate together,--by marrying the", "\"What is it?\" said George. Then Kate put the note into her brother's\nhand.\n\n\"I'll do nothing of the kind,\" he said. \"What good should I get by\ngoing to the old man's house?\"", "are about George, I cannot understand how you can bring yourself to\nspeak of him to me with such contempt!\" Kate Vavasor, as she spoke", "\"He only died on Monday, George,\" said Kate, solemnly.\n\n\"Psha! Who has got the will?\"", "\"Of course you could not go alone with George,\" said Lady Macleod,\nvery grimly. Now George Vavasor was Kate's brother, and was therefore", "The brother and sister walked through two or three streets in\nsilence, and then Kate asked a question.\n\n\"George, I wonder what your wishes really are about Alice?\"", "The old man was standing at the hall steps when the car drove up, as\nthough to welcome his grandson. He put out his hand to help Kate down\nthe steps, keeping his eye all the time on George's face.", "\"And does Kate know it?\"\n\n\"Yes, Kate knows it.\"\n\n\"And my uncle?\"\n\n\"Yes, papa knows it also.\"", "\"And why did you ask her to come here?\" said George, angrily. Kate\nimmediately felt that he was speaking as though he were master of", "which she feared she would regret when she found herself settled\nat Nethercoats. She envied Kate. Kate could, as his sister, attach\nherself on to George's political career, and obtain from it all that", "George only as her brother, or as her friend's cousin, but now she\nwas constantly making allusion to those past occurrences, which all\nof them should have striven to forget. Under these circumstances was" ], [ "In the course of that afternoon Lady Glencora took Alice all over\nthe house. It was a castle of enormous size, quite new,--having been", "\"You wrong me, Plantagenet,\" said Glencora. \"There was only one heap,\nand that did not remain long. Did it, Alice?\"\n\n\"It is impossible to make you ashamed of anything,\" he said.", "On the evening before the marriage Alice and Lady Glencora walked for\nthe last time through the Priory ruins. It was now September, and the", "Lady Glencora declared that she would not allow herself to be carried\nbeyond Boulogne that day;--but, nevertheless, they did get on to", "to her house in London, and had taken care that Burgo should meet\nher there. Then a hint or two had been spoken, and Lady Glencora", "the sort of equipage with which they were about to travel. Lady\nGlencora was taking her own carriage. \"Not that I shall ever use it,\"", "For some time after this Lady Glencora's conduct was frequently so\nindiscreet as to drive her husband almost to frenzy. On the very day", "promised visit to the landlord; and Lady Glencora, accepting this as\nsomething, strove to instigate her husband to some lavish expenditure", "placed that she could see Alice. She made a slight sign with her\nhead, as much as to say that Lady Glencora must have no opportunity\nof writing from the latter place; but she said nothing.", "Lady Glencora, as she went on quickly, got hold of her husband's\nhand, and caressed it. \"You are so good,\" said she. \"Don't let him", "\"Now, Jeffrey,\" said Lady Glencora as they walked abreast along the\nbroad terrace towards the ruins, \"when we get under the old gateway", "to stay to see you off, but that he will not be allowed to take you\naway.\" Lady Glencora thought that this was very pretty as coming from\nher husband, and so she told him on their way home.", "The butler was right. He did leave the house. He saw Lady Glencora\ntaken to her carriage from some back hiding-place in the hall, and", "at Lucerne; and as she assented she knew well what was to come. She\nsaid nothing to Lady Glencora on the subject, but allowed the coming", "\"You see,\" the glance had said, \"Plantagenet is beginning to take an\ninterest in his cousin, and you know why. The man who is to be the", "\"I've a particular favour to ask of you,\" Lady Glencora said to\nher husband, as soon as they were alone together in their rooms at", "Lady Glencora received her husband that night with infinite anxiety,\nand was by no means satisfied with what had been done. He described\nto her as accurately as he could the nature of his interview with", "As they drove up through the park, Lady Glencora pointed out first\nthe church and then the ruins, through the midst of which the road", "During their journey home Mr. Palliser had by no means kept his seat\nopposite to Lady Glencora with constancy. He had soon found that it", "\"Come and dance,\" she said; \"I see a pair of eyes looking at us.\"\nThe pair of eyes which Lady Glencora saw were in the possession of" ], [ "\"Settled!\" said Mrs. Greenow, astounded, as though there must have\nbeen some hidden marriage of which she had not heard. \"But that's", "Mrs. Greenow's own marriage was completed with perfect success. She\ntook Captain Bellfield for better or for worse, with a thorough", "\"Mrs. Greenow,\" he exclaimed at last, jumping up before her; \"dearest\nMrs. Greenow; darling Mrs. Greenow, will you be my wife? There! I", "\"Ah, but it can be. Come, Mrs. Greenow. We understand each other well\nenough now, surely. Come, dearest.\" And he approached her as though", "straying very wide as long as his intended wife should be able to\nkeep the purse-strings altogether in her own hands. Therefore, I say\nthat Mrs. Greenow had been lucky in her choice, and not altogether", "\"You are always wanting to marry me, Mrs. Greenow.\"", "held her in awe, and slunk away. On this occasion Mrs. Greenow clung\nlovingly to her future husband, and the effect was that Mr. Cheesacre", "Squire's will had no doubt reached him, and he was now willing to\ntake advantage of that assistance which Mrs. Greenow had before\noffered him in this matter. The time had come in which he ought to", "\"And is that to make a change? Oh! Mrs. Greenow, who would have\nthought to find you mercenary like that? Inherited property! Is she\ngoing to fling a man over because of that?\"", "It will perhaps be as well to say a few words about Mrs. Greenow\nbefore we go with her to Yarmouth. Mrs. Greenow was the only daughter", "\"So you are George,\" said Mrs. Greenow, putting out her hand and\nsmiling.\n\n\"Yes; I'm George,\" said he.", "Mrs. Greenow felt no guilt, and was afraid of no strange eyes. \"Mr.\nCheesacre and I are talking about farming,\" she said.\n\n\"Oh; farming!\" answered Maria's mother.", "\"Mrs. Greenow,\" said he, jumping up, and becoming on a sudden full of\nlife, \"that man is a downright swindler.\"\n\n\"Oh, Mr. Cheesacre.\"", "But Mrs. Greenow had found out that she was alone, not very rich,\nand in want of the solace of society. Therefore she had, from sheer", "\"Mrs. Greenow, you mistake me. Indeed, you mistake me.\" Just at this\nmoment, as he was drawing close to the widow, she heard, or fancied", "\"If you were to marry him, Mrs. Greenow, it's my belief I should do\nhim a mischief; it is, really. I don't think I could stand it;--a", "by getting a rich wife. In the course of the cross-examination Mrs.\nGreenow got much information out of him; and then, when she was\nsatisfied that she had learned, not exactly all the truth, but", "\"And, besides, how could I laugh at marriages, seeing how happy I\nhave been in that condition?--so--very--happy,\" and Mrs. Greenow put\nup her handkerchief to her eyes.", "\"I can easily believe that, Mrs. Greenow,\" said the Captain.\n\n\"Who cares what you believe, sir?\" said Mr. Cheesacre.", "Mrs. Greenow turned pale beneath the widow's veil which she had\ndropped. What might not her Captain have done? He might have procured" ], [ "there was much in his condition, as connected with the house which\nhe was leaving, which could not but make him unhappy. Alice was\nengaged to be his wife, and had as yet said nothing to show that she", "The marriage was magnificent, greatly to the dismay of Alice and\nto the discomfort of Mr. Vavasor, who came down on the eve of the", "also first cousin to Alice. He was heir to the old squire down in\nWestmoreland, with whom Kate lived, their father being dead. Nothing,\nit would seem, could be more rational than that Alice should go to", "do not care to marry him.\" It was thus that he read Alice's present\ntreatment of him, and he was a man who could not endure this\ntreatment with ease.", "\"When are you to be married, Alice?\" said George at last.\n\n\"Oh, George!\" said she. \"You ask me a question as though you were\nputting a pistol to my ear.\"", "\"She and that man, and--. Never mind. It makes me sick when I think\nthat they should be so blind. Alice, I hardly know how much I owe to", "\"Because in such case I also must see him. God bless you, Alice! God\nbless you, dearest, dearest Alice!\" Then he went, and she sat there", "\"The fact was, Alice, that George Vavasor's mode of life was such\nthat an engagement with him would have been absolute madness.\"", "should spend all your money, if you do not marry him at last.\" In\nanswer to this, Alice said nothing. On that point her father's wishes\nwere fast growing to be identical with her own.", "\"Alice,\" he said again. And then, as slowly she looked up at him, he\nasked her for her hand. \"You may give it me,\" he said, \"as to an old", "\"They say he is led immensely by his wife, and that she is very\nclever. But I mean this chiefly, Alice, that I do hope I shall have\nall your sympathy in any political career that I may make, and all\nyour assistance also.\"", "reading it was one to him of intense agony. Hitherto he had fed\nhimself with hope. That Alice should have been brought to think of\nher engagement with him in a spirit of doubt and with a mind so", "with Alice, did not quarrel with her _à l'outrance_. They snubbed\nherself and her chosen husband; but they did not so far separate", "\"Then, sir, you think wrong. I am at this moment her affianced\nhusband; and I find that, in spite of all that she has said to", "Alice must be happy to feel that she has had it in her power to\nconfer so great a benefit on her future husband as he will receive\nfrom this introduction.\" \"I ain't a bit happy, and I have conferred", "marriage. Nor had it been by any means her first fault of the same\nkind. Till Alice had become engaged to Mr. Grey she had spoken of", "he had endeavoured to make himself agreeable. \"I will marry you,\"\nAlice had said to him,--not in words, but in acts and looks, which", "Alice thought of her cousin George, and wished that he, instead of\nherself, was sitting next to the Duke of St. Bungay. \"But I'm afraid\nI never shall be a leading Radical,\" she said.", "\"Yes;--as you ask me like that.\"\n\n\"Then try to make her comfortable.\" After that she introduced them,\nand Jeffrey Palliser stood opposite to Alice, talking to her, till\ndinner was announced.", "\"Alice, my dear,\" said the old man to her when they were together in\nthe jaunting-car, \"you ought to get married.\" The Squire was hard" ], [ "undertaking to do wrong, promised that she would apply to Alice for\nher money, if sufficient funds should not be forthcoming from Mrs.\nGreenow. Thereupon, George graciously consented to proceed to his", "\"The money that George had.\" As the reader is aware, Alice had heard\nnothing special about this money. She only knew, or supposed she", "as a contribution to the next election and George has it now locked\nup in a box. Don't you tell him that I told you.\"", "\"Should you?\" said she, thinking of her close attachment to himself.\n\n\"And now, about the money,\" said George. \"You must write to Alice at\nonce.\"--\"Oh, George!\"", "to you as part of Alice's fortune. Think of it, George; you would not\nlike to receive everything from her.\"", "it in his presence. \"George has lost his election,\" the letter began.\nFor one moment Alice thought of her money, and the vain struggle\nin which it had been wasted. For one moment, something like regret", "Vavasor had charged him. He had been told that he had advanced\nmoney on behalf of Alice, in order that he might obtain some power\nover Alice's fortune, and thus revenge himself upon Alice for her", "Squire would be only too glad to saddle the property with a legacy\nto Alice for the repayment of this money, though he would not have\nadvanced a shilling himself for the purpose of the election. Then", "gone right through into his heart.\" After that George was left alone,\nand sat thinking whether it would not be better to ask Alice for two\nthousand pounds at once,--so as to save him from the disagreeable", "Mr. Grey with the amount. Alice, in accordance with her promise,\nhad told her father that the money was needed, and her father, in\naccordance with his promise, had procured it without a word of", "the landlord of the \"Handsome Man.\" In short, it would be well that\nhe should borrow a thousand pounds from Alice, and as he did not\nwish that the family attorney of the Vavasors should be employed", "Grey's money matters were of such a nature as to make Mr. Tombe know\nthat he must do as he was bidden; and the money was paid to George\nVavasor's account.", "\"Alice!--is that true?\"\n\n\"Yes, George; it is true. If you will allow me to say so, I would\nrather not talk about it;--not just at present.\"", "which he had been so ill able to spend, and on which he had laid\nhis hands in a manner so disreputable! He had received two thousand\npounds from the bills which Alice had executed on his behalf,--or", "\"Where did he get the money to pay for his election?\" the Squire\nasked, as soon as he had swallowed the draught. \"They wouldn't give\nsuch a one as him credit a yard further than they could see him.\"", "in his possession as security. The capitalist was to have forty\npounds for the transaction, and George cursed him as he took his\ncheque. George Vavasor knew quite enough of the commercial world to", "ambassador between him and Alice in money matters, as she had long\ndone in other things. He could talk to Kate as he could not talk to\nAlice;--and then, between the women, those hard money necessities", "during the year of the love-passages between George and Alice, George\nVavasor's politics had been as conservative as you please. He did not", "make difficulty as to raising ready money. Mr. Tombe would be able\nto raise ready money without difficulty. And then, at last, George\nVavasor was to be made to surrender his bride, taking or having taken", "it. Nor would she, perhaps, have been unalterably opposed to his\ntaking Alice's money, had Alice simply been his cousin. She felt that" ], [ "it in his presence. \"George has lost his election,\" the letter began.\nFor one moment Alice thought of her money, and the vain struggle\nin which it had been wasted. For one moment, something like regret", "as a contribution to the next election and George has it now locked\nup in a box. Don't you tell him that I told you.\"", "It has been already said that George Vavasor lost his election for\nthe Chelsea Districts, after all the money which he had spent,--money", "which had cost him so much, and the greedy electors who would not\nsend him there without his paying for it. He cursed John Grey, as he", "and get hisself elected if we was to let the game go by!\" And so,\nthat the game might not go by, Mr. Grimes was now present in Mr. George\nVavasor's rooms.", "On the same afternoon she saw her father for a moment or two. \"So\nGeorge has got himself returned,\" he said, raising his eyebrows.\n\n\"Yes, he has been successful. I'm sure you must be glad, papa.\"", "For the last five days of the affair George Vavasor knew that his\nchance was gone. Mr. Scruby's face, manner, and words, told the result", "be on speaking terms when they reached it. \"Yes,\" said George; \"he\nhas gone at last. I wonder what we shall find to have been his latest\nact of injustice.\" The reader will remember that he had received", "It was nearly the end of February when George Vavasor made his first\npayment to Mr. Scruby on behalf of the coming election; and when he", "separate Alice and John Grey, and George had shown himself to be\nunworthy of the kindness of her treachery. \"I would give all I have", "asked for more at that time. As it is, I cannot make another payment\nbefore the election.\" Mr. Scruby shrugged his shoulders, and said", "own work. But all that pride and joy were now over. She could no\nlonger write triumphant notes to Alice, speaking always of George as\none who was to be their joint hero, foretelling great things of his", "\"We shall have another election in a month's time,\" said George. \"I'm\nsafe enough,\" said Bott. \"It never hurts a man at elections to be\nclosely connected with the Government.\"", "\"If you were to say that we did not lose his, that would be nearer\nthe mark. But, John, you have come up to London in this sudden way to\nspeak to me about my letter to you. Is it not so?\"", "after provision should have been made for this other election. They\nwere his enemies,--Alice and Mr. Grey,--and why should he keep any\nterms with his enemies? It was still a trouble to him to think", "intended, at the general election; but he knew that if he now allowed\na Liberal to win the seat, the holder of the seat would be almost\nsure of subsequent success. He must either fight now, or give up the", "that he would do his best. But George Vavasor soon knew that the\nman was not doing his best,--that the man had, in truth, abandoned", "On the next morning George went to her. The reader will, perhaps,\nremember their last interview. He had come to her after her letter to", "\"Where did he get the money to pay for his election?\" the Squire\nasked, as soon as he had swallowed the draught. \"They wouldn't give\nsuch a one as him credit a yard further than they could see him.\"", "disappointment in regard to the seat in Parliament, and that he would\nprobably not return. \"Poor George!\" Alice had said; \"he is a man" ], [ "Mrs. Greenow's own marriage was completed with perfect success. She\ntook Captain Bellfield for better or for worse, with a thorough", "\"Give him my kind love,\" said Mrs. Greenow, thereby resenting the\nimpotent interference. \"And look here, Captain Bellfield, suppose you", "every shilling that Mrs. Greenow possessed; but with Captain Bellfield\nshe was comparatively safe.", "Bellfield's past life as Mrs. Greenow did herself; and Mrs. Greenow\nwas no doubt aware that such was the case. Nevertheless, she had a", "Bellfield,\" said he. \"I'm particularly engaged with Mrs. Greenow, as\nany gentleman might have seen.\"", "And Mrs. Greenow also understood the arrangement. \"Going to Oileymead;\nare you?\" she said when Captain Bellfield came to tell her of his", "There was no doubt as to Mrs. Greenow's correctness. As Captain\nBellfield held, or had held, her Majesty's commission, he was clearly", "now?\" whispered Bellfield into her ear as he went. She merely frowned\nat him, and bade him begone, so that the walk which Mrs. Greenow began\nwith one lover she ended in company with the other.", "Mr. Cheesacre had vainly endeavoured to arrange that Mrs. Greenow\nshould return with him. But not only was Captain Bellfield opposed", "It will be remembered that Mrs. Greenow had spoken with considerable\nseverity of Captain Bellfield's pretensions when discussing his\ncharacter with her niece; but, nevertheless, on the present occasion", "wealthy widow! Indeed, for a woman wanting a husband of that sort,\nCaptain Bellfield was a safer venture than would be a man of a higher\nstanding among his creditors. It is true Bellfield might have been", "\"Effects of the farmyard,\" said Mrs. Greenow aloud, in Jeannette's\nhearing, when she received the note. \"It would be well for Captain\nBellfield if he had a few such effects himself.\"", "dull, Mrs. Greenow had, with her usual good-nature, invited Captain\nBellfield. A very nice little dinner they had. The captain carved the", "\"Show Captain Bellfield up, certainly,\" said Mrs. Greenow.\n\n\"D---- Captain Bellfield!\" said Mr. Cheesacre.\n\n\n\n\nCHAPTER XXI.", "along, my hearty.\" It really almost appeared that Captain Bellfield\nwas addressing Mrs. Greenow as \"his hearty,\" but it must be presumed", "But Mrs. Greenow had found out that she was alone, not very rich,\nand in want of the solace of society. Therefore she had, from sheer", "Captain Bellfield declared that he would only be too happy.\n\n\"And Charlie shall come to set her cap at Mr. Cheesacre,\" said the\nwidow, turning a soft and gracious eye on the Captain.", "well, but he could not enjoy that pleasure while Captain Bellfield\nwas in the very act of making progress with the widow. \"One would\nthink that he had given it himself; wouldn't you?\" he said to Maria's", "\"I can easily believe that, Mrs. Greenow,\" said the Captain.\n\n\"Who cares what you believe, sir?\" said Mr. Cheesacre.", "\"And is that to make a change? Oh! Mrs. Greenow, who would have\nthought to find you mercenary like that? Inherited property! Is she\ngoing to fling a man over because of that?\"" ], [ "Glencora. But there had been no such scheme; she had wronged Lady\nGlencora, and had therefore been unable to resist her second request.\nBut she felt unhappy, fearing that she would be out of her element,", "\"I will speak to him,\" said Lady Glencora. \"I will speak to him,\nand then he shall leave me.\" She was holding him by the hand now", "\"You wrong me, Plantagenet,\" said Glencora. \"There was only one heap,\nand that did not remain long. Did it, Alice?\"\n\n\"It is impossible to make you ashamed of anything,\" he said.", "\"You want some one to break your heart for you; that's what you\nwant,\" said Lady Glencora. In saying this she knew but little of", "Glencora away from her husband. Bad as had been his life he had\nnever before done aught so bad as that. The more fixed his intention\nbecame, the more thoroughly he came to perceive how great and", "\"Don't say that, Glencora.\"\n\n\"Why not say it,--to you?\"", "\"Why should I not marry him?\" said Lady Glencora, with her eyes\nflashing. \"He is my equal.\"", "He chiefly concerns our story at this present time because the Lady\nGlencora who had loved him,--and would have married him had not those", "For some time after this Lady Glencora's conduct was frequently so\nindiscreet as to drive her husband almost to frenzy. On the very day", "herself away from his house. It might be all very well for Lady\nGlencora to fight with Mrs. Marsham,--and with her husband, too, in", "\"I've a particular favour to ask of you,\" Lady Glencora said to\nher husband, as soon as they were alone together in their rooms at", "\"My dear Mrs. Marsham, if you were me, indeed you would,\" and Lady\nGlencora also looked at her husband.\n\n\"I think it a foolish thing to do,\" said Mr. Palliser, sternly.", "to stay to see you off, but that he will not be allowed to take you\naway.\" Lady Glencora thought that this was very pretty as coming from\nher husband, and so she told him on their way home.", "denied to her? Burgo knew well what must be the nature of such a\nwoman's life in such circumstances. Would Glencora be happy with him\nwhile living such a life simply because he loved her? And, under such", "She could not doubt that Lady Glencora had intended to declare that,\nif opportunity offered itself, she would leave her husband, and put\nherself under the protection of Mr. Fitzgerald; and Alice, moreover,", "\"But I have promised to go at once.\"\n\n\"Then, considering your position, you have made a promise which it\nbehoves you to break. I am sure Lady Glencora will see it in that\nlight.\"", "But, dear Glencora, you should not go there;--I mean it in all\nkindness and love,--I do indeed.\" Saying this she offered her hand to\nGlencora, and Glencora took it.", "\"Glencora,\" said she, rising from her chair, \"I think I'll leave\nyou alone with Mrs. Marsham. I'm not disposed to discuss Mr. Bott's", "on Burgo's behalf. \"There can be no reason why he should not take\nit,\" said Glencora. \"None the least. Had it not been promised to him?", "would be as serviceable as it could be to Lady Glencora. Indeed, she\nhad already begun to feel the impossibility of staying quietly at\nhome. She could lecture her cousin, whose faults were open, easy to" ], [ "him desire her love also. But it was not so. It was necessary for\nhis comfort that she should, at any rate, say she loved him. \"Well,\nAlice, and what about the heart?\" he asked again.", "so he would not, in truth, add to Alice's misery. He could hardly\nbring himself to think it possible that she did, in truth, love her", "\"Go away,\" said she. \"Go, Alice; you and I must part. I cannot bear\nit any longer. You must know it all. When you are married to John", "John Grey,--or rather perhaps was not satisfied with herself in\nhaving loved him. In her many thoughts on the subject, she always\nadmitted to herself that she had accepted him simply because she", "He was killing her by his goodness. She could not speak to him yet;\nbut now, as he mentioned Alice's name, she gently put up her hand and\nrested it on the back of his.", "John Grey certainly did not think about it. He knew well that Alice\nwas independent, and that she was not inclined to give up that\nindependence to anyone. He had not expected that her father would", "John Grey had so nearly taken from him. If Alice could have been\ntaught to think as he did as to the absurdity of those indissoluble\nties, that would have been better. But nothing would have been more", "\"Alice, that is untrue. He does not; and you have seen clearly that\nit is so. It may be that he can love no woman. But another woman", "true that had Alice neither seen nor heard from Kate during the\nprogress of John Grey's courtship, John Grey would not have lost his\nwife. But against this truth Alice was always protesting within her", "\"Yes;--love him: as a woman should love her husband. Is not your\nheart his? Alice, there need be no lies now. If it be so, it should", "that self-devotion. She had left John Grey because she feared that\nshe would do him no good as his wife,--that she would not make him\nhappy; and she had afterwards betrothed herself for a second time to", "suggest to herself that it had been coloured by any fears or\nexaggerations on the part of her correspondent. She knew that Alice\nwas true. And, moreover, much as she loved her brother,--willing as", "receive Mr. John Grey with open arms, if there were any possibility\nthat her cousin would open her arms to him also. But Alice was so\nstubborn about her own affairs that her friend found it almost", "joy as that which he desired to see. And now, at this moment, she\nfeared with an excessive fear that there would come some demand for\nan outward demonstration of love, such as he in his position might", "it again. I do not know how to explain that it was so; but it was\nthis perfect command of himself at all seasons which had in part made\nAlice afraid of him, and drove her to believe that they were not", "John, together with John, the lover, whom he so hated, might be the\nconspirators. To him it seemed to be certain that Alice and Mr. Grey", "upon her. \"Alice, if you will tell me that you do not love me, I will\nbelieve you, and will trouble you no more. I know that you will say", "at him, at first, almost furtively. She was afraid of him. It must\nbe confessed that she already feared him. Had there been in the man", "do not care to marry him.\" It was thus that he read Alice's present\ntreatment of him, and he was a man who could not endure this\ntreatment with ease.", "loved with the perfect love of equality. But though impatient, and\nfully aware of his own impatience, he acknowledged to himself that\nAlice could not be expected to share it. He could plan nothing" ], [ "MY DEAR PLANTAGENET,--Give my kind love to Glencora. If\n it's a boy, of course I will be one of the godfathers.", "Lady Glencora been the happy possessor of a cradle up-stairs with a\nboy in it. I suppose he must have done so. It is hardly possible that", "Lady Glencora was no miracle. Though born in the purple, she was\nmade of ordinary flesh and blood, and as she entered Lady Monk's", "\"You wrong me, Plantagenet,\" said Glencora. \"There was only one heap,\nand that did not remain long. Did it, Alice?\"\n\n\"It is impossible to make you ashamed of anything,\" he said.", "\"Yes, my bonny boy,--you have made it all right for me;--have you\nnot?\" And Lady Glencora took her baby into her own arms. \"You have", "that Mr. Palliser's marriage had given him no child, and that Lady\nGlencora was unhappy,--they made their remarks in triumph rather\nthan in sorrow. I will not say that they looked forward approvingly", "\"Something like Juan and Haidée, with Planty Pall coming after you,\nlike old Lambro.\" By the nickname of Planty Pall George Vavasor\nintended to designate Lady Glencora's present husband.", "Mr. Bott also had declared that Lady Glencora was very young. It was\nprobable, therefore, that that special phrase had been used in some", "by them both, and was at once in her lover's arms. \"Then I must\nintroduce myself,\" said Lady Glencora to Kate, \"and my husband also.\"", "At breakfast the next morning nothing was said for a while about the\nnew arrival. At last Mr. Palliser ventured to speak. \"Glencora has", "Midlothian. \"Let her jump upon you, and have done with it,\" Lady\nGlencora had said. She had resolved that it should be so, but it was\nvery hard to keep her resolution.", "\"I will speak to him,\" said Lady Glencora. \"I will speak to him,\nand then he shall leave me.\" She was holding him by the hand now", "and the boy\"--Mr. Palliser had scorned to use the word child--\"Lady\nGlencora and the boy are quite as well as can be expected. Both the", "At last, while he was still in the supper room, he heard Lady\nGlencora's name announced. He had already seen Mr. Palliser come in", "\"Lady Glencora not coming!\" said Burgo, betraying by his look and the\ntone of his voice too clearly that this change in the purpose of a", "\"Don't say that, Glencora.\"\n\n\"Why not say it,--to you?\"", "not the baby of Lady Glencora and Mr. Palliser. There was a note from\nMr. Palliser to Mr. Grey. \"Thank God!\" said the note, \"Lady Glencora", "\"I say nothing about the second. I don't know that there is any\nsecond. I wonder how we shall find Lady Glencora and the boy.\" They", "But the prospect was no doubt very distant. Lady Glencora might yet\nhave as many sons as Hecuba. Or she might die, and some other more", "\"I've a particular favour to ask of you,\" Lady Glencora said to\nher husband, as soon as they were alone together in their rooms at" ], [ "The marriage was magnificent, greatly to the dismay of Alice and\nto the discomfort of Mr. Vavasor, who came down on the eve of the", "Alice must be happy to feel that she has had it in her power to\nconfer so great a benefit on her future husband as he will receive\nfrom this introduction.\" \"I ain't a bit happy, and I have conferred", "there was much in his condition, as connected with the house which\nhe was leaving, which could not but make him unhappy. Alice was\nengaged to be his wife, and had as yet said nothing to show that she", "Alice wished her joy heartily,--\"heartily,\" she said, but had\ndeclined that office of bridesmaid. She did not wish to undergo the", "do not care to marry him.\" It was thus that he read Alice's present\ntreatment of him, and he was a man who could not endure this\ntreatment with ease.", "\"Alice,\" he continued, \"I do not expect you to say much to me; but\nthere is a question or two which I think you will answer. Has a day\nbeen fixed for this marriage?\"\n\n\"No,\" she said.", "wretched indeed.\" She took Alice up to see her trousseau, and gave\nthe other expectant bride some little hints which, under present", "That word \"husband,\" which her cousin had twice used, was painful to\nAlice's ear. She shrunk from it with palpable bodily suffering. Marry", "with Alice, did not quarrel with her _à l'outrance_. They snubbed\nherself and her chosen husband; but they did not so far separate", "But Alice, though she would have said so had she dared, made no\nanswer to this. She sat silent, turning her face away from his gaze,\nlonging that the meeting might be over, and feeling that she had lost\nher own self-respect.", "\"When are you to be married, Alice?\" said George at last.\n\n\"Oh, George!\" said she. \"You ask me a question as though you were\nputting a pistol to my ear.\"", "\"But Grey, you do not know Alice; you do not understand my girl. When\nshe had lost her fortune nothing would induce her to become your\nwife.\"", "She had said that she would become the wife of a man to whom she\ncould not cleave with a wife's love; and, mad with a vile ambition,", "and leave her husband's house. She had intended to show it to Alice\non this occasion; but as Alice had refused her request, she was glad", "Alice said what she could to comfort her, but her words were but of\nlittle avail as regarded those marriage sorrows.", "to make his marriage with her a comfort to him. She took it for\ngranted that that marriage was now one distasteful to him, as it was\nto herself, and that he would eventually be the gainer if she should", "To tell the truth, Alice was frightened at what she had done, and\nalmost repented of it already. Her acceptance of her cousin's", "But she had not been happy in accepting it. She was not happy now\nthat she had accepted it. She could not show to him any sign of such", "\"Oh, yes; she means to marry him, and the sooner the better now. I\nknew this was coming, but I did so hope it would not be while you\nwere here. It makes me feel so ashamed of myself that you should see\nit.\"", "marriage. Nor had it been by any means her first fault of the same\nkind. Till Alice had become engaged to Mr. Grey she had spoken of" ], [ "He chiefly concerns our story at this present time because the Lady\nGlencora who had loved him,--and would have married him had not those", "says that he loves me,\" said Lady Glencora to herself, \"but he does\nnot know what love means.\"", "by them both, and was at once in her lover's arms. \"Then I must\nintroduce myself,\" said Lady Glencora to Kate, \"and my husband also.\"", "Lady Glencora, as she went on quickly, got hold of her husband's\nhand, and caressed it. \"You are so good,\" said she. \"Don't let him", "\"But I love you with all my heart,\" said Alice. \"Glencora, I have\nlearned to love you so dearly!\"", "nor the dangers of love, acknowledged that Glencora was young. He\nespecially wished that she should be discreet and matronly; he feared\nno lovers, but he feared that she might do silly things,--that", "Glencora. But there had been no such scheme; she had wronged Lady\nGlencora, and had therefore been unable to resist her second request.\nBut she felt unhappy, fearing that she would be out of her element,", "which is strong while it lasts, but which can be laid down when the\nneed of it is passed. She had liked and loved Lady Glencora, and had\nin no degree been afraid of her during those strange visitings in", "same effect. To Lady Glencora it had seemed to convey an assurance\nof devoted love,--of that love which, in former days, her friends", "But, dear Glencora, you should not go there;--I mean it in all\nkindness and love,--I do indeed.\" Saying this she offered her hand to\nGlencora, and Glencora took it.", "\"Why should I not marry him?\" said Lady Glencora, with her eyes\nflashing. \"He is my equal.\"", "had loved a man and had separated herself from him and had married\nanother all within a month or two. Lady Glencora first became red as\nfire over her whole face and shoulders, and Alice afterwards did the", "\"You are going to-morrow, and if I did not speak to you now I should\nhave no other opportunity. Glencora seems to be very much attached to\nyou, and we all thought it so good a thing that she should have such\na friend.\"", "Palliser; but Lady Glencora she knew, and liked, and almost loved,\nfrom the first moment of their meeting.", "\"Don't say that, Glencora.\"\n\n\"Why not say it,--to you?\"", "\"I've a particular favour to ask of you,\" Lady Glencora said to\nher husband, as soon as they were alone together in their rooms at", "\"I will speak to him,\" said Lady Glencora. \"I will speak to him,\nand then he shall leave me.\" She was holding him by the hand now", "Glencora. Perhaps most girls would do so, for of all such women in\nthe world, Lady Glencora was the least inclined to patronize or to", "\"Glencora!\"\n\n\"And that odious baboon with the red bristles does the same\nthing,--only he goes to her because he doesn't dare to go to you.\"", "denied to her? Burgo knew well what must be the nature of such a\nwoman's life in such circumstances. Would Glencora be happy with him\nwhile living such a life simply because he loved her? And, under such" ], [ "George only as her brother, or as her friend's cousin, but now she\nwas constantly making allusion to those past occurrences, which all\nof them should have striven to forget. Under these circumstances was", "said that he would go out and look about the place. George, in the\nmeantime, had asked his sister to show him his room, and the two were\nalready together up-stairs.", "\"Of course she won't,\" said George, as he threw back the letter to\nhis sister. \"Why should she?\"\n\n\"I had hoped she would,\" said Kate.", "\"Your sister, George, has thought that my parting with Mr. Grey\nmight lead to a renewal of a purpose of marriage between you and me.", "fun and gratification. As we should be poor travellers alone, George\nhas promised to go with his sister. Papa knows all about it, and\nnever thought of making any objection.\"", "was from her brother George; and as she opened it looked anxiously\ninto Alice's face. \"Has he offended you?\" Kate asked.", "with her uncle and her brother. As it was, they were all restrained\nby something of the courtesy which strangers are bound to show to\neach other. George had never seen his aunt since he was a child, and", "George when he left the room in which he had insulted the lawyer,\nwent immediately across to the parlour in which his aunt and sister", "\"Yes,\"--said Grey; \"she has written to me.\"\n\n\"And told you about her cousin George. I tried to hinder her from\nwriting, but she is very wilful.\"", "Kate was very persistent in her objection to this scheme till\nGeorge's answer came. His answer to Alice was accompanied by a letter\nto his sister, and after that Kate said nothing more about the", "George went in, shrugging his shoulders as his eyes met his sister's.\nIt was in this fashion that the reconciliation took place between\nSquire Vavasor and his heir.", "which she feared she would regret when she found herself settled\nat Nethercoats. She envied Kate. Kate could, as his sister, attach\nherself on to George's political career, and obtain from it all that", "nature to serve her own purpose if read by her brother. But they had\nnot been of this nature. They had spoken of George as a man with\nwhom any closer connection than that which existed at present was", "together. George smoked all the time that they were in the carriage,\nand very few words were spoken. As they drove up to the old house,\nthey found that another arrival had taken place before them,--Mrs.", "The thing had come so suddenly upon George Vavasor that there was not\ntime for him to carry on his further operations through his sister.", "She had allowed that her brother George's behaviour had been such as\nto make any engagement between them impossible. The fault, therefore,\nhad been hers in making any reference to the question of such a", "The brother and sister walked through two or three streets in\nsilence, and then Kate asked a question.\n\n\"George, I wonder what your wishes really are about Alice?\"", "Neither her uncle nor her aunt believed her. That was a matter of\ncourse, and she knew that they did not believe her. George's absence,", "On the next morning George went to her. The reader will, perhaps,\nremember their last interview. He had come to her after her letter to", "with George Vavasor's sister. But she acknowledged that she had not\nintended to stay long in Westmoreland, probably not more than a week," ], [ "marriage. Nor had it been by any means her first fault of the same\nkind. Till Alice had become engaged to Mr. Grey she had spoken of", "should spend all your money, if you do not marry him at last.\" In\nanswer to this, Alice said nothing. On that point her father's wishes\nwere fast growing to be identical with her own.", "also first cousin to Alice. He was heir to the old squire down in\nWestmoreland, with whom Kate lived, their father being dead. Nothing,\nit would seem, could be more rational than that Alice should go to", "\"When are you to be married, Alice?\" said George at last.\n\n\"Oh, George!\" said she. \"You ask me a question as though you were\nputting a pistol to my ear.\"", "Then came the business of telling this new love tale,--the\nthird which poor Alice had been forced to tell her father and", "And now, once again, Alice,--dearest Alice, will you\n be my wife? I have been punished, and I have kissed the", "\"She and that man, and--. Never mind. It makes me sick when I think\nthat they should be so blind. Alice, I hardly know how much I owe to", "Alice must be happy to feel that she has had it in her power to\nconfer so great a benefit on her future husband as he will receive\nfrom this introduction.\" \"I ain't a bit happy, and I have conferred", "Previous to this they had met; and Alice, at her cousin Kate's\ninstigation, had induced her father to meet him. But at first there\nhad been no renewal of real friendship. Alice had given her cordial", "\"Then, sir, you think wrong. I am at this moment her affianced\nhusband; and I find that, in spite of all that she has said to", "\"Another!\" said he. And by the tone of his voice he accused his\ngranddaughter of having a larger number of favoured suitors than\nought to fall to the lot of any young lady. It was very hard upon\nher, but still she went on.", "\"No, Mr. Fitzgerald; it cannot be so. Alice do not go. I sent for my\ncousin when I saw you, because I did not choose to be alone with you.\nI have asked you to go--\"", "he had endeavoured to make himself agreeable. \"I will marry you,\"\nAlice had said to him,--not in words, but in acts and looks, which", "Each morning Kate asked her whether her answer was written; and on\nthe third day after Christmas, just before dinner, Alice said that\nshe had written it, and that it was gone.", "had loved a man and had separated herself from him and had married\nanother all within a month or two. Lady Glencora first became red as\nfire over her whole face and shoulders, and Alice afterwards did the", "He was killing her by his goodness. She could not speak to him yet;\nbut now, as he mentioned Alice's name, she gently put up her hand and\nrested it on the back of his.", "\"Alice,\" he said again. And then, as slowly she looked up at him, he\nasked her for her hand. \"You may give it me,\" he said, \"as to an old", "often come up to her, rubbing his hands together, and saying little\nwords, as though there was some reason from their positions that they\ntwo should be friends. Alice had perceived this, and had endeavoured", "\"Yes you are, Alice; in the most special crisis of a girl's life. You\nare still a girl, but you are the promised wife of a very worthy man,", "\"Well, Alice, as your father, I can only implore you to pause before\nyou commit yourself to his hands. If he demands money from you, and" ], [ "Grey's money matters were of such a nature as to make Mr. Tombe know\nthat he must do as he was bidden; and the money was paid to George\nVavasor's account.", "undertaking to do wrong, promised that she would apply to Alice for\nher money, if sufficient funds should not be forthcoming from Mrs.\nGreenow. Thereupon, George graciously consented to proceed to his", "\"Well; if you ask me I should say you had,\" said George. \"I know I\npaid Mr. Scruby three hundred pounds on your account.\"", "CHAPTER LXXII.\n\nShowing How George Vavasor Paid a Visit.", "as a contribution to the next election and George has it now locked\nup in a box. Don't you tell him that I told you.\"", "in his possession as security. The capitalist was to have forty\npounds for the transaction, and George cursed him as he took his\ncheque. George Vavasor knew quite enough of the commercial world to", "\"The money that George had.\" As the reader is aware, Alice had heard\nnothing special about this money. She only knew, or supposed she", "It was nearly the end of February when George Vavasor made his first\npayment to Mr. Scruby on behalf of the coming election; and when he", "\"Should you?\" said she, thinking of her close attachment to himself.\n\n\"And now, about the money,\" said George. \"You must write to Alice at\nonce.\"--\"Oh, George!\"", "money should be forthcoming; and she wrote again before the end of\nJanuary, saying that the sum named had been paid to George's credit\nat his own bankers.", "perhaps, a great deal of pretended feeling. Why should I be angry\nwith a man for wishing to get that for which every man is struggling?\nAt this point of George's career the use of money is essential to", "\"My money! He couldn't have said that!\"\n\n\"But he did, Mrs. Greenow; I give you my word and honour. 'I'll pay\nyou when I get the widow's money,' he said.\"", "\"Well; my love, if I understood you rightly, your cousin George wants\nsome money.\"\n\n\"I did not say that he wants it now; but I think he will want it\nbefore the time for the election comes.\"", "make difficulty as to raising ready money. Mr. Tombe would be able\nto raise ready money without difficulty. And then, at last, George\nVavasor was to be made to surrender his bride, taking or having taken", "\"I'll be shot if I can understand you. George, you know, has had\ntwo thousand pounds of your money,--of yours or somebody else's.", "wealth to Burgo Fitzgerald. Burgo had had money dealings with George\nVavasor, and knew him,--knew him intimately, and had learned the", "George returned to town at the end of those four days, and found that\nthe thousand pounds was duly placed to his credit before the end of", "George Vavasor and Mr. Scruby, between them, yielded at last, so far\nas to allow the bill to be drawn for ninety-two pounds, but they were", "together. George smoked all the time that they were in the carriage,\nand very few words were spoken. As they drove up to the old house,\nthey found that another arrival had taken place before them,--Mrs.", "promise made to her cousin. She was resolved that George should have\nthe money, and she knew that she could give it to him in spite of her\nfather. But her father might probably be able to delay the gift, and" ], [ "And then John Grey came up to town, arriving a day or two after the\ntime that he had fixed. It is not, perhaps, improbable that Alice", "John Grey had so nearly taken from him. If Alice could have been\ntaught to think as he did as to the absurdity of those indissoluble\nties, that would have been better. But nothing would have been more", "had tried, and had in his way, believed. He had flattered himself,\ntoo, that Alice's heart had, in truth, been more prone to him than to", "often come up to her, rubbing his hands together, and saying little\nwords, as though there was some reason from their positions that they\ntwo should be friends. Alice had perceived this, and had endeavoured", "as for John Grey, he succeeded so well that his success almost made\nAlice angry with him. It required no effort with him at all to be\nsuccessful in this matter. \"If he can forget all that has passed,", "Alice returned to the room, and Mrs. Sparkes immediately saw that\nshe had in truth been running from Mr. Bott. \"I hope I shall be able", "to him in Suffolk Street. Having begun the history of his connection\nwith Alice, he found himself obliged to go with it to the end, and as\nhe described the way in which the man had vanished from the sight of", "had done, he had shown himself to be unmoved by that episode in their\njoint lives, which Alice's other friends had regarded as so fatal.\nWhen she first rejected him, he would not take his rejection. When", "watching him; but he never once turned to look back at me. Do you\nknow, Alice, I fancy that I shall never see him again.\"", "But the object which he had now in view was a renewal of his\nengagement with Alice, and he felt that he must obtain an answer from", "Alice and had shaken her rudely as she sat beside him. He had been\nguided by no fixed intent when he had attacked John Grey, or when", "any friend in the house. He could hardly tell himself what line of\nconduct he would pursue, but he thought that he would hurry back\nto London, and grasp at whatever money he could get from Alice. He", "He then remembered that he had promised to send Alice up to his\nwife, and he hurried back into the house. She was alone in the", "\"And so John Grey has been here. He has left his stick in the hall. I\nshould know it among a thousand.\"\n\n\"Yes; he has been here.\"\n\n\"Is anything the matter, Alice?\"", "He thought of sending for her by telegram, but even in that there\nwould have been too much delay. He resolved, therefore, to make his\napplication to Alice himself, and he wrote to her, explaining his", "father is dead,\" said John Vavasor. Whereupon Alice gave him Kate's\nletter, that he might read it. \"Of course I shall go down,\" he said,", "\"I wish you could have seen him; but you will some day. I don't know\nwhether you care for men being handsome.\" Alice thought of John Grey,", "On the day before she started for Westmoreland her father came to her\nin the middle of the day, and told her that John Grey was going to\ndine with him in Queen Anne Street on that evening.", "true that had Alice neither seen nor heard from Kate during the\nprogress of John Grey's courtship, John Grey would not have lost his\nwife. But against this truth Alice was always protesting within her", "\"Because in such case I also must see him. God bless you, Alice! God\nbless you, dearest, dearest Alice!\" Then he went, and she sat there" ], [ "\"You see,\" the glance had said, \"Plantagenet is beginning to take an\ninterest in his cousin, and you know why. The man who is to be the", "\"Plantagenet,\" she said, \"you told me last night, as I was going to\nbed, that you had something to say about Lady Monk's party.\"", "\"Why should he hate you?\"\n\n\"I can't help it, you know, if he does. Only think what it is to\nPlantagenet. Have you seen the difference it makes in him already?\"", "whom the Duke used to favour, and he wants Plantagenet to come in for\nthat. I can't understand what difference it makes.\"", "\"I don't want to stop you, Plantagenet. Pray, go on. Only it will be\nso nice to have it over.\"", "\"I know what your thoughts are, Plantagenet.\"", "\"What is the matter, now, Plantagenet?\" said his wife.\n\n\"Nothing,\" said he;--\"nothing. Never mind.\"\n\n\"And shall we make this party up to the chapel?\"", "\"I don't think you would, Plantagenet.\" And she nodded her little\nhead at him, as she spoke. \"I'm sure I don't know what you would do.", "\"Plantagenet has spoken to you?\"", "\"No, Plantagenet; I do not think so.\"\n\n\"Do you believe that I have commissioned Mr. Bott to watch your\nconduct? Answer me, Glencora.\"", "But, Plantagenet, I hope you will forgive me if I say that no\nconsideration shall induce me to receive again as a guest, in my own\nhouse, either Mrs. Marsham or Mr. Bott.\"", "\"You must know, Plantagenet,\" she went on, \"that it is impossible for\nthree women dressed to go out in one carriage. I am sure you wouldn't\nlike to see me afterwards if I had been one of them.\"", "\"Do you know, Alice, though they all say that Plantagenet is one of\nthe wisest men in London, I sometimes think that he is one of the", "\"He did with you, which is all the same thing. And when Plantagenet\nknew of that,--for, of course, Mr. Bott told him--\"\n\n\"Mr. Bott can't see everything.\"", "upright for half a minute, and then sat down again. \"I beg your\npardon, Plantagenet,\" she said. \"I think I know what you want, and", "ever will. The Duke comes for one week in the year, and Plantagenet\nsays he hates to do that. As for me, nothing on earth shall ever make", "\"Then, Plantagenet, you shouldn't have told her so, and that's the\nlong--; but I mustn't say that. The truth is this, if you give me any", "\"Dear Alice, this is so good of you! I am all in the midst of\npacking, and Plantagenet is helping me.\" Plantagenet winced a little", "\"You owe nothing to me,\" said Plantagenet, with some little touch of\nmagniloquence in his tone. \"No; don't speak of it. I have no brother,", "\"It is a pity you should do nothing all your life,\" his cousin\nPlantagenet said to him one morning just at this time. Jeffrey had" ], [ "\"Mrs. Greenow,\" he exclaimed at last, jumping up before her; \"dearest\nMrs. Greenow; darling Mrs. Greenow, will you be my wife? There! I", "\"Settled!\" said Mrs. Greenow, astounded, as though there must have\nbeen some hidden marriage of which she had not heard. \"But that's", "straying very wide as long as his intended wife should be able to\nkeep the purse-strings altogether in her own hands. Therefore, I say\nthat Mrs. Greenow had been lucky in her choice, and not altogether", "\"Ah, but it can be. Come, Mrs. Greenow. We understand each other well\nenough now, surely. Come, dearest.\" And he approached her as though", "Mrs. Greenow's own marriage was completed with perfect success. She\ntook Captain Bellfield for better or for worse, with a thorough", "Squire's will had no doubt reached him, and he was now willing to\ntake advantage of that assistance which Mrs. Greenow had before\noffered him in this matter. The time had come in which he ought to", "\"So you are George,\" said Mrs. Greenow, putting out her hand and\nsmiling.\n\n\"Yes; I'm George,\" said he.", "\"And is that to make a change? Oh! Mrs. Greenow, who would have\nthought to find you mercenary like that? Inherited property! Is she\ngoing to fling a man over because of that?\"", "by getting a rich wife. In the course of the cross-examination Mrs.\nGreenow got much information out of him; and then, when she was\nsatisfied that she had learned, not exactly all the truth, but", "But Mrs. Greenow had found out that she was alone, not very rich,\nand in want of the solace of society. Therefore she had, from sheer", "now?\" whispered Bellfield into her ear as he went. She merely frowned\nat him, and bade him begone, so that the walk which Mrs. Greenow began\nwith one lover she ended in company with the other.", "It will perhaps be as well to say a few words about Mrs. Greenow\nbefore we go with her to Yarmouth. Mrs. Greenow was the only daughter", "\"Mrs. Greenow, you mistake me. Indeed, you mistake me.\" Just at this\nmoment, as he was drawing close to the widow, she heard, or fancied", "held her in awe, and slunk away. On this occasion Mrs. Greenow clung\nlovingly to her future husband, and the effect was that Mr. Cheesacre", "\"And, besides, how could I laugh at marriages, seeing how happy I\nhave been in that condition?--so--very--happy,\" and Mrs. Greenow put\nup her handkerchief to her eyes.", "\"Then, I suppose, he will tell her,\" said John Vavasor. After that\nhe explained the circumstances of the will to Mrs. Greenow. \"Bravo,\"", "\"Mrs. Greenow,\" said he, jumping up, and becoming on a sudden full of\nlife, \"that man is a downright swindler.\"\n\n\"Oh, Mr. Cheesacre.\"", "\"I can easily believe that, Mrs. Greenow,\" said the Captain.\n\n\"Who cares what you believe, sir?\" said Mr. Cheesacre.", "At last, when Bellfield had come to an end of praising Mrs. Greenow,\nhe told the guests that he wished to join his friend Mr. Cheesacre in", "\"You are always wanting to marry me, Mrs. Greenow.\"" ], [ "she had spoken openly to Kate. We know that Kate had in part betrayed\nher, but Alice suspected no such treason. She had often quarrelled", "\"My sister,--my own sister,\" said Kate. And then, as Alice met her\nembrace, there was no longer any doubt as to the nature of the reply.", "\"Kate, don't talk in that way,\" and Alice came up to her and embraced\nher.", "also first cousin to Alice. He was heir to the old squire down in\nWestmoreland, with whom Kate lived, their father being dead. Nothing,\nit would seem, could be more rational than that Alice should go to", "\"Why did you not ask Alice to come to you?\"\n\n\"Alice could not have come,\" said Kate, after a short pause.", "\"Whom in all the world would you best like to see?\" said Glencora.\n\n\"My cousin Kate, certainly,\" said Alice.", "Alice felt that she was blushing. The caution had been given to Kate\nbecause Kate still transgressed in her letters, by saying little\nwords about her brother. And Alice did not even now believe Kate", "knew was not properly due from her. Kate was acquainted with all the\ncircumstances of that old affair between her brother and Alice. She\nhad given in her adhesion to the propriety of what Alice had done.", "Alice was seated quite at the end of the gallery, and Kate's chair\nwas at her feet in the corner. When Alice and Kate had seated", "Kate's performance of her promise with reference to Alice, if that\nanswer should be unfavourable. During these five days Kate did all\nin her power to induce her brother to be, at any rate, kind in his", "This letter from Alice to Kate, Vavasor read over and over again,\nthough Kate's letter to himself, which was the longer one, he had", "a husband worthy of her, that she might allure her into the arms of\none so utterly unworthy? Luckily for Kate, her accident was of such a\nnature that any writing to Alice was now out of the question.", "Previous to this they had met; and Alice, at her cousin Kate's\ninstigation, had induced her father to meet him. But at first there\nhad been no renewal of real friendship. Alice had given her cordial", "had chiefly reference to her two nieces, and especially to Alice.\nHow was she to account for this second lover? Kate, of course, knew\nall about it; but how could Alice be made to understand that she,", "\"I don't believe that Kate thinks much of that,\" said Alice.", "Kate had made up her mind that she would say nothing about Alice at\nthe present moment,--nothing, if it could be avoided, till after the", "Kate and Alice, as they drew near to their journey's end, were both\na little flurried, and I cannot but own that there was cause for", "\"Early in July, I believe. It will be very hot, but Kate must be back\nby the middle of August.\" Kate Vavasor was Alice's first cousin.\n\n\"Oh! Kate is to go with you?\"", "Kate was very persistent in her objection to this scheme till\nGeorge's answer came. His answer to Alice was accompanied by a letter\nto his sister, and after that Kate said nothing more about the", "Kate had been very false to her friend, and had sent up to her\nbrother the very letter which Alice had written to her after that\nmeeting in Queen Anne Street which was described in the last" ], [ "Alice, you will marry an old husband; but even you shall not be\nallowed to say that my heart is old.\"", "\"I am becoming a very old woman, Alice,\" the poor lady said,\npiteously, \"and I suppose I had better not interfere any further.", "\"Alice is young still, and they tell me she's as good looking as\never. A girl with her money won't have far to seek for a husband,", "Alice.", "\"What a taste Mr. Palliser must have!\" Alice thought to herself.\n\n\"But I need not tell you that Lady Glencowrer is--very young; we may\nsay, very young indeed.\"", "years;--for Alice Vavasor when she will be introduced to the reader\nhad already passed her twenty-fourth birthday.", "Alice kissed her, as was customary with them, and the old lady as\nshe went uttered her customary valediction. \"God bless you, my dear.", "Each morning Kate asked her whether her answer was written; and on\nthe third day after Christmas, just before dinner, Alice said that\nshe had written it, and that it was gone.", "love. Alice, in the years of her childhood, had been brought up by\nLady Macleod; at the age of twelve she had been sent to a school at", "should watch closely over her. She was a girl, he thought, who could\ndo as well without surveillance as with it,--as well, or perhaps\nbetter. So it had come to pass that Alice had been the free mistress", "A few words must be said as to Alice Vavasor's person; one fact\nalso must be told, and then, I believe, I may start upon my story.", "living;--don't he, Alice?\" Then were perpetrated various mysterious\nceremonies of feminine idolatry which were continued till there came\na grandly dressed old lady, who called herself the nurse, and who", "\"Alice, my dear,\" said the old man to her when they were together in\nthe jaunting-car, \"you ought to get married.\" The Squire was hard", "side, and from her great position, you know, Alice--\" But here Alice\nbecame impatient for the letter. Her aunt handed it to her, and she\nread as follows:--", "\"Alice, you are such a fool!\"\n\n\"So you tell me very often.\"", "\"Alice!--is that true?\"\n\n\"Yes, George; it is true. If you will allow me to say so, I would\nrather not talk about it;--not just at present.\"", "\"Well, aunt,\" said Alice, as the old lady walked into the\ndrawing-room one morning at eleven o'clock. Alice always called Lady", "also first cousin to Alice. He was heir to the old squire down in\nWestmoreland, with whom Kate lived, their father being dead. Nothing,\nit would seem, could be more rational than that Alice should go to", "\"She and that man, and--. Never mind. It makes me sick when I think\nthat they should be so blind. Alice, I hardly know how much I owe to", "often come up to her, rubbing his hands together, and saying little\nwords, as though there was some reason from their positions that they\ntwo should be friends. Alice had perceived this, and had endeavoured" ], [ "\"I don't want to stop you, Plantagenet. Pray, go on. Only it will be\nso nice to have it over.\"", "\"You see,\" the glance had said, \"Plantagenet is beginning to take an\ninterest in his cousin, and you know why. The man who is to be the", "\"Plantagenet,\" she said, \"you told me last night, as I was going to\nbed, that you had something to say about Lady Monk's party.\"", "\"What is the matter, now, Plantagenet?\" said his wife.\n\n\"Nothing,\" said he;--\"nothing. Never mind.\"\n\n\"And shall we make this party up to the chapel?\"", "\"Why should he hate you?\"\n\n\"I can't help it, you know, if he does. Only think what it is to\nPlantagenet. Have you seen the difference it makes in him already?\"", "\"I know what your thoughts are, Plantagenet.\"", "whom the Duke used to favour, and he wants Plantagenet to come in for\nthat. I can't understand what difference it makes.\"", "But, Plantagenet, I hope you will forgive me if I say that no\nconsideration shall induce me to receive again as a guest, in my own\nhouse, either Mrs. Marsham or Mr. Bott.\"", "\"He did with you, which is all the same thing. And when Plantagenet\nknew of that,--for, of course, Mr. Bott told him--\"\n\n\"Mr. Bott can't see everything.\"", "\"Let me speak now, Plantagenet, It is better that I should tell you\neverything; and I will. I will tell you everything;--everything! I do", "\"You owe nothing to me,\" said Plantagenet, with some little touch of\nmagniloquence in his tone. \"No; don't speak of it. I have no brother,", "upright for half a minute, and then sat down again. \"I beg your\npardon, Plantagenet,\" she said. \"I think I know what you want, and", "for my sake you'll let him have it. But don't let him gamble. If you\ncould only get him home to England, and then do something. You owe\nhim something, Plantagenet; do you not?\"", "\"No, Plantagenet; I do not think so.\"\n\n\"Do you believe that I have commissioned Mr. Bott to watch your\nconduct? Answer me, Glencora.\"", "\"I don't think you would, Plantagenet.\" And she nodded her little\nhead at him, as she spoke. \"I'm sure I don't know what you would do.", "\"That's the evil you have got to cure.\"\n\n\"My cousin Plantagenet suggested--marriage.\"", "ever will. The Duke comes for one week in the year, and Plantagenet\nsays he hates to do that. As for me, nothing on earth shall ever make", "\"They've been talking together till sometimes I think Mr. Grey is\nworse than Plantagenet. When Mr. Grey began to say something the other", "\"Plantagenet has spoken to you?\"", "\"Then, Plantagenet, you shouldn't have told her so, and that's the\nlong--; but I mustn't say that. The truth is this, if you give me any" ], [ "\"Mr. Palliser wants me to go into Parliament.\" Upon hearing this Alice\nsaid nothing. She was afraid to speak. After all that had passed she", "disappointment in regard to the seat in Parliament, and that he would\nprobably not return. \"Poor George!\" Alice had said; \"he is a man", "When Alice heard of her cousin's success, and understood that he was\nactually Member of Parliament for the Chelsea Districts, she resolved", "would have been as nothing to this. When I think that he has forced\nhis way into Parliament without any great friend, with nothing to\nback him but his own wit\"--she had, in truth, forgotten Alice's money", "\"They say he is led immensely by his wife, and that she is very\nclever. But I mean this chiefly, Alice, that I do hope I shall have\nall your sympathy in any political career that I may make, and all\nyour assistance also.\"", "Alice returned to the room, and Mrs. Sparkes immediately saw that\nshe had in truth been running from Mr. Bott. \"I hope I shall be able", "John Grey had so nearly taken from him. If Alice could have been\ntaught to think as he did as to the absurdity of those indissoluble\nties, that would have been better. But nothing would have been more", "and congratulating himself that at any rate, in his county,\nparliamentary reform had been powerless to alter the old political\narrangements. Alice Vavasor, whose offence against the world I am to", "given up Parliament, and everything else! I had doubted much about\nhim before, but it was that which first turned my heart against\nhim. I had begun to fear that he was not such a man as I had always", "career in Parliament, and saying little soft things of his enduring\nlove. It was no longer possible to her now to write of George at all,\nand it was equally impossible to Alice. Indeed, no letters passed", "about her welfare with a perfect stranger.\" Then she did get up,\nand went away from the Member of Parliament, leaving him rather\nastonished at her audacity. But he was a constant man, and his inner", "often come up to her, rubbing his hands together, and saying little\nwords, as though there was some reason from their positions that they\ntwo should be friends. Alice had perceived this, and had endeavoured", "the borough till Parliament meets.\" That had been the message sent\nby Mr. Palliser to Mr. Grey. Lady Glencora's message to Alice had been", "reading it was one to him of intense agony. Hitherto he had fed\nhimself with hope. That Alice should have been brought to think of\nher engagement with him in a spirit of doubt and with a mind so", "\"He was a man I specially disliked,\" said Alice, with great courage.\n\"He may be very well in Parliament; but I never met a man who could", "This idea of his, however, had been greatly shaken by Alice's\ntreatment of himself personally; but still he had not, hitherto,", "Alice must be happy to feel that she has had it in her power to\nconfer so great a benefit on her future husband as he will receive\nfrom this introduction.\" \"I ain't a bit happy, and I have conferred", "\"And a Member of Parliament!\" said Mrs. Greenow. \"It's quite an\nhonour to the family. I felt so proud when I heard it!\" She said this", "there was much in his condition, as connected with the house which\nhe was leaving, which could not but make him unhappy. Alice was\nengaged to be his wife, and had as yet said nothing to show that she", "all his incivility to herself as though it were the effect of his\ngrief. She asked him questions about Parliament, which, of course, he\ndidn't answer, and told him little stories about poor dear Greenow," ] ]

[ "Who is Alice engaged to?", "Who had Alice previously been engaged to?", "How were Alice and George related?", "Why did Alice break off her engagement with George?", "Where do Alice and Kate plan to tour?", "How are Alice and Kate related?", "How are Kate and George related?", "What kind of tour does Plantegenent take Glencora on?", "Who does Mrs. Greenow marry?", "Who is Alice engaged to that is called unambitious and bland?", "Who pays the money George takes from Alice to fund his political ambitions?", "What happens when George loses his second election and realizes that John was the one who gave the money?", "Why does Mrs. Greenow marry Captain Bellfield?", "Why does Glencora want to divorce Plantagenet?", "Why is Alice afraid to love John?", "What was the sex of the child that Glencora and Plantagenet have?", "Why is Alice unhappy with her wedding?", "Who is Glencora in love with?", "Who is George's sister?", "How many fiancĂŠ's has Alice had now?", "Who secretly pays money to George?", "Where is John when he try's to persue Alice and win her over?", "What does Plantagenet do for an occupation?", "Who does Mrs.Greenow end up marrying?", "Who is Kate in relation to Alice?", "How old is Alice?", "What does Plantagenet persuade John to do?", "How does john running for Parliament make Alice feel?" ]

[ [ "John Grey", "John Grey" ], [ "George", "John Gray" ], [ "cousins", "They are cousins" ], [ "he went through a wild period", "a wild period" ], [ "Switzerland", "Switzerland " ], [ "cousins", "They are cousins." ], [ "siblings", "They are brother and sister." ], [ "a European tour", "European " ], [ "Bellfield", "Captain bellfeild" ], [ "John Grey", "John Grey" ], [ "John Grey", "John" ], [ "George almost kills John and then takes off for America", "He almost murders john and then escaoes to america" ], [ "he is more handsome and she can control him.", "She can control him" ], [ "She doesn't love him and can't give him children", "Marry someone else and get children" ], [ "she feels she doesn't deserve him, since she had already foolishly called off their first engagement", "His lack of ambition " ], [ "a boy", "A son" ], [ "It turned into a huge social event and she was subjected to lectures ", "Turned into a social event" ], [ "Burgo", "Burgo Fitzgerald" ], [ "Kate", "Kate" ], [ "Two", "two" ], [ "John", "John" ], [ "Switzerland ", "Switzerland" ], [ "Politician", "Politician. " ], [ "Captain Bellfield ", "Bellfield" ], [ "A Cousin", "She's her cousin." ], [ "Twenty four", "Twenty-four." ], [ "Run for Parliament. ", "Run for Parliament." ], [ "Pleased ", "It makes her feel pleased " ] ]

[ [ "HONEY\n\n I LOVE YOU, BALTIMORE!", "6. INTERIOR HONEY'S HOTEL ROOM. 6.\n HONEY's mean face glares out window at the twinkling\n lights of Baltimore's Inner Harbor in the early\n evening.", "HONEY\n I tell everybody in Hollywood,\n when you shoot on location in\n Baltimore, you don't need to\n bring all the crew from Los\n Angeles. Baltimore really ia the\n best!...", "City of Baltimore, do hereby\n proclaim April 29th to be Honey\n Whitlock Day in Maryland and do\n command this observation to all", "HONEY\n Look at this dump of a town!\n HONEY turns to her long suffering assistant, LIBBY.\n The press is gone and they are alone.", "HONEY\n No...not at all.\n\n CECIL\n It's all behind you now, Cherish.\n (Looking out window)\n We're here...", "BALTIMORE.\n Helicopter shot of speeding police car taking HONEY", "Maryland Heart Fund died tonight\n at Union Memorial Hospital\n following an on stage heart\n attack she suffered in the middle\n of Honey Whitlock's kidnapping at", "OF BALTIMORE.\"\n HONEY aims gun at PRODUCER C, terrified the gun is\n as real as her grenade was.\n\n PRODUCER C", "HONEY\n (In a sudden tirade)\n Did you hear what that little\n bitch said to me?\n\n LIBBY\n She didn't know.", "HONEY\n (In character, chanting)\n\n VANDALIZE THE MOVIES! GIVE", "HONEY\n Get me the fuck back to L.A. If\n one more asshole mentions a crab\n cake to me, I think I'll puke.", "HONEY\n It's burning my scalp!\n Ow! Ow! Ow!\n\n RODNEY\n Beauty comes from agony! Everyone\n knows that!", "CECIL\n (Smiling, to HONEY)\n Prove yourself, Honey.\n HONEY spots a marine police boat quickly darting\n behind \"Pride of Baltimore,\" filled with MARINE", "HONEY\n Ah, what a town!\n HONEY is dressed for the premiere in an elegant evening", "LIBBY\n Oh nobody will know, we're in\n Baltimore...", "HONEY\n (Getting even better)\n Somebody's gotta pay for\n this insult!\n CECIL silently mouths the dialogue along with HONEY.", "HONEY is injured but alive and struggles to climb\n out of car handcuffed as RAVEN rushes to touch her\n up and HONEY eagerly embraces her.", "- 22 -\n away in fear.\n Limo bumps down road at high speed and trunk door\n bangs shut, knocking HONEY into submission.\n Limo makes a fast right.", "HONEY sees BALTIMORE CITY POLICE, MARYLAND STATE\n TROOPERS, more SWAT TEAMS, local and national PRESS" ], [ "HONEY\n DON'T SHOOT! I'm Honey Whitlock\n and I've been kidnapped!", "HONEY looks hornily to GROUPIE below but he is being\n beaten up by JOCKS A, B & C as he desperately tries to", "HONEY\n (Sexily to GROUPIE)", "HONEY\n (In character, chanting)\n\n VANDALIZE THE MOVIES! GIVE", "HONEY\n OWWWW!! Please... please...\n (Trying a new tactic)\n Raven, you're a pretty girl,\n you could escape this madness...", "- 22 -\n away in fear.\n Limo bumps down road at high speed and trunk door\n bangs shut, knocking HONEY into submission.\n Limo makes a fast right.", "mirrors, beat up barber chairs, filthy hair driers\n and mangy beauty supplies.\n HONEY, tied to a barber chair, still dressed in her", "HONEY's blindfold and gag as she sputters in terror.\n We see LEWIS has D-A-V-I-D L-Y-N-C-H tattooed on his", "HONEY\n Look at this dump of a town!\n HONEY turns to her long suffering assistant, LIBBY.\n The press is gone and they are alone.", "HONEY is injured but alive and struggles to climb\n out of car handcuffed as RAVEN rushes to touch her\n up and HONEY eagerly embraces her.", "JOCK A\n Her career is over!\n GROUPIE hears and tries to turn back to confront JOCKS\n but HONEY grabs him.", "GROUPIE\n (Muttering to HONEY in a", "HONEY turns back to mob in front of her and gives them a\n demented movie star grin.", "HONEY\n (Screams in pain,\n\n SPUTTERING)\n Oh God, please!", "Trunk door flies open and HONEY screams her lungs out,\n holding on for dear life.\n HEAVY METAL KIDS, hanging out in graveyard look up and", "HONEY smiles politely and then catches eye of ruggedly\n handsome 35-year-old GROUPIE in audience wearing a Honey\n Whitelock T-shirt.", "HONEY is shocked when the POLICE tackle her and\n place her under arrest.\n DINAH grabs FILM COMMISSIONER and uses him as a", "GROUPIE defiantly puts him arm around HONEY as she begs\n CECIL with her eyes for approval.\n GROUPIE smiles and pulls up shirt sleeve to reveal to", "HONEY looks for help but she is suddenly all alone.\n CECIL pushes himself forward on wheelchair dolly,\n gaining speed and begins laughing maniacally.", "CECIL\n (Lovingly, to HONEY)\n I kidnapped the right star,\n didn't I?\n HONEY smiles weakly." ], [ "mirrors, beat up barber chairs, filthy hair driers\n and mangy beauty supplies.\n HONEY, tied to a barber chair, still dressed in her", "Trunk door flies open and HONEY screams her lungs out,\n holding on for dear life.\n HEAVY METAL KIDS, hanging out in graveyard look up and", "- 22 -\n away in fear.\n Limo bumps down road at high speed and trunk door\n bangs shut, knocking HONEY into submission.\n Limo makes a fast right.", "HONEY is injured but alive and struggles to climb\n out of car handcuffed as RAVEN rushes to touch her\n up and HONEY eagerly embraces her.", "HONEY looks for help but she is suddenly all alone.\n CECIL pushes himself forward on wheelchair dolly,\n gaining speed and begins laughing maniacally.", "CECIL drags a screaming HONEY off stage as RODNEY\n runs interference, firing wildly over screaming\n AUDIENCE's heads.", "HONEY\n DON'T SHOOT! I'm Honey Whitlock\n and I've been kidnapped!", "HONEY\n Look at this dump of a town!\n HONEY turns to her long suffering assistant, LIBBY.\n The press is gone and they are alone.", "charging out of theater, firing their guns to cover\n their escape.\n CECIL drags HONEY outside, still in a chokehold as", "HONEY\n (In character, chanting)\n\n VANDALIZE THE MOVIES! GIVE", "- 88 -\n Suddenly TEAMSTER D jumps from trap door in set floor\n with gun aimed at HONEY.", "throw HONEY inside and slam it shut. HONEY continues\n screaming and banging on trunk door as CECIL and GANG\n pile into limo.", "HONEY turns back to mob in front of her and gives them a\n demented movie star grin.", "\"dressing room\"; a bizarrely decorated prison cell\n fit for a movie queen.\n HONEY is blindfolded, gagged and tied to a director's", "CHERISH throws a molotov cocktail and it explodes in\n front of theater between stage and first row of\n seats, blocking any rescue of HONEY by NEWSTEAMS.", "CECIL\n This is it - our final location.\n\n CHERISH\n (Excited, to HONEY)\n We're gonna get laid!", "CECIL\n (Lovingly, to HONEY)\n I kidnapped the right star,\n didn't I?\n HONEY smiles weakly.", "HONEY's blindfold and gag as she sputters in terror.\n We see LEWIS has D-A-V-I-D L-Y-N-C-H tattooed on his", "and passes it out to HONEY, LYLE and CHERISH who are\n now dressed in FIDGET'S newest terrorist costumes.", "CECIL disengages CHERISH's dead body up and off of him\n and seeing HONEY in danger crawls painfully to Pam's\n wheelchair dolly." ], [ "CECIL\n (Aiming his gun at HONEY,", "CECIL\n (Lovingly, to HONEY)\n I kidnapped the right star,\n didn't I?\n HONEY smiles weakly.", "CECIL\n (To HONEY, ever the", "CECIL\n .but only the ones willing\n to dia for it succeed.\n HONEY looks into CECIL's face and lets out a sob of\n terror.", "CECIL disengages CHERISH's dead body up and off of him\n and seeing HONEY in danger crawls painfully to Pam's\n wheelchair dolly.", "HONEY, horrified that the \"effect\" was real looks up\n to CECIL but he has vanished.\n Suddenly CECIL enters the ship \"directing\" through", "HONEY looks for help but she is suddenly all alone.\n CECIL pushes himself forward on wheelchair dolly,\n gaining speed and begins laughing maniacally.", "HONEY\n No...not at all.\n\n CECIL\n It's all behind you now, Cherish.\n (Looking out window)\n We're here...", "HONEY\n (Getting even better)\n Somebody's gotta pay for\n this insult!\n CECIL silently mouths the dialogue along with HONEY.", "CECIL\n This is it - our final location.\n\n CHERISH\n (Excited, to HONEY)\n We're gonna get laid!", "CECIL\n (Hissing to HONEY)\n Say the lines!\n\n HONEY\n (To AUDIENCE, ferociously", "CECIL drags a screaming HONEY off stage as RODNEY\n runs interference, firing wildly over screaming\n AUDIENCE's heads.", "HONEY\n (Ignoring both PETIE and LEWIS)\n Cecil, give yourself up!\n It's not too late...", "CECIL\n That's more like it, Miss Whitlock!\n CHERISH gives HONEY a suddenly jealous look.", "struggle up to her. HONEY sighs in sexual frustration.\n CHERISH runs to dying CECIL, unzips his pants and mounts\n him.", "CECIL\n .and her violence prone\n daughter, Cherish...\n CHERISH enters in eye-popping \"super model goes bad\"\n look as HONEY's eyes light up in horror.", "HONEY\n Oh, God, I look terrible!\n (Breaks into sobs)\n CECIL and SPROCKET HOLES applaud triumphantly.", "CECIL\n Good morning, Miss Whitlock.\n\n HONEY\n\n (SOBBING)\n Cecil, I want to go back to\n Hollywood!", "fingers.\n HONEY's e yes light up in terror as she sees CECIL, now\n attired in insane grunge Cecil B. DeMille inspired", "(TO CECIL)\n BUT £iE. DOESN'T BELIEVE ME!\n\n HONEY\n I. .I believe you." ], [ "CECIL\n This is it - our final location.\n\n CHERISH\n (Excited, to HONEY)\n We're gonna get laid!", "CECIL\n .and ACTION!\n CECIL moves around stage, making cliche director's", "CECIL\n\n (TO HONEY)\n That's your mark. When you\n hear \"Action,\" jump through\n the window, and land facing\n Pam's camera.", "CECIL\n Ah Fidget. Fidget, my little\n genius, :Fidget!\n\n FIDGET\n (Not missing a beat,", "HONEY\n No...not at all.\n\n CECIL\n It's all behind you now, Cherish.\n (Looking out window)\n We're here...", "CECIL\n (Hissing to HONEY)\n Say the lines!\n\n HONEY\n (To AUDIENCE, ferociously", "CECIL\n\n ACTION!", "CECIL\n (Coughs up blood)\n\n ACTION!\n\n HONEY\n (Snapping into character)", "CECIL and CHERISH lie asleep twisted and entwined in\n the sheets, tortured by their erotic dreams.\n Suddenly, one of CECIL's bloodshot eyes open and", "Suddenly CECIL enters dressed to the nines in another\n lunatic \"movie director\" outfit. He is accompanied by\n DINAH, who is even more severely dressed in thrift-shop", "CECIL\n (To HONEY, ever the", "CECIL\n\n (TO FIDGET)\n I knew you were the weak\n one, Fidget.\n (Eyes widening in hypnotic", "HONEY, horrified that the \"effect\" was real looks up\n to CECIL but he has vanished.\n Suddenly CECIL enters the ship \"directing\" through", "CECIL\n This is Cherish...\n CHERISH, now heavily made-up and dressed \"riot-girl\"", "CECIL grins like a lunatic as PAM and CHARDONNAY aim the\n camera and sound boom at the door. DINAH holds\n clapboard.", "CECIL\n\n (PREOCCUPIED)\n Now Honey...I want you to do a\n little stunt for this scene...\n\n HONEY", "DINAH\n (Snarling to HONEY)\n I'm Dinah, Cecil's prod»cer", "- 76 -\n\n (TO CECIL)", "CECIL\n (Weakly, clearly dying)\n Prove yourself one more time...\n for your cast...", "CECIL\n (Gently pushing her away)\n I'm trying to write, Cherish!" ], [ "- 110 -\n CECIL lunges for dropped gun of SWAT TEAM A and shoots\n SWAT B dead, struggles aboard dolly and nods to FIDGET\n to douse him with gas.", "CECIL steps forward with CHERISH and pulls his empty\n gun. A trickle of blood runs from CECIL's mouth as\n CHERISH lunges for MANAGER's shotgun.", "PAM continues to film, bleeding badly from her wound.\n DINAH suddenly runs in front of CECIL in a kamikaze\n action and opens fire killing TEAMSTERS E, G & H.", "THAT MEANS YOU, FUCKERS!\n CECIL fires his gun and kills TEAMSTER B.\n CECIL is shot in the chest by TEAMSTER C and falls to", "F\n his knees in great pain.\n PAM pans the camera back to TEAMSTER C and shoots her\n gun and kills him.", "- 109 -\n Just after CHERISH and CECIL reach orgasm, CHERISH is\n shot dead in the forehead by SWAT TEAM A who leaps to", "Suddenly PETIE appears from back hallway and pistol whips\n TEAMSTER B who is supposed to be guarding the door.\n As TEAMSTERS leap to their feet, LEWIS, DINAH and", "DINAH sees that CECIL has been hit and a look of fury\n sweeps over her face.\n CECIL fires gun at TEAMSTERS F, G & H as they flood the", "crashes into lobby as FAMILIES with CHILDREN scatter\n in fear.\n CECIL leaps from the van with gun drawn and runs to", "THAT'S A CUT!\n CECIL is shot in the left shoulder by POLICE.\n HONEY kisses RAVEN goodbye and makes a break for it\n and runs towards MARINE POLICE.", "PRODUCER C clutches his stomach and doubles over.\n HONEY covers her mouth in real horror.\n Instantly PRODUCER C recovers, realizing the bullet", "dive out of the way and GANG chants \"Battle of\n Algiers\"-type revolutionary yell.\n CECIL fires his gun out back window and shatters the", "to dodge the bullets as CECIL and CHERISH fire back at\n TEAMSTERS G & H, and PAM continues to film.\n PAM is shot in stomach by TEAMSTER G.", "SWAT TEAM CAPTAIN takes aim with rest of SHARPSHOOTERS.\n Instantly PAM is shot dead by SWAT TEAM SHARPSHOOTER and\n her camera falls to ground.", "YOU ARE!\n DINAH shrugs that she, too, is out of bullets.\n\n CECIL\n (Beginning to panic)\n Film these fuckers, Pam.", "charity of its fund, pulls a large gun and runs out\n of cashier's booth.\n 43. Cut back to INTERIOR SENATOR THEATER. STAGE. 43.", "in neck, staggers to his feet and mows down DINAH in a\n hail of bullets.\n CECIL's eyes light up in horror at seeing DINAH's", "CECIL fires but he is out of ammunition.\n DINAH frantically reloads her weapons.\n CHERISH fires but then she too is out of ammunition.", "CECIL, PAM and CHERISH are cornered by TEAMSTERS E, G &\n H who advance on crane with drawn guns.\n PETIE throws his hands in the air.", "- 88 -\n Suddenly TEAMSTER D jumps from trap door in set floor\n with gun aimed at HONEY." ], [ "HONEY is injured but alive and struggles to climb\n out of car handcuffed as RAVEN rushes to touch her\n up and HONEY eagerly embraces her.", "- 22 -\n away in fear.\n Limo bumps down road at high speed and trunk door\n bangs shut, knocking HONEY into submission.\n Limo makes a fast right.", "HONEY\n DON'T SHOOT! I'm Honey Whitlock\n and I've been kidnapped!", "HONEY\n OWWWW!! Please... please...\n (Trying a new tactic)\n Raven, you're a pretty girl,\n you could escape this madness...", "HONEY screams, thinking she is being rescued as\n RAVEN bravely tries to touch up her makeup.", "mirrors, beat up barber chairs, filthy hair driers\n and mangy beauty supplies.\n HONEY, tied to a barber chair, still dressed in her", "CECIL\n (Lovingly, to HONEY)\n I kidnapped the right star,\n didn't I?\n HONEY smiles weakly.", "HONEY\n (Screams in pain,\n\n SPUTTERING)\n Oh God, please!", "- 12 -\n\n HONEY\n (Turning on him with a", "HONEY\n (In a sudden tirade)\n Did you hear what that little\n bitch said to me?\n\n LIBBY\n She didn't know.", "HONEY's blindfold and gag as she sputters in terror.\n We see LEWIS has D-A-V-I-D L-Y-N-C-H tattooed on his", "- 108 -\n HONEY, charred and still sizzling, smiles weakly and\n feels her almost bald head.", "CHERISH\n (Continuing her story)\n \"Fuck her!\" yelled my grandmother.\n\n (TO HONEY)\n\n (MORE)", "HONEY\n (Getting even better)\n Somebody's gotta pay for\n this insult!\n CECIL silently mouths the dialogue along with HONEY.", "CECIL\n .but only the ones willing\n to dia for it succeed.\n HONEY looks into CECIL's face and lets out a sob of\n terror.", "struggle up to her. HONEY sighs in sexual frustration.\n CHERISH runs to dying CECIL, unzips his pants and mounts\n him.", "MAID\n Good luck, Miss Whitlock!\n HONEY's face freezes in horror as elevator doors\n open and she is led inside.", "HONEY turns back to mob in front of her and gives them a\n demented movie star grin.", "PAM\n (Frantically adjusting her lens)\n Visions of light!\n HONEY gulps as bullets whiz around her head and then\n jumps right back into character.", "HONEY is shocked when the POLICE tackle her and\n place her under arrest.\n DINAH grabs FILM COMMISSIONER and uses him as a" ], [ "CECIL steps forward with CHERISH and pulls his empty\n gun. A trickle of blood runs from CECIL's mouth as\n CHERISH lunges for MANAGER's shotgun.", "THAT'S A CUT!\n CECIL is shot in the left shoulder by POLICE.\n HONEY kisses RAVEN goodbye and makes a break for it\n and runs towards MARINE POLICE.", "come running in, tying handkerchiefs around their noses\n and mouths and filming the action. CECIL fires his gun\n in air. AUDIENCE turns around in confusion.", "- 110 -\n CECIL lunges for dropped gun of SWAT TEAM A and shoots\n SWAT B dead, struggles aboard dolly and nods to FIDGET\n to douse him with gas.", "CECIL disengages CHERISH's dead body up and off of him\n and seeing HONEY in danger crawls painfully to Pam's\n wheelchair dolly.", "CECIL\n (Aiming his gun at HONEY,", "- 69 -\n CECIL fires and shoots out front tire of cop car.", "in neck, staggers to his feet and mows down DINAH in a\n hail of bullets.\n CECIL's eyes light up in horror at seeing DINAH's", "- 109 -\n Just after CHERISH and CECIL reach orgasm, CHERISH is\n shot dead in the forehead by SWAT TEAM A who leaps to", "crashes into lobby as FAMILIES with CHILDREN scatter\n in fear.\n CECIL leaps from the van with gun drawn and runs to", "HONEY, horrified that the \"effect\" was real looks up\n to CECIL but he has vanished.\n Suddenly CECIL enters the ship \"directing\" through", "POLICE.\n\n HONEY\n (Realizing this could be\n her only chance)\n Alright, Cecil. I'm a professional...\n Roll the camera.", "CECIL\n .but only the ones willing\n to dia for it succeed.\n HONEY looks into CECIL's face and lets out a sob of\n terror.", "(TO COPS)\n\n HELP! IT'S ME! HONEY WHITLOCK!\n\n CECIL\n (Furious, to HONEY)", "CECIL drags a screaming HONEY off stage as RODNEY\n runs interference, firing wildly over screaming\n AUDIENCE's heads.", "THAT MEANS YOU, FUCKERS!\n CECIL fires his gun and kills TEAMSTER B.\n CECIL is shot in the chest by TEAMSTER C and falls to", "CECIL\n\n CUT!\n\n DIRECTOR\n (Looking up in shock)\n What the hell?", "CECIL\n (Smiling, to HONEY)\n Prove yourself, Honey.\n HONEY spots a marine police boat quickly darting\n behind \"Pride of Baltimore,\" filled with MARINE", "SPROCKET HOLES, nursing their wounds, but still\n obsessed, aim guns at cops.\n COPS look over in total shock at CECIL, bleeding and", "fingers.\n HONEY's e yes light up in terror as she sees CECIL, now\n attired in insane grunge Cecil B. DeMille inspired" ], [ "City of Baltimore, do hereby\n proclaim April 29th to be Honey\n Whitlock Day in Maryland and do\n command this observation to all", "Maryland Heart Fund died tonight\n at Union Memorial Hospital\n following an on stage heart\n attack she suffered in the middle\n of Honey Whitlock's kidnapping at", "6. INTERIOR HONEY'S HOTEL ROOM. 6.\n HONEY's mean face glares out window at the twinkling\n lights of Baltimore's Inner Harbor in the early\n evening.", "CECIL\n Good morning, Miss Whitlock.\n\n HONEY\n\n (SOBBING)\n Cecil, I want to go back to\n Hollywood!", "HONEY WHITLOCK!\n He blasts the blow drier on finished hairdo and\n flames singe her neck.\n\n HONEY", "HONEY\n\n I LOVE YOU, BALTIMORE!", "(TO HONEY)\n You're under arrest, Honey\n Whitlock!", "HONEY WHITLOCK!", "Whitlock as they sell popcorn and ring up sales to\n scores of Honey Whitlock look-a-likes from the drive-in\n audience.", "18. Cut back to EXTERIOR HARBOR COURT HOTEL. 18.\n Closeup of HONEY WHITLOCK's furious face as she stares in", "HONEY\n DON'T SHOOT! I'm Honey Whitlock\n and I've been kidnapped!", "CECIL\n That's more like it, Miss Whitlock!\n CHERISH gives HONEY a suddenly jealous look.", "BOX OFFICE LADY\n Oh my God, it's Honey Whitlock!\n\n CECIL\n (Yelling to \"actors\" into", "BALTIMORE.\n Helicopter shot of speeding police car taking HONEY", "HONEY\n Look at this dump of a town!\n HONEY turns to her long suffering assistant, LIBBY.\n The press is gone and they are alone.", "MAID\n Good luck, Miss Whitlock!\n HONEY's face freezes in horror as elevator doors\n open and she is led inside.", "up next to him is HONEY, still dressed it same costume\n from last scene but now wearing a bad \"Honey Whitlock\"\n wig.", "DIRECTOR\n Are you this desperate for\n publicity, Honey Whitlock?\n\n HONEY\n (Aiming gun at DIRECTOR)", "THAT'S A CUT!\n CECIL is shot in the left shoulder by POLICE.\n HONEY kisses RAVEN goodbye and makes a break for it\n and runs towards MARINE POLICE.", "(TO COPS)\n\n HELP! IT'S ME! HONEY WHITLOCK!\n\n CECIL\n (Furious, to HONEY)" ], [ "CECIL\n (To FAMILIES,\n aiming gun in the air)\n\n I AM CECIL B. DEMENTED, THE", "MANAGER\n Who is it?\n\n CECIL\n Cecil B. DeMented.\n\n MANAGER\n (Thinking it's one of", "CECIL\n I am Cecil B. DeMented and you're\n in my movie! Look in the camera", "bizarre short hairdo and pulls gun.\n SINCLAIR STEVENS will be referred to by his terrorist\n name \"CECIL B. DEMENTED\" for the rest of the script.", "\n\n\n CECIL B. DEMENTED\n\n\n\n Written by\n\n John Waters", "CECIL\n .Hello, I'm Cecil B. DeMented\n and I'm your new director...\n HONEY stares in confused horror.", "CECIL\n I I am Cecil B. DeMented and\n this picture is TERMINATED.", "CECIL\n Hello, this is Cecil B. DeMented\n speaking to you directly from\n this theater...", "CECIL the \"Cecil B. DeMented\" tattoo on his arm.\n CECIL suddenly basks in cult worship.\n HONEY beams in happiness.", "out and \"Cecil B. DeMented\" title logo fades into\n marquee in all its terrorist glory.", "I AM CECIL B. DEMENTED!...\n (Rips off his short-haired\n wig to reveal bleached\n\n PUNK-CUT HAIR)", "HONEY looks over in fear as the SPROCKET HOLES, now\n changed from their theater uniforms into their own\n scary \"terrorist chic\" fashions, gather around CECIL in a", "I'M CECIL B. DEMENTED, THE ULTIMATE", "DEMENTED FOREVER!\n GROUPIE gives her the power fist sign.\n CECIL is shocked and glares at HONEY and SPROCKET HOLES", "Cecil's picture and the slogan \"PUNISH BAD CINEMA.\" One\n of the girls is dressed as Honey Whitlock and made up\n with fake bruises.", "CECIL\n There are no creative differences on\n a Cecil B. DeMented set, Miss Whitlock.", "- 110 -\n CECIL lunges for dropped gun of SWAT TEAM A and shoots\n SWAT B dead, struggles aboard dolly and nods to FIDGET\n to douse him with gas.", "CECIL grins like a lunatic as PAM and CHARDONNAY aim the\n camera and sound boom at the door. DINAH holds\n clapboard.", "dive out of the way and GANG chants \"Battle of\n Algiers\"-type revolutionary yell.\n CECIL fires his gun out back window and shatters the", "PETIE\n\n CECIL B. DEMENTED WANTS\n\n YOUR KEYS!" ], [ "CECIL\n (To HONEY, ever the", "CECIL\n (Aiming his gun at HONEY,", "CECIL\n .but only the ones willing\n to dia for it succeed.\n HONEY looks into CECIL's face and lets out a sob of\n terror.", "CECIL\n This is it - our final location.\n\n CHERISH\n (Excited, to HONEY)\n We're gonna get laid!", "HONEY\n (Getting even better)\n Somebody's gotta pay for\n this insult!\n CECIL silently mouths the dialogue along with HONEY.", "HONEY\n No...not at all.\n\n CECIL\n It's all behind you now, Cherish.\n (Looking out window)\n We're here...", "CECIL\n\n (PREOCCUPIED)\n Now Honey...I want you to do a\n little stunt for this scene...\n\n HONEY", "CECIL\n Good morning, Miss Whitlock.\n\n HONEY\n\n (SOBBING)\n Cecil, I want to go back to\n Hollywood!", "struggle up to her. HONEY sighs in sexual frustration.\n CHERISH runs to dying CECIL, unzips his pants and mounts\n him.", "CECIL disengages CHERISH's dead body up and off of him\n and seeing HONEY in danger crawls painfully to Pam's\n wheelchair dolly.", "- 67 -\n CECIL smiles benevolently at HONEY.", "HONEY\n\n (SPEECHLESS)\n I. .wouldn't.\n\n CECIL\n It's ok, Cherish. This way..", "HONEY, horrified that the \"effect\" was real looks up\n to CECIL but he has vanished.\n Suddenly CECIL enters the ship \"directing\" through", "CECIL\n (Hissing to HONEY)\n Say the lines!\n\n HONEY\n (To AUDIENCE, ferociously", "HONEY looks for help but she is suddenly all alone.\n CECIL pushes himself forward on wheelchair dolly,\n gaining speed and begins laughing maniacally.", "(TO CECIL)\n BUT £iE. DOESN'T BELIEVE ME!\n\n HONEY\n I. .I believe you.", "- 63 -\n\n CECIL\n Blanks ...trust me Honey.\n HONEY gulps.\n\n CECIL", "CECIL\n (Finishing up last page\n of script, to HONEY, LYLE", "CECIL\n (Suddenly the dictator again)\n Let's move on!\n\n HONEY\n\n (SHOCKED)\n What? No coverage?", "TO HONEY)\n Do my tits look OK? They're\n bigger than yours, you know.\n\n HONEY\n Cecil, please don't make me do\n this scene..." ], [ "THAT'S A CUT!\n CECIL is shot in the left shoulder by POLICE.\n HONEY kisses RAVEN goodbye and makes a break for it\n and runs towards MARINE POLICE.", "CECIL\n (Smiling, to HONEY)\n Prove yourself, Honey.\n HONEY spots a marine police boat quickly darting\n behind \"Pride of Baltimore,\" filled with MARINE", "1. Film opens with beautiful shot of the skyline of\n downtown Baltimore in the spring. Credits begin.", "CECIL\n (To FAMILIES,\n aiming gun in the air)\n\n I AM CECIL B. DEMENTED, THE", "CECIL\n (Aiming his gun at HONEY,", "CECIL steps forward with CHERISH and pulls his empty\n gun. A trickle of blood runs from CECIL's mouth as\n CHERISH lunges for MANAGER's shotgun.", "CECIL\n This is it - our final location.\n\n CHERISH\n (Excited, to HONEY)\n We're gonna get laid!", "dive out of the way and GANG chants \"Battle of\n Algiers\"-type revolutionary yell.\n CECIL fires his gun out back window and shatters the", "in neck, staggers to his feet and mows down DINAH in a\n hail of bullets.\n CECIL's eyes light up in horror at seeing DINAH's", "CECIL\n (To HONEY as he fires his gun)\n\n FINISH THE FUCKING SCENE!\n\n HONEY\n (Suddenly jumping back", "- 69 -\n CECIL fires and shoots out front tire of cop car.", "- 110 -\n CECIL lunges for dropped gun of SWAT TEAM A and shoots\n SWAT B dead, struggles aboard dolly and nods to FIDGET\n to douse him with gas.", "crashes into lobby as FAMILIES with CHILDREN scatter\n in fear.\n CECIL leaps from the van with gun drawn and runs to", "come running in, tying handkerchiefs around their noses\n and mouths and filming the action. CECIL fires his gun\n in air. AUDIENCE turns around in confusion.", "79. Wipe to EXTERIOR SPROCKET HOUSE. 79.\n Doors swing open and CECIL's speeding van, driven", "CECIL\n ALL EXTRAS - keep eating the\n oysters or you will be shot\n and killed!\n\n DINAH\n (Shoving party guests", "CECIL\n\n (TO HONEY)\n That's your mark. When you\n hear \"Action,\" jump through\n the window, and land facing\n Pam's camera.", "THAT MEANS YOU, FUCKERS!\n CECIL fires his gun and kills TEAMSTER B.\n CECIL is shot in the chest by TEAMSTER C and falls to", "CECIL nods to DINAH to start tape and we see a\n TEENAGE BOY on news in front of vandalized Timonium\n theater.", "CECIL\n\n ACTION!" ], [ "THAT'S A CUT!\n CECIL is shot in the left shoulder by POLICE.\n HONEY kisses RAVEN goodbye and makes a break for it\n and runs towards MARINE POLICE.", "- 110 -\n CECIL lunges for dropped gun of SWAT TEAM A and shoots\n SWAT B dead, struggles aboard dolly and nods to FIDGET\n to douse him with gas.", "CECIL steps forward with CHERISH and pulls his empty\n gun. A trickle of blood runs from CECIL's mouth as\n CHERISH lunges for MANAGER's shotgun.", "THAT MEANS YOU, FUCKERS!\n CECIL fires his gun and kills TEAMSTER B.\n CECIL is shot in the chest by TEAMSTER C and falls to", "- 69 -\n CECIL fires and shoots out front tire of cop car.", "CECIL, PAM and CHERISH are cornered by TEAMSTERS E, G &\n H who advance on crane with drawn guns.\n PETIE throws his hands in the air.", "dive out of the way and GANG chants \"Battle of\n Algiers\"-type revolutionary yell.\n CECIL fires his gun out back window and shatters the", "DINAH sees that CECIL has been hit and a look of fury\n sweeps over her face.\n CECIL fires gun at TEAMSTERS F, G & H as they flood the", "crashes into lobby as FAMILIES with CHILDREN scatter\n in fear.\n CECIL leaps from the van with gun drawn and runs to", "CECIL drags a screaming HONEY off stage as RODNEY\n runs interference, firing wildly over screaming\n AUDIENCE's heads.", "ACTION!\n COPS fire at CECIL but PETIE swerves the van\n expertly to make them a hard target. SPROCKET HOLES\n shoot back but they are beginning to run out of\n ammunition.", "PAM continues to film, bleeding badly from her wound.\n DINAH suddenly runs in front of CECIL in a kamikaze\n action and opens fire killing TEAMSTERS E, G & H.", "CECIL fires but he is out of ammunition.\n DINAH frantically reloads her weapons.\n CHERISH fires but then she too is out of ammunition.", "- 109 -\n Just after CHERISH and CECIL reach orgasm, CHERISH is\n shot dead in the forehead by SWAT TEAM A who leaps to", "come running in, tying handkerchiefs around their noses\n and mouths and filming the action. CECIL fires his gun\n in air. AUDIENCE turns around in confusion.", "CECIL\n (Aiming his gun at HONEY,", "charging out of theater, firing their guns to cover\n their escape.\n CECIL drags HONEY outside, still in a chokehold as", "in neck, staggers to his feet and mows down DINAH in a\n hail of bullets.\n CECIL's eyes light up in horror at seeing DINAH's", "- 20 -\n Back window is blasted out by COP's bullet.\n\n CECIL\n I fuckin' hate car chase scenes!", "SPROCKET HOLES, nursing their wounds, but still\n obsessed, aim guns at cops.\n COPS look over in total shock at CECIL, bleeding and" ], [ "HONEY looks in confusion to CECIL who smiles proudly\n back. Tape jumps to a different news show showing", "AUDIENCE hits the floor screaming in panic.\n RODNEY pulls a gun and fires into air as HONEY\n screams in horror.", "THAT'S A CUT!\n CECIL is shot in the left shoulder by POLICE.\n HONEY kisses RAVEN goodbye and makes a break for it\n and runs towards MARINE POLICE.", "CHERISH fires her gun in the nick of time and kills\n TEAMSTER D and saves HONEY's life.\n HONEY locks eyes with CHERISH in a newfound thespian", "PRODUCER C clutches his stomach and doubles over.\n HONEY covers her mouth in real horror.\n Instantly PRODUCER C recovers, realizing the bullet", "- 88 -\n Suddenly TEAMSTER D jumps from trap door in set floor\n with gun aimed at HONEY.", "HONEY, looking more relaxed, with only one leg cuffed to\n director's chair, watches herself on film in the arty,\n grainy, but very striking footage.", "CECIL\n (Aiming his gun at HONEY,", "F\n his knees in great pain.\n PAM pans the camera back to TEAMSTER C and shoots her\n gun and kills him.", "CECIL drags a screaming HONEY off stage as RODNEY\n runs interference, firing wildly over screaming\n AUDIENCE's heads.", "CHERISH, firing her gun wildly, runs to LYLE and\n manages to pull him \"off set\" as HONEY freezes in\n terror deciding between her director or the POLICE.", "HONEY looks around cell and sees giant stills blown up\n from her past films showing her in physical and\n emotional distress.", "HOOOONNNEEEEYYY!\n As HONEY is roughly shoved in back seat of cop car,\n SPROCKET HOLES open fire and blast out back window.", "PAM\n (Frantically adjusting her lens)\n Visions of light!\n HONEY gulps as bullets whiz around her head and then\n jumps right back into character.", "OF BALTIMORE.\"\n HONEY aims gun at PRODUCER C, terrified the gun is\n as real as her grenade was.\n\n PRODUCER C", "HONEY\n\n DEATH TO ALL WHO ARE\n\n CINEMATICALLY INCORRECT!\n (Fires her gun in air)", "HONEY throws what she thinks is her \"prop\" grenade.\n The FILM COMMISSIONER dives out of the way and it\n explodes.", "HONEY\n (Getting even better)\n Somebody's gotta pay for\n this insult!\n CECIL silently mouths the dialogue along with HONEY.", "SWAT B shoots GROUPIE from atop roof and kills him.\n HONEY cries out at his death and panics as SWAT TEAM", "DIRECTOR\n Are you this desperate for\n publicity, Honey Whitlock?\n\n HONEY\n (Aiming gun at DIRECTOR)" ], [ "HONEY lets gown fall to floor and steps out of it.\n She is wearing beautiful lingerie.", "HONEY\n No...not at all.\n\n CECIL\n It's all behind you now, Cherish.\n (Looking out window)\n We're here...", "(TO HONEY)\n See Pam?\n HONEY looks down to PAM, and sees PAM putting\n gaffer's tape mark on deck of ship.", "HONEY\n (Getting even better)\n Somebody's gotta pay for\n this insult!\n CECIL silently mouths the dialogue along with HONEY.", "CECIL watches in sudden horniness but catches himself.\n CHERISH looks over at HONEY, proud of her on-screen\n work.", "HONEY\n Ah, what a town!\n HONEY is dressed for the premiere in an elegant evening", "HONEY\n Oh, God, I look terrible!\n (Breaks into sobs)\n CECIL and SPROCKET HOLES applaud triumphantly.", "HONEY\n\n (SPEECHLESS)\n I. .wouldn't.\n\n CECIL\n It's ok, Cherish. This way..", "CECIL\n (Suddenly the dictator again)\n Let's move on!\n\n HONEY\n\n (SHOCKED)\n What? No coverage?", "HONEY\n Look at this dump of a town!\n HONEY turns to her long suffering assistant, LIBBY.\n The press is gone and they are alone.", "(TO HONEY)\n Hey, that's pretty good...\n\n HONEY\n (Suddenly the consummate", "- 12 -\n\n HONEY\n (Turning on him with a", "HONEY, horrified that the \"effect\" was real looks up\n to CECIL but he has vanished.\n Suddenly CECIL enters the ship \"directing\" through", "HONEY\n (In character, chanting)\n\n VANDALIZE THE MOVIES! GIVE", "HONEY turns back to mob in front of her and gives them a\n demented movie star grin.", "HONEY looks in confusion to CECIL who smiles proudly\n back. Tape jumps to a different news show showing", "HONEY, looking more relaxed, with only one leg cuffed to\n director's chair, watches herself on film in the arty,\n grainy, but very striking footage.", "JAY LENO and STUDIO AUDIENCE howls in laughter.\n HONEY stares at TV, betrayed as RAVEN gently puts her\n t arms around her in comfort.", "JOCK A\n Her career is over!\n GROUPIE hears and tries to turn back to confront JOCKS\n but HONEY grabs him.", "Tape cuts to LIBBY, HONEY's assistant, talking to\n ENTERTAINMENT TONIGHT. Subtitle on TV read \"Honey\n Whitlock's Personal Assistant.\"" ], [ "Suddenly CECIL enters dressed to the nines in another\n lunatic \"movie director\" outfit. He is accompanied by\n DINAH, who is even more severely dressed in thrift-shop", "HONEY, horrified that the \"effect\" was real looks up\n to CECIL but he has vanished.\n Suddenly CECIL enters the ship \"directing\" through", "CECIL, PAM and CHERISH are cornered by TEAMSTERS E, G &\n H who advance on crane with drawn guns.\n PETIE throws his hands in the air.", "CECIL\n This is Cherish...\n CHERISH, now heavily made-up and dressed \"riot-girl\"", "CECIL fires but he is out of ammunition.\n DINAH frantically reloads her weapons.\n CHERISH fires but then she too is out of ammunition.", "crashes into lobby as FAMILIES with CHILDREN scatter\n in fear.\n CECIL leaps from the van with gun drawn and runs to", "CECIL's bizarrely decored crane that doubles as their\n love nest. CECIL is frantically trying to write his", "GUARDS.\n On other side of van exit LYLE, CHERISH and HONEY as\n CECIL leads them towards abandoned pier building\n next to ship.", "CECIL\n This is it - our final location.\n\n CHERISH\n (Excited, to HONEY)\n We're gonna get laid!", "- 110 -\n CECIL lunges for dropped gun of SWAT TEAM A and shoots\n SWAT B dead, struggles aboard dolly and nods to FIDGET\n to douse him with gas.", "THAT'S A CUT!\n CECIL is shot in the left shoulder by POLICE.\n HONEY kisses RAVEN goodbye and makes a break for it\n and runs towards MARINE POLICE.", "HONEY looks over in fear as the SPROCKET HOLES, now\n changed from their theater uniforms into their own\n scary \"terrorist chic\" fashions, gather around CECIL in a", "CECIL\n (Grabbing microphone and\n addressing his followers)\n SOLDIERS OF CINEMA, save your", "I HATE THESE FUCKING THINGS!\n CECIL enters with HONEY as RODNEY and RAVEN follow,", "CECIL\n\n ACTION!", "PAM continues to film, bleeding badly from her wound.\n DINAH suddenly runs in front of CECIL in a kamikaze\n action and opens fire killing TEAMSTERS E, G & H.", "CECIL and CHERISH lie asleep twisted and entwined in\n the sheets, tortured by their erotic dreams.\n Suddenly, one of CECIL's bloodshot eyes open and", "CECIL steps forward with CHERISH and pulls his empty\n gun. A trickle of blood runs from CECIL's mouth as\n CHERISH lunges for MANAGER's shotgun.", "CECIL, HONEY and SPROCKET HOLES stagger around\n corner and CHERISH beckons them to follow.", "charging out of theater, firing their guns to cover\n their escape.\n CECIL drags HONEY outside, still in a chokehold as" ], [ "Suddenly PETIE appears from back hallway and pistol whips\n TEAMSTER B who is supposed to be guarding the door.\n As TEAMSTERS leap to their feet, LEWIS, DINAH and", "CECIL, PAM and CHERISH are cornered by TEAMSTERS E, G &\n H who advance on crane with drawn guns.\n PETIE throws his hands in the air.", "F\n his knees in great pain.\n PAM pans the camera back to TEAMSTER C and shoots her\n gun and kills him.", "THAT MEANS YOU, FUCKERS!\n CECIL fires his gun and kills TEAMSTER B.\n CECIL is shot in the chest by TEAMSTER C and falls to", "TEAMSTERS.\n CHERISH, on screen, goes into theatrical orgasm.\n\n CHERISH\n\n (ON SCREEN)", "LEWIS and DINAH yank TEAMSTER A's twitching body\n inside truck and PETIE quickly slams door shut.", "WRAP IT UP AND RUN!\n CECIL, his \"cast and crew\" take off, chanting their\n terrorist yell.", "PETIE screeches to a sudden stop. HE checks rear-view\n mirror and realizes they have escaped their POLICE\n pursuers.", "- 86 -\n TEAMSTERS B, C, D & E are running to set, tossing\n guns to each other.", "TEAMSTERS they've overtaken.\n LEWIS spots an issue of \"Variety\" and sneaks a look\n inside before rushing inside studio with FIDGET.", "bleeding TEAMSTER F staggers out of studio and\n collapses. TEAMSTERS I & J come around corner, sae\n what's happening and take off after CECIL and SPROCKET", "119 INTERIOR \"STUDIO TWELVE.\" ENTRANCE. 119\n TEAMSTERS, now conscious, are struggling to free one\n another from SPROCKET HOLE restraints.", "TEAMSTERS stop in their tracks, horrified to face their\n horny opponents, some of whom are unzipped.", "ACTION!\n TEAMSTER A freezes in shock.\n PETIE quickly pulls out stun gun and zaps TEAMSTER A\n in neck.", "- 88 -\n Suddenly TEAMSTER D jumps from trap door in set floor\n with gun aimed at HONEY.", "TEAMSTER I\n Where are they, pervert?", "- 85 -\n\n TEAMSTER C\n We'll get their little 16mm\n asses.", "charging out of theater, firing their guns to cover\n their escape.\n CECIL drags HONEY outside, still in a chokehold as", "CHERISH runs to crane and hops on with CECIL and shoots\n at TEAMSTERS D & E who rush in.", "PAM continues to film, bleeding badly from her wound.\n DINAH suddenly runs in front of CECIL in a kamikaze\n action and opens fire killing TEAMSTERS E, G & H." ], [ "CECIL\n (To HONEY as he fires his gun)\n\n FINISH THE FUCKING SCENE!\n\n HONEY\n (Suddenly jumping back", "CECIL\n This is it - our final location.\n\n CHERISH\n (Excited, to HONEY)\n We're gonna get laid!", "CECIL\n (Hissing to HONEY)\n Say the lines!\n\n HONEY\n (To AUDIENCE, ferociously", "CECIL\n Honey, I've had a final vision.\n Would you set your hair on fire\n for our movie...?\n\n HONEY", "CECIL\n\n (PREOCCUPIED)\n Now Honey...I want you to do a\n little stunt for this scene...\n\n HONEY", "HONEY\n No...not at all.\n\n CECIL\n It's all behind you now, Cherish.\n (Looking out window)\n We're here...", "CECIL\n (To HONEY, ever the", "CECIL\n (Always the director, happy)\n It's OK! We got it on film!\n\n (TO HONEY)\n Keep going!", "CECIL\n (Aiming his gun at HONEY,", "CECIL\n .but only the ones willing\n to dia for it succeed.\n HONEY looks into CECIL's face and lets out a sob of\n terror.", "CECIL\n (Finishing up last page\n of script, to HONEY, LYLE", "TO HONEY)\n Do my tits look OK? They're\n bigger than yours, you know.\n\n HONEY\n Cecil, please don't make me do\n this scene...", "HONEY, horrified that the \"effect\" was real looks up\n to CECIL but he has vanished.\n Suddenly CECIL enters the ship \"directing\" through", "CECIL\n (Coughs up blood)\n\n ACTION!\n\n HONEY\n (Snapping into character)", "CECIL\n\n (TO HONEY)\n That's your mark. When you\n hear \"Action,\" jump through\n the window, and land facing\n Pam's camera.", "struggle up to her. HONEY sighs in sexual frustration.\n CHERISH runs to dying CECIL, unzips his pants and mounts\n him.", "HONEY\n Oh, God, I look terrible!\n (Breaks into sobs)\n CECIL and SPROCKET HOLES applaud triumphantly.", "CECIL\n Good morning, Miss Whitlock.\n\n HONEY\n\n (SOBBING)\n Cecil, I want to go back to\n Hollywood!", "HONEY\n (Getting even better)\n Somebody's gotta pay for\n this insult!\n CECIL silently mouths the dialogue along with HONEY.", "HONEY\n (Snapping into character)\n\n LONG LIVE GUERILLA FILMMAKING!\n\n CECIL\n (Ducking bullets but" ], [ "CECIL steps forward with CHERISH and pulls his empty\n gun. A trickle of blood runs from CECIL's mouth as\n CHERISH lunges for MANAGER's shotgun.", "- 110 -\n CECIL lunges for dropped gun of SWAT TEAM A and shoots\n SWAT B dead, struggles aboard dolly and nods to FIDGET\n to douse him with gas.", "DINAH sees that CECIL has been hit and a look of fury\n sweeps over her face.\n CECIL fires gun at TEAMSTERS F, G & H as they flood the", "CECIL fires but he is out of ammunition.\n DINAH frantically reloads her weapons.\n CHERISH fires but then she too is out of ammunition.", "charity of its fund, pulls a large gun and runs out\n of cashier's booth.\n 43. Cut back to INTERIOR SENATOR THEATER. STAGE. 43.", "crashes into lobby as FAMILIES with CHILDREN scatter\n in fear.\n CECIL leaps from the van with gun drawn and runs to", "THAT MEANS YOU, FUCKERS!\n CECIL fires his gun and kills TEAMSTER B.\n CECIL is shot in the chest by TEAMSTER C and falls to", "dive out of the way and GANG chants \"Battle of\n Algiers\"-type revolutionary yell.\n CECIL fires his gun out back window and shatters the", "PAM continues to film, bleeding badly from her wound.\n DINAH suddenly runs in front of CECIL in a kamikaze\n action and opens fire killing TEAMSTERS E, G & H.", "Suddenly PETIE appears from back hallway and pistol whips\n TEAMSTER B who is supposed to be guarding the door.\n As TEAMSTERS leap to their feet, LEWIS, DINAH and", "come running in, tying handkerchiefs around their noses\n and mouths and filming the action. CECIL fires his gun\n in air. AUDIENCE turns around in confusion.", "- 19 -\n it.\n DINAH comes running, firing into the air, and throws", "and guard the \"set.\"\n LYLE and CHERISH enter in character with their guns\n drawn.\n LYLE grabs an over-sized cup from behind counter.", "PRODUCER C clutches his stomach and doubles over.\n HONEY covers her mouth in real horror.\n Instantly PRODUCER C recovers, realizing the bullet", "to dodge the bullets as CECIL and CHERISH fire back at\n TEAMSTERS G & H, and PAM continues to film.\n PAM is shot in stomach by TEAMSTER G.", "charging out of theater, firing their guns to cover\n their escape.\n CECIL drags HONEY outside, still in a chokehold as", "F\n his knees in great pain.\n PAM pans the camera back to TEAMSTER C and shoots her\n gun and kills him.", "CECIL, PAM and CHERISH are cornered by TEAMSTERS E, G &\n H who advance on crane with drawn guns.\n PETIE throws his hands in the air.", "- 109 -\n Just after CHERISH and CECIL reach orgasm, CHERISH is\n shot dead in the forehead by SWAT TEAM A who leaps to", "- 88 -\n Suddenly TEAMSTER D jumps from trap door in set floor\n with gun aimed at HONEY." ], [ "mirrors, beat up barber chairs, filthy hair driers\n and mangy beauty supplies.\n HONEY, tied to a barber chair, still dressed in her", "HONEY is injured but alive and struggles to climb\n out of car handcuffed as RAVEN rushes to touch her\n up and HONEY eagerly embraces her.", "\"dressing room\"; a bizarrely decorated prison cell\n fit for a movie queen.\n HONEY is blindfolded, gagged and tied to a director's", "HONEY\n OWWWW!! Please... please...\n (Trying a new tactic)\n Raven, you're a pretty girl,\n you could escape this madness...", "HONEY's blindfold and gag as she sputters in terror.\n We see LEWIS has D-A-V-I-D L-Y-N-C-H tattooed on his", "- 22 -\n away in fear.\n Limo bumps down road at high speed and trunk door\n bangs shut, knocking HONEY into submission.\n Limo makes a fast right.", "HONEY\n (Screams in pain,\n\n SPUTTERING)\n Oh God, please!", "HONEY looks for help but she is suddenly all alone.\n CECIL pushes himself forward on wheelchair dolly,\n gaining speed and begins laughing maniacally.", "HONEY\n Look at this dump of a town!\n HONEY turns to her long suffering assistant, LIBBY.\n The press is gone and they are alone.", "HONEY\n No...not at all.\n\n CECIL\n It's all behind you now, Cherish.\n (Looking out window)\n We're here...", "CECIL\n (Aiming his gun at HONEY,", "HONEY\n DON'T SHOOT! I'm Honey Whitlock\n and I've been kidnapped!", "MAID\n Good luck, Miss Whitlock!\n HONEY's face freezes in horror as elevator doors\n open and she is led inside.", "- 108 -\n HONEY, charred and still sizzling, smiles weakly and\n feels her almost bald head.", "- 12 -\n\n HONEY\n (Turning on him with a", "HONEY is shocked when the POLICE tackle her and\n place her under arrest.\n DINAH grabs FILM COMMISSIONER and uses him as a", "CECIL\n .but only the ones willing\n to dia for it succeed.\n HONEY looks into CECIL's face and lets out a sob of\n terror.", "6. INTERIOR HONEY'S HOTEL ROOM. 6.\n HONEY's mean face glares out window at the twinkling\n lights of Baltimore's Inner Harbor in the early\n evening.", "HONEY looks around cell and sees giant stills blown up\n from her past films showing her in physical and\n emotional distress.", "CECIL\n (Lovingly, to HONEY)\n I kidnapped the right star,\n didn't I?\n HONEY smiles weakly." ], [ "GROUPIE defiantly puts him arm around HONEY as she begs\n CECIL with her eyes for approval.\n GROUPIE smiles and pulls up shirt sleeve to reveal to", "CECIL\n (Aiming his gun at HONEY,", "CECIL\n (To HONEY, ever the", "CECIL\n This is it - our final location.\n\n CHERISH\n (Excited, to HONEY)\n We're gonna get laid!", "CECIL\n Your fans...\n HONEY looks to GROUPIE in a sea of cheering FANS. He is", "CECIL\n .but only the ones willing\n to dia for it succeed.\n HONEY looks into CECIL's face and lets out a sob of\n terror.", "Cecil's picture and the slogan \"PUNISH BAD CINEMA.\" One\n of the girls is dressed as Honey Whitlock and made up\n with fake bruises.", "CECIL\n .The slash and burn of the\n white hot metal will brand you\n forever with the logo of Cecil B.", "CECIL\n .and her violence prone\n daughter, Cherish...\n CHERISH enters in eye-popping \"super model goes bad\"\n look as HONEY's eyes light up in horror.", "struggle up to her. HONEY sighs in sexual frustration.\n CHERISH runs to dying CECIL, unzips his pants and mounts\n him.", "HONEY\n No...not at all.\n\n CECIL\n It's all behind you now, Cherish.\n (Looking out window)\n We're here...", "CECIL\n That's more like it, Miss Whitlock!\n CHERISH gives HONEY a suddenly jealous look.", "fingers.\n HONEY's e yes light up in terror as she sees CECIL, now\n attired in insane grunge Cecil B. DeMille inspired", "CECIL the \"Cecil B. DeMented\" tattoo on his arm.\n CECIL suddenly basks in cult worship.\n HONEY beams in happiness.", "- 67 -\n CECIL smiles benevolently at HONEY.", "CECIL\n This is Cherish...\n CHERISH, now heavily made-up and dressed \"riot-girl\"", "CECIL, HONEY and SPROCKET HOLES stagger around\n corner and CHERISH beckons them to follow.", "CECIL\n (Hissing excitedly to\n CHERISH and LYLE, and handing", "DEMENTED FOREVER!\n GROUPIE gives her the power fist sign.\n CECIL is shocked and glares at HONEY and SPROCKET HOLES", "outfit. He then wheels full-length mirror to HONEY and\n signals to CECIL she is ready.\n HONEY sees her transformation into terrorist glamour" ], [ "DINAH zaps on TV and we see MIDDLE-AGED MAN in suit\n behind podium at press conference. Subtitle", "7:10pm to ensure live coverage\n from all three local news shows.\n By the way, I hear she's really\n a nice person...", "HONEY looks in confusion to CECIL who smiles proudly\n back. Tape jumps to a different news show showing", "Tape cuts to LIBBY, HONEY's assistant, talking to\n ENTERTAINMENT TONIGHT. Subtitle on TV read \"Honey\n Whitlock's Personal Assistant.\"", "We made the news...\n CECIL nods to DINAH to turn on the VCR to show clip\n taped from TV.", "CECIL nods to DINAH to start tape and we see a\n TEENAGE BOY on news in front of vandalized Timonium\n theater.", "FOX, dressed in character sits on park bench in front of\n elaborate back drop painting of the Baltimore skyline.\n ELECTRICS scurry about tweaking the lights. HAIR and", "video footage with remote. FIDGET looks sad to see his\n PARENTS flash on the TV screen taped from WJZ TV news\n show.", "MR. STILLINGS\n Christ, there's what's-her-name\n from E Network. Look at the\n tits on her!\n LYLE hits MR. STILLINGS over the head with the film\n can.", "HONEY catches herself half smiling at the favorable\n mention.\n Tape cuts to TIMONIUM THEATER MANAGER, his head now\n bandaged.", "CHARDONNAY, now done up in outrageous homegirl\n gangster look, carries an old wrecked Nagra sound\n recorder and spins her microphone boom pole like", "PAM and CHARDONNAY aim the camera and sound microphone\n at MANAGER's stunned face.\n MANAGER looks to his shotgun.", "WJZ-TV mini-cam truck pulls up and NEWSCASTER and\n CREW jump out.", "TEAMS, all running towards her with guns and camera\n equipment. She turns away, pulls out compact and sees\n her smeared makeup. She looks for RAVEN to touch her up", "JAY LENO and STUDIO AUDIENCE howls in laughter.\n HONEY stares at TV, betrayed as RAVEN gently puts her\n t arms around her in comfort.", "CECIL\n (Suddenly the dictator again)\n Let's move on!\n\n HONEY\n\n (SHOCKED)\n What? No coverage?", "NEWSMAN\n . So once again, our top story.\n Sylvia Mallory, the fifty-two\n year old chairwoman of the", "CECIL\n\n (TO HONEY)\n You ain't seen nothing yet!\n Tape cuts to FILM COMMISSIONER, bandaged but defiant.", "RODNEY the bodyguard sit in back with HONEY as she gives\n a phone interview. PETIE the chauffeur winks sexily in", "- 30 -\n (Hearing helicopter noise\n outside, and smiling)\n .and the whole world is watching...\n\n DINAH\n (Ignoring passing police" ], [ "SHOT-ENTIRELY-IN-BALTIMORE SEQUEL\n to the Oscar-winning masterpiece,\n \"Forrest Gump\"...\n SPROCKET HOLES let out a cry of horror.", "A giant FILM CREW, all wearing \"Gump Again\" t-shirts,\n hustle and bustle on the first day of the film shoot,\n hauling expensive film equipment inside, setting up", "FILM COMMISSIONER\n .starring Michael J. Fox!\n Tape cuts to MICHAEL J. FOX dressed in Forrest Gump\n look. Subtitle reads \"Live in Baltimore.\"", "Cut to \"Towson Commons,\" a modern cineplex down the\n street. All the titles listed on marquee are\n sequels. Sequel titles fade out and our credits\n fade in on marquee.", "MICHAEL J. FOX\n Hi, I'm Forrest Gump...\n\n LARGE LADY\n That's a damn shame...", "and gives her a furious look.\n PETIE expertly lowers them down on crane, mimicking the\n original opening shot of \"Forrest Gump.\"", "Cut to \"The Hippodrome Theater,\" one-time downtown movie\n palace, now abandoned and boarded up with broken and\n blank marquee. The credits to our movie continue by", "to Grauman's Chinese Theater in Los Angeles. Each\n displays the logo of a film title that was shot on\n location in Baltimore and premiered at this theater;", "1. Film opens with beautiful shot of the skyline of\n downtown Baltimore in the spring. Credits begin.", "FILM COMMISSIONER\n\n .\"GUMP AGAIN.\"\n CECIL's face turns to pure horror.", "FOX, dressed in character sits on park bench in front of\n elaborate back drop painting of the Baltimore skyline.\n ELECTRICS scurry about tweaking the lights. HAIR and", "(BRAVELY)\n Nobody can stop the popularity\n of \"Forrest Gump.\"\n CHARDONNAY smiles evilly and smashes the SOUND MAN's\n expensive state-of-the-art sound recorder.", "HONEY\n (Growling scarily,\n to MICHAEL J. FOX)\n\n I FUCKING HATE FORREST GUMP!", "(IN CHARACTER)\n Well, my Mama always said\n \"Gump happens.\" Shucks, I\n guess life is like a crab cake,", "Film Commission is pleased to\n announce there will be nna delay\n in tomorrow's once-secret start\n date for the 65 million dollar,", "They arrive at the amazingly inventive exterior set of\n \"RITZ CINEMA,\" a tiny guilded movie palace gone to seed.\n Marquee reads: PASOLINI FESTIVAL.", "FILM COMMISSIONER\n .That's why we're here today\n on \"The Pride of Baltimore\" to\n celebrate location shooting in", "FILM COMMISSIONER\n (Looking into camera)\n Cecil B. DeMented, you can never\n stop Hollywood! The Maryland", "CECIL\n (Always the director, happy)\n It's OK! We got it on film!\n\n (TO HONEY)\n Keep going!", "MAYOR\n (Stepping into black limo,)\n Break a leg, Miss Whitlock!\n RODNEY, in a panic, keeps checking his watch." ], [ "CECIL\n Honey, I've had a final vision.\n Would you set your hair on fire\n for our movie...?\n\n HONEY", "CECIL\n (To HONEY, ever the", "fingers.\n HONEY's e yes light up in terror as she sees CECIL, now\n attired in insane grunge Cecil B. DeMille inspired", "CECIL\n (Aiming his gun at HONEY,", "CECIL\n This is it - our final location.\n\n CHERISH\n (Excited, to HONEY)\n We're gonna get laid!", "CECIL\n .but only the ones willing\n to dia for it succeed.\n HONEY looks into CECIL's face and lets out a sob of\n terror.", "struggle up to her. HONEY sighs in sexual frustration.\n CHERISH runs to dying CECIL, unzips his pants and mounts\n him.", "HONEY\n No...not at all.\n\n CECIL\n It's all behind you now, Cherish.\n (Looking out window)\n We're here...", "TO HONEY)\n Do my tits look OK? They're\n bigger than yours, you know.\n\n HONEY\n Cecil, please don't make me do\n this scene...", "HONEY's hair on fire with one quick touch of the torch.\n HONEY's hair goes up in flames as she gives the\n performance of a lifetime as LEWIS pushes PAM on the", "CECIL\n\n (PREOCCUPIED)\n Now Honey...I want you to do a\n little stunt for this scene...\n\n HONEY", "a lighter but it doesn't really work.\n CECIL'S ENEMIES stare at HONEY's hair ablaze in shock.", "GROUPIE defiantly puts him arm around HONEY as she begs\n CECIL with her eyes for approval.\n GROUPIE smiles and pulls up shirt sleeve to reveal to", "CECIL\n (Moaning in sexual frustration)\n I S-Q want to fuck you, Cherish, but\n you know I can't...\n\n CHERISH\n Why not?!", "CECIL\n (Lovingly, to HONEY)\n I kidnapped the right star,\n didn't I?\n HONEY smiles weakly.", "CHERISH\n\n (TO CECIL)\n You mean ...we can fuck?\n\n CECIL\n (Dying but still horny,", "CECIL and CHERISH lie asleep twisted and entwined in\n the sheets, tortured by their erotic dreams.\n Suddenly, one of CECIL's bloodshot eyes open and", "HONEY\n (Getting even better)\n Somebody's gotta pay for\n this insult!\n CECIL silently mouths the dialogue along with HONEY.", "CECIL\n Good morning, Miss Whitlock.\n\n HONEY\n\n (SOBBING)\n Cecil, I want to go back to\n Hollywood!", "CECIL\n (To HONEY as he fires his gun)\n\n FINISH THE FUCKING SCENE!\n\n HONEY\n (Suddenly jumping back" ], [ "CECIL\n (Hissing excitedly to\n CHERISH and LYLE, and handing", "CECIL\n This is Cherish...\n CHERISH, now heavily made-up and dressed \"riot-girl\"", "stop in happiness at seeing the theater. CECIL\n smiles in relief and beckons his gang to follow as\n FAMILIES gain on them in fury.", "CECIL\n (Smugly, to GANG)\n Casting has been completed!\n PETIE peels out in other direction.", "CECIL and GROUPIE give each other the power handshake.", "CECIL\n Your fans...\n HONEY looks to GROUPIE in a sea of cheering FANS. He is", "Cecil's picture and the slogan \"PUNISH BAD CINEMA.\" One\n of the girls is dressed as Honey Whitlock and made up\n with fake bruises.", "CECIL\n .And now for the crew.\n PAM the popcorn girl swaggers over carrying a beat-up", "CECIL\n Lyle?\n LYLE takes a big huff of glue in plastic bag and", "CECIL, HONEY and SPROCKET HOLES stagger around\n corner and CHERISH beckons them to follow.", "CECIL\n\n (TO GANG)\n\n POWER TO THE PEOPLE WHO", "SPROCKET HOLES gulp and look to their leader for\n guidance.\n CECIL steps forward, getting right in HONEY's\n terrified face.", "HONEY looks over in fear as the SPROCKET HOLES, now\n changed from their theater uniforms into their own\n scary \"terrorist chic\" fashions, gather around CECIL in a", "CECIL, CHERISH and RAVEN's heads pop up from hiding in\n back seat under blanket.", "CECIL\n\n (TO FIDGET)\n I knew you were the weak\n one, Fidget.\n (Eyes widening in hypnotic", "CECIL and CHERISH lie asleep twisted and entwined in\n the sheets, tortured by their erotic dreams.\n Suddenly, one of CECIL's bloodshot eyes open and", "CECIL grins like a lunatic as PAM and CHARDONNAY aim the\n camera and sound boom at the door. DINAH holds\n clapboard.", "CECIL, bandaged, filthy, wide-eyed in directorial\n fanaticism rants to his followers below.", "CECIL, PAM and CHERISH are cornered by TEAMSTERS E, G &\n H who advance on crane with drawn guns.\n PETIE throws his hands in the air.", "CECIL\n (Defiantly to SWAT TEAMS as they\n throw tear gas at warring mob\n\n OF FANS)" ], [ "- 22 -\n away in fear.\n Limo bumps down road at high speed and trunk door\n bangs shut, knocking HONEY into submission.\n Limo makes a fast right.", "Trunk door flies open and HONEY screams her lungs out,\n holding on for dear life.\n HEAVY METAL KIDS, hanging out in graveyard look up and", "HONEY lets gown fall to floor and steps out of it.\n She is wearing beautiful lingerie.", "suddenly battling himself free from JOCKS A, B & C. He\n bravely beckons HONEY to jump.", "CECIL disengages CHERISH's dead body up and off of him\n and seeing HONEY in danger crawls painfully to Pam's\n wheelchair dolly.", "HONEY is injured but alive and struggles to climb\n out of car handcuffed as RAVEN rushes to touch her\n up and HONEY eagerly embraces her.", "- 108 -\n HONEY, charred and still sizzling, smiles weakly and\n feels her almost bald head.", "JOCK A\n Her career is over!\n GROUPIE hears and tries to turn back to confront JOCKS\n but HONEY grabs him.", "with HONEY and what's left of his wounded SPROCKET\n HOLES, and they limp up the street.\n CHERISH races ahead and turns the corner just as", "HONEY looks for help but she is suddenly all alone.\n CECIL pushes himself forward on wheelchair dolly,\n gaining speed and begins laughing maniacally.", "HONEY throws what she thinks is her \"prop\" grenade.\n The FILM COMMISSIONER dives out of the way and it\n explodes.", "HONEY blows RAVEN a kiss and then looks back at the\n CROWD in confusion and begins her long mad walk to", "HONEY leaps from roof into mob of FANS and lands safely\n in GROUPIE's arms. They immediately begin to kiss in\n wild abandon.", "HONEY screams, thinking she is being rescued as\n RAVEN bravely tries to touch up her makeup.", "HONEY howls in indignation as LYLE gives her a funny\n look.\n FIDGET pours her another quick martini.", "HONEY\n No...not at all.\n\n CECIL\n It's all behind you now, Cherish.\n (Looking out window)\n We're here...", "- 88 -\n Suddenly TEAMSTER D jumps from trap door in set floor\n with gun aimed at HONEY.", "(SEXILY)\n\n ACTION!\n HONEY runs and jumps through window.", "CHERISH, firing her gun wildly, runs to LYLE and\n manages to pull him \"off set\" as HONEY freezes in\n terror deciding between her director or the POLICE.", "HONEY steps from limo and waves like a true star to roar\n of approval from crowd as PRESS blinds her with\n flashbulbs." ], [ "CECIL\n .and her violence prone\n daughter, Cherish...\n CHERISH enters in eye-popping \"super model goes bad\"\n look as HONEY's eyes light up in horror.", "CECIL\n (Aiming his gun at HONEY,", "GROUPIE defiantly puts him arm around HONEY as she begs\n CECIL with her eyes for approval.\n GROUPIE smiles and pulls up shirt sleeve to reveal to", "CECIL\n (To HONEY, ever the", "CECIL\n .but only the ones willing\n to dia for it succeed.\n HONEY looks into CECIL's face and lets out a sob of\n terror.", "outfit. He then wheels full-length mirror to HONEY and\n signals to CECIL she is ready.\n HONEY sees her transformation into terrorist glamour", "Cecil's picture and the slogan \"PUNISH BAD CINEMA.\" One\n of the girls is dressed as Honey Whitlock and made up\n with fake bruises.", "CECIL\n This is Cherish...\n CHERISH, now heavily made-up and dressed \"riot-girl\"", "fingers.\n HONEY's e yes light up in terror as she sees CECIL, now\n attired in insane grunge Cecil B. DeMille inspired", "struggle up to her. HONEY sighs in sexual frustration.\n CHERISH runs to dying CECIL, unzips his pants and mounts\n him.", "CECIL\n That's more like it, Miss Whitlock!\n CHERISH gives HONEY a suddenly jealous look.", "CECIL\n Your fans...\n HONEY looks to GROUPIE in a sea of cheering FANS. He is", "CECIL\n This is it - our final location.\n\n CHERISH\n (Excited, to HONEY)\n We're gonna get laid!", "- 67 -\n CECIL smiles benevolently at HONEY.", "HONEY\n (Getting even better)\n Somebody's gotta pay for\n this insult!\n CECIL silently mouths the dialogue along with HONEY.", "CECIL\n (Hissing excitedly to\n CHERISH and LYLE, and handing", "HONEY\n No...not at all.\n\n CECIL\n It's all behind you now, Cherish.\n (Looking out window)\n We're here...", "HONEY\n Oh, God, I look terrible!\n (Breaks into sobs)\n CECIL and SPROCKET HOLES applaud triumphantly.", "CECIL\n (Hissing to HONEY)\n Say the lines!\n\n HONEY\n (To AUDIENCE, ferociously", "CECIL\n (Smiling, to HONEY)\n Prove yourself, Honey.\n HONEY spots a marine police boat quickly darting\n behind \"Pride of Baltimore,\" filled with MARINE" ], [ "HONEY WHITLOCK!", "Whitlock as they sell popcorn and ring up sales to\n scores of Honey Whitlock look-a-likes from the drive-in\n audience.", "HONEY\n DON'T SHOOT! I'm Honey Whitlock\n and I've been kidnapped!", "BOX OFFICE LADY\n Oh my God, it's Honey Whitlock!\n\n CECIL\n (Yelling to \"actors\" into", "HONEY WHITLOCK!\n He blasts the blow drier on finished hairdo and\n flames singe her neck.\n\n HONEY", "(TO HONEY)\n You're under arrest, Honey\n Whitlock!", "City of Baltimore, do hereby\n proclaim April 29th to be Honey\n Whitlock Day in Maryland and do\n command this observation to all", "Sciences when I say: Honey Whitlock,\n you are a disgrace to the Hollywood\n community!", "CECIL\n That's more like it, Miss Whitlock!\n CHERISH gives HONEY a suddenly jealous look.", "HONEY\n Look at this dump of a town!\n HONEY turns to her long suffering assistant, LIBBY.\n The press is gone and they are alone.", "up next to him is HONEY, still dressed it same costume\n from last scene but now wearing a bad \"Honey Whitlock\"\n wig.", "LIBBY\n .Honey Whitlock was always\n attracted to the wrong kind of\n man. It wouldn't surprise\n\n (MORE)", "MRS. MALLORY\n And now the moment you've been\n waiting for! You first saw Honey\n Whitlock on the screen as the\n lovely ingenue turned vixen in\n \"Good For Nothing\"...", "DIRECTOR\n Are you this desperate for\n publicity, Honey Whitlock?\n\n HONEY\n (Aiming gun at DIRECTOR)", "(TO HONEY)\n This is Sprocket House,\n Miss Whitlock, think of it\n as your studio.", "Tape cuts to LIBBY, HONEY's assistant, talking to\n ENTERTAINMENT TONIGHT. Subtitle on TV read \"Honey\n Whitlock's Personal Assistant.\"", "18. Cut back to EXTERIOR HARBOR COURT HOTEL. 18.\n Closeup of HONEY WHITLOCK's furious face as she stares in", "PETIE.\n\n CHARLES\n What's the matter, Miss Whitlock?\n\n HONEY\n A fucking white limousine?!", "EX-HUSBAND\n Well, I was married to her for\n seven years so I know just\n how nuts Honey Whitlock is...", "REDNECK MOM\n (Turning around, snarling)\n I told you to stop slurping!\n REDNECK MOM suddenly sees HONEY WHITLOCK and quickly\n turns back around." ] ]

[ "Why is Honey in Balitmore?", "What is the name of the group that kidnaps Honey?", "Where does the band of misfits kidnap Honey?", "Why does Cecil kidnap Honey?", "Where is the first scene in Cecil's production located?", "Who gets killed in the gunfight at the luncheon?", "How did Honey react the second time she was kidnapped?", "What does Cecil do to himself when police arrive?", "What happens to Honey Whitlock in Baltimore?", "What is the name of Cecil B. Demented's gang?", "What does Cecil want Honey to do for him?", "Where is the first on location scene of Cecil's shot out in Baltimore?", "What happens in the gunfight between police and Cecil's crew?", "What does Honey watch on the telelvision after the gunfight?", "What decision does Honey make after watching the special?", "What sequel does Cecil and crew infiltrate next?", "Where does the crew escape from the Teamsters at?", "What does Cecil ask Honey to do for the final scene of his masterpiece?", "Who exchanges gunfire after the luncheon?", "Where is Honey held captive?", "When Honey joins Cecil's group where does she brand herself?", "Who is the television station interview with?", "What city is the Forrest Gump sequel being filmed at?", "What part of her body does Cecil ask Honey to light on fire?", "What is the nickname of Cecil's gang?", "After they crash the luncheon what does Honey jump from?", "When Honey decides to join cecil's gang what does she declare herself?", "What is Honey Whitlock's job?" ]

[ [ "To attend a premiere", "She attends a premiere" ], [ "SprocketHoles", "sprocketholes" ], [ "The theater ", "from a film premiere in Baltimore" ], [ "He wants her to star in his production", "Her needs her to play the lead character " ], [ "A luncheon ", "Abandoned movie theater " ], [ "Rodney the hairdresser", "rodney" ], [ "She was more accepting", "she join the crew of kidnappers" ], [ "Sets himself on fire", "he burns himself" ], [ "She is kidnapped by Cecil B. Demented.", "She is kidnapped." ], [ "The Sprocketholes.", "SprocketHole Crew" ], [ "To be the star of the masterpiece he is filming.", "To light her hair on fire." ], [ "At a luncheon hosted by the Baltimore Film Commission.", "Baltimore Film Commission's lunch" ], [ "Cecil is injured and Rodney is killed.", "Cecil is wounded, and Rodney the hairdresser is killed" ], [ "A special on her disappearance which highlights how mean spirited she was in her life.", "a special program discussing her disappearance" ], [ "To join Cecil's crew and be demented forever.", "To join the SprocketHole Crew" ], [ "The sequel to Forrest Gump being recorded in Baltimore.", "Forrest Gump" ], [ "Into a pornographic theatre.", "at the set in Baltimore where a Forrest Gump sequel is being filmed" ], [ "To light her hair on fire.", "to light her hair on fire" ], [ "The Police and Cecil's crew.", "Cecil's crew and the police." ], [ "An abandoned movie theater.", "an abandoned movie theater" ], [ "On her arm.", "her arm" ], [ "Honey's ex-husband.", "People she knew and her ex-husband " ], [ "Baltimore", "Baltimore" ], [ "Her hair.", "Her hair" ], [ "The SprocketHoles.", "Sprocketholes" ], [ "The roof.", "The roof of the building" ], [ "Demented forever.", "Demented forever " ], [ "Actress.", "she's an actress" ] ]

[ [ "King of the Geats. In the Hall of Hart Hrothgar and his Queen and his\ncourtiers sit at the high table on the dais, and the lower orders", "Hrothgar spake. He went to the hall and stood on the threshold and saw\nthe steep roof all decked out with gold and the hand of Grendel. 'Let", "a mead-cup, they the stout-hearted Hrothgar and Hrothulf in the high\nhall. And within was Hart filled with friends. And by no means were the", "of Hrothgar--he who had come from far, the proud and stout-hearted\none, and saved them from strife. He rejoiced in the night-work and", "Hrothgar gave answer, the protector of the Danes: 'O my friend Beowulf,\nnow thou hast sought us, for defence and for favour. Thy father fought", "Then Hrothgar departed with his troop of heroes, he the Prince\nof the Scyldings; out of Hall went he, for the battle-chieftain", "Then evening came on, and Hrothgar betook him to his own quarters,\nthe Prince to his resting-place, and a great number of earls kept guard", "Lord greeted the other, Hrothgar greeted Beowulf, and wished him\ngood health and the warding of that wine-hall, and he spake the word:", "to Hart. The lordly hall resounded. And great terror there was to\nall the Danes, the castle-dwellers, to each of the brave. And both", "[43] i.e. the sun.\n\n[44] Hrothgar.\n\n[45] Cp. pp. 66-68.", "great hall in Hart, of Hrothgar his kinsman, and had grappled in the\ncontest with the mother of Grendel, of the loathly kin.", "encircled by the fen. And first, to greet Hrothgar, I went to the\nRing-hall. And straightway the famous kinsman of Healfdene, when", "Then spake Hrothgar the protector of the Danes: 'Well I knew him\nwhen he was a child, and his old father was called Ecgtheow. And to", "Then was the time for Healfdene's son to go into the hall, when the\nKing himself would partake of the banquet. Nor have I ever heard", "Danes. And the Geat, the shield-warrior, desired greatly to go to\nhis rest. And straightway a hall-thane guided the far-comer, weary", "the gold-hall of man, was adorned with gold plating. Nor was that the\nfirst time that he sought out the home of Hrothgar. Nor ever in former", "of Hrothgar. He was a king, blameless in every way, until old age,\nthat scather of many, bereft him of the joys of strength.", "the folkstead. In due time it happened that soon among men, this\ngreatest of halls was now all ready. And Hart he called it, whose", "the hall to greet King Hrothgar. Then over the floor where warriors\nwere drinking they bore Grendel's head, a terror to the earls and", "Hrothgar spake, he the Lord of the Danes: 'Ask not after our luck,\nfor sorrow is renewed to the folk of the Danes. Aeschere is dead, the" ], [ "and fast with hell-bands, as he was, and tormented with plagues that\nhe should plunder the plain. He (Beowulf) was not greedy of gold,", "Franks. And worse warriors plundered the slaughter after the war. And\nthe corpses of the Geats held the field of death. The hall resounded", "Hrothgar spake. He went to the hall and stood on the threshold and saw\nthe steep roof all decked out with gold and the hand of Grendel. 'Let", "who caused dire distress, and how the war-scather hated and harmed\nthe people of the Geats. And he hurried back to his hoard and the", "up strife. The marriage fails in its object, and war breaks out again\nbetween the Danes and the Heathobards. Beowulf predicts the course", "namely that his very homestead, that best of houses, that throne of\nthe Geats, was dissolving in the whelming fire. And full rueful was", "Hrothgar spake, he the Lord of the Danes: 'Ask not after our luck,\nfor sorrow is renewed to the folk of the Danes. Aeschere is dead, the", "So Beowulf, son of Healfdene, ever was brooding over this time-care,\nnor could the brave hero avert woe. That conflict was too strong,", "Then came Grendel, stalking from the moors among the misty hill-slopes,\nand he bore God's anger. And the wicked scather of human kind fully", "first fell, the champion begirt. For Grendel was to the famous thane\na banesman by biting, and devoured whole the dear man. Nor would he,", "Hrothgar gave answer, the protector of the Danes: 'O my friend Beowulf,\nnow thou hast sought us, for defence and for favour. Thy father fought", "of Hrothgar. He was a king, blameless in every way, until old age,\nthat scather of many, bereft him of the joys of strength.", "and I destroyed the fierce one. And now all alone I shall settle\nthe affair of Grendel the deadly monster, the cruel giant. And one\nboon will I be asking, O Prince of the Bright Danes, thou lord of", "upon earth greatly fear him. And he should be seeking the hoard upon\nearth where old in winters he guardeth the heathen gold. Nor aught\nis he the better thereby.", "the discharge of a solemn obligation of help from the strong to the\nweak. He announces to Hrothgar that he is come 'to cleanse Hart of", "takes a golden goblet while the dragon is sleeping, and offers it to\nhis lord as a peace-offering. This brought about Beowulf's feud with\nthe dragon in which he met his death.", "began to do evil, a devil from hell; and this grim spirit was called\nGrendel. And he was a march-stepper, who ruled on the moorlands, the", "of the Geats fast on his death-bed, and by the deed of the dragon\nhe inhabits the place of rest gained by a violent death. And by his", "recked not any man my foeman under the sweep of heaven. Lo! then there\ncame to me change in my homeland, sorrow after gaming, when Grendel,", "[43] i.e. the sun.\n\n[44] Hrothgar.\n\n[45] Cp. pp. 66-68." ], [ "in fighting, and careth not for his life. Then the Lord of the Geats\nseized by the shoulder the mother of Grendel (nor at all did he mourn", "us for a while, and the sea boiled with gore; I cut off the head of\nGrendel's mother in the hall at the bottom of the sea, with powerful", "famous Geat. Then a great tumult was made in Hart, and with bloodshed\nshe had seized the well-known hand of Grendel her son. And care was", "and I destroyed the fierce one. And now all alone I shall settle\nthe affair of Grendel the deadly monster, the cruel giant. And one\nboon will I be asking, O Prince of the Bright Danes, thou lord of", "And Beowulf, son of Ecgtheow, so famous in warfare and in good deeds,\nbore himself boldly and fulfilled his fate, nor did he slay the drunken", "takes a golden goblet while the dragon is sleeping, and offers it to\nhis lord as a peace-offering. This brought about Beowulf's feud with\nthe dragon in which he met his death.", "of the Geats cut asunder the dragon in the midst of his body. And\nthe fiend fell prone; courage had driven out his life, and they two", "Beowulf got possession of his wits again, and drew his bitter and\nbattle-sharp short sword that he bore on his shield. And the King", "slain by Grendel's mother Hrothgar thus bewails his loss: 'Seek no more\nafter joy; sorrow is renewed for the Danish folk. Aeschere is dead,", "so that the ringed mail on her head sang a greedy death-song. Then\nBeowulf the stranger discovered that the battle-blade would not bite", "There are in the poem four distinct lays:\n\n1. Beowulf's Fight with Grendel.\n\n2. Beowulf's Fight with Grendel's mother.", "Geats killed one of them with his bow and arrows and ended his\nwave-strife, and he was in the sea, slower at swimming as death swept\nhim away. And on the waves by fierce battle hard pressed, and with", "on the funeral pyre. For she bore away the body in her fiendish grip\nunder the mountain-streams. And that was to Hrothgar the bitterest", "or weapon against the dragon if I knew how else I might maintain my\nboast against the monster, as I formerly did against Grendel. But\nin this conflict I expect the hot battle-fire, both breath and", "Then did Beowulf, kinsman of Hygelac, see the dire distress, how the\nwicked scather would fare with sudden grip. Nor did the monster think", "steep shield, and he and the dragon fell quickly together. Beowulf\nwaited warily all in his war-gear. Then the flaming monster bent as", "to Beowulf. Thence would Grendel, mortally wounded, flee under the\nfen-slopes to seek out a joyless dwelling. The more surely he knew he", "bore forth yet another one, that loathly prey. And well he requited\nhim, this furious champion, when he saw the war-weary Grendel lying in", "his cavern, and in battle and his cliff-wall. But his hope deceived\nhim. Then was the terror made known to Beowulf, quickly and soothly,", "that the Creator was gracious unto her in bearing of children. Now,\nO Beowulf, I will love thee in heart as my son. Hold well to this" ], [ "thou wast living. Now shalt thou, the brave in deeds and the resolute\nnoble, save thy life with all thy might. I am come to help thee.' After", "as it had been in days of yore. Then the good kinsman of Hygelac\nremembered the evening talk, and stood upright and laid hold upon", "life in the stress of the waters and do a glorious deed. And thereby\nhe lost his doom of famous deeds. But thus was it not with that other,\nfor he had got himself ready for the battle.", "THE STORY OF BEOWULF\n\nI\n\nThe Prelude", "toiling in the stress of seas. But he o'erpowered thee in swimming,\nfor greater strength had he. Then at the morning tide the sea bore him", "shall she escape into safety. Do thou this day be patient in every\nkind of trouble as I also hope to be.' The old man leapt up and gave", "of war. And now is the day come that our lord hath need of our prowess\nand of goodly warriors. Let us then go to the help of our battle-lord", "be this, that from his appearance the beginning of the oldest state\nof culture dates, and that generally before him no orderly way of\nleading a human life had existed.'", "Spake then Unferth, the son of Eglaf, who sat at the feet of the\nLord of the Danes and opened a quarrel. (For the journey of Beowulf,", "II\n\nThe Story\n\n\nI", "deed, worthy of an earl, midst welter of waters, and risk my life and\nachieve glory. And he promised me rewards. I then discovered the grim", "in fighting, and careth not for his life. Then the Lord of the Geats\nseized by the shoulder the mother of Grendel (nor at all did he mourn", "in his breast. Nevertheless the Atheling must unavenged be losing his\nlife. For so is it a sorrowful thing for a venerable man to see his", "he had asked. And in the midst they lay the famous Prince, and they\nlamented the Hero, their dear lord. Then the warriors began to stir", "prone and asleep sorely wounded and bereft of his treasure. And do\nthou make good speed that I may look upon the ancient gold treasures\nand yarely be feasting mine eyes upon the bright and cunning jewels,", "lives. And so in deed we did. We had a naked sword hard in our hands\nwhen we were swimming. We two were thinking to guard us 'gainst whale", "do as I tell you.' She went to the seat where was a choice banquet,\nand the men drank wine. They knew not Weird, the Fate that was grim,\nas it had befallen many an earl.", "in that conflict. Soon Beowulf was swimming, he who formerly awaited\nthe onset of the hostile ones in the striving, and he dived upwards", "7. Healfdenes. The tribe to which Hnaef belonged.\n\n8. Heathoremes. The people on whose shores Beowulf was cast up after\nhis swimming-match with Breca.", "I have relegated to the Appendix all notes of any considerable\nlength. The reader is advised to consult the Appendices wherever\ndirected in the footnotes. He will then have a much clearer conception\nof the principal characters and events of the poem." ], [ "here a thousand thanes, heroes to help thee. And I know that Hygelac,\nthe Lord of the Geats, the guardian of my folk, though young in years,", "3. Then there is the tremendous sense of loyalty on the part of the\nfolk to their king or chieftain. The idea of the 'Comitatus' bound", "against Grendel. A thane was in waiting on the Prince of the Danes,\nand his watch was keeping against the giant. The Lord of the Geats", "issue of words.' Then the Prince rose up, and about him was many a\nwarrior, a glorious band of thanes. And some bided there and held the", "Now we have heard, by inquiry, of the glory of the kings of the\npeople, they of the Spear-Danes, how the Athelings were doing deeds", "and the Queen and the nobility and the commonalty are all concerned\nin the tragedy. The loss of one is the loss of all. When Aeschere is", "as it had been in days of yore. Then the good kinsman of Hygelac\nremembered the evening talk, and stood upright and laid hold upon", "together had killed him, noble comrades in arms. And thus should a\nman who is a thane always be helping his lord at his need. And that", "old and very grey with his troop of earls. The brave man then went\nand stood before the shoulders of the Lord of the Danes. Well he knew", "Then he went visiting the high house after nightfall, to see how the\nRing-Danes were holding it. And he found there a band of Athelings", "Lord of the Danes. Go ye forth, therefore, bear weapons and armour, as\nI will direct you. And I will command my thanes to hold against every", "century. Among these sagas, that of Beowulf the Geat must have had\na prominent place; others celebrated Hygelac his uncle, Hnaef the", "two fugitives and is killed in the mêlée. Twenty years pass by--Hnaef\nand Hengest, sons of Hoc, take up the 'vendetta.' In the fighting", "had with him. They advanced towards him and gave thanks to God, that\nglorious crowd of thanes, and rejoiced in their lord that they could\nsee him once more. Then was loosed quickly from that valiant man both", "his fellow, and mild of mood, and faithful to his liege-lord. Thanes\nare gentle, the people all ready. O ye warriors who have drunk deep,", "of the Swede. Then to Hrothgar was granted good speed in warfare and\nhonour in fighting, so that his loyal subjects eagerly obeyed him,", "Then the eldest gave answer, and unlocked his treasure of words,\nthe wise one of the troop: 'We are of the race of the Geats and", "them. The good man, wise and very sad, went away with his comrades to\nseek out a stronghold. Earl Ongentheow turned away to higher ground,", "Then answered the brave man, the chief of the Geats, and spake\nthese words, hard under helmet: 'We are the comrades at table of", "Then in the hall the giver of rings was grey-haired and\nbattle-brave. The Prince of the Danes was hopeful of help. The guardian" ], [ "Wiglaf was he called, he who was the son of Weohstan, the beloved\nshield-warrior, the Prince of the Danes and the kinsman of Aelfhere. He", "Wiglaf spake, he the son of Weohstan, the sad-hearted. 'He who will\nspeak truth may say that the lord and master who gave you gifts, and", "Wiglaf spake, the son of Weohstan: 'Often shall many an earl of his\nown only will suffer misery, as is our fate. Nor could we teach the", "Wiglaf spake many fitting words, and said to his comrades (for his\nmind was sad within him): 'I remember the time when we partook of the", "helmet, the ring, and the byrny, and bade him enjoy it well. 'Thou,\nO Wiglaf,' he said, 'art the last heir of our race, of that of the", "of his wounds, and carried the ring-net and the coat of mail adorned,\nunder the roof of the barrow. And as Wiglaf, exulting in victory, came", "Scyld (meaning Shield) refers to the fact that the king was the\nprotector of the people in war, and is therefore symbolical, like Scef.", "Wulf; but Eofor came to the help of his brother and dealt Ongentheow\nhis death-blow over the guard of his shield.", "[72] See Appendices VII. and IX.\n\n[73] Waegmundings--the family to which both Beowulf and Wiglaf\nbelonged.", "Hygelac. Beowulf is my name. I will say fully this my errand to the\nson of Healfdene the famous chieftain, unto thy lord and master,", "carried their shields, and battle-weeds, to where the old prince was\nlying. And they looked on Wiglaf; he the foot-warrior sat aweary near", "Hrothgar gave answer, the protector of the Danes: 'O my friend Beowulf,\nnow thou hast sought us, for defence and for favour. Thy father fought", "11. Scylfingas. Name for the Swedes.\n\n12. Waegmundings. The tribe to which both Beowulf and Wiglaf belonged.", "and was attacked by the Geats. Two brothers, Eofor and Wulf, assailed\nthe veteran warrior. He defended himself with great vigour and killed", "[58] Numbers XXIX. and XXX. are lacking in the MS. The divisions here\nare as in Wyatt's edition.\n\n[59] Withergyld--name of a Heathobard warrior.", "gave to him glory. Famous was Beowulf. [4] Far and wide spread his\nfame. Heir was he of Scyld in the land of the Danes. Thus should", "pass forth from my body. Now do thou, beloved Wiglaf, go quickly and\nlook on the hoard under the hoar stone, now that the dragon lieth", "low which bestowed every kind of joy upon you.' And in the end of the\npoem it is said of Beowulf that he was 'most gentle to his folk.' The", "Then spake Wulfgar (he was Prince of the Wendels [14]). His courage\nwas known to all, his valour and wisdom. 'I will make known to the", "Beowulf answered, the son of Ecgtheow: 'O Lord Hygelac, it is well\nknown to many a man, our famous meeting, and the battle we fought," ], [ "Wiglaf was he called, he who was the son of Weohstan, the beloved\nshield-warrior, the Prince of the Danes and the kinsman of Aelfhere. He", "Wiglaf spake, he the son of Weohstan, the sad-hearted. 'He who will\nspeak truth may say that the lord and master who gave you gifts, and", "Wiglaf spake many fitting words, and said to his comrades (for his\nmind was sad within him): 'I remember the time when we partook of the", "Wiglaf spake, the son of Weohstan: 'Often shall many an earl of his\nown only will suffer misery, as is our fate. Nor could we teach the", "helmet, the ring, and the byrny, and bade him enjoy it well. 'Thou,\nO Wiglaf,' he said, 'art the last heir of our race, of that of the", "of his wounds, and carried the ring-net and the coat of mail adorned,\nunder the roof of the barrow. And as Wiglaf, exulting in victory, came", "setting before us a great national hero. Beowulf himself was not an\nAnglo-Saxon. He was a Geat-Dane; but he belonged to that confraternity", "English nation, though he really fought against the English, so the\nSaxon singer of Beowulf has idealized this Geatish chieftain, and in", "carried their shields, and battle-weeds, to where the old prince was\nlying. And they looked on Wiglaf; he the foot-warrior sat aweary near", "Hygelac, son of Hrethel, was king of the Geats, and uncle of\nBeowulf, his sister's son. He was the reigning king of Beowulf's", "Then spake Wulfgar (he was Prince of the Wendels [14]). His courage\nwas known to all, his valour and wisdom. 'I will make known to the", "Hrothgar gave answer, the protector of the Danes: 'O my friend Beowulf,\nnow thou hast sought us, for defence and for favour. Thy father fought", "Wulf; but Eofor came to the help of his brother and dealt Ongentheow\nhis death-blow over the guard of his shield.", "[72] See Appendices VII. and IX.\n\n[73] Waegmundings--the family to which both Beowulf and Wiglaf\nbelonged.", "and was attacked by the Geats. Two brothers, Eofor and Wulf, assailed\nthe veteran warrior. He defended himself with great vigour and killed", "his father's kingdom, and hold the folk, the hoard and city of refuge,\nthe kingdom of heroes, the country of the Danes. But Beowulf Hygelac's", "fellow countrymen the Geats during the greater part of the action\nof the poem. Beowulf is often called 'Hygelac's kinsman,' and when", "Danes. And the Geat, the shield-warrior, desired greatly to go to\nhis rest. And straightway a hall-thane guided the far-comer, weary", "Then the eldest gave answer, and unlocked his treasure of words,\nthe wise one of the troop: 'We are of the race of the Geats and", "their horses. And there was the glory of Beowulf proclaimed. And many\na one was saying that no man was a better man, no, none in the whole" ], [ "takes a golden goblet while the dragon is sleeping, and offers it to\nhis lord as a peace-offering. This brought about Beowulf's feud with\nthe dragon in which he met his death.", "the cliff-cave. Then Beowulf's share of lordly treasure was paid for\nby his death. And both he and the dragon had come to an end of their\nfleeting days.", "And Beowulf, son of Ecgtheow, so famous in warfare and in good deeds,\nbore himself boldly and fulfilled his fate, nor did he slay the drunken", "man Beowulf, the warrior King, the Lord of the Weder-Goths, had died\na wondrous death.", "steep shield, and he and the dragon fell quickly together. Beowulf\nwaited warily all in his war-gear. Then the flaming monster bent as", "of the Geats cut asunder the dragon in the midst of his body. And\nthe fiend fell prone; courage had driven out his life, and they two", "of the Geats fast on his death-bed, and by the deed of the dragon\nhe inhabits the place of rest gained by a violent death. And by his", "Beowulf moreover now for the last time spake these boastful words: 'In\nmany a war I risked my life in the days of my youth, yet still will I", "far otherwhere, as must each man let go these fleeting days sooner or\nlater. And not long after this Beowulf and the monster met together", "3. Beowulf's Return to the land of the Geats.\n\n4. Beowulf's Fight with the Dragon.", "a.d. 512 and 520. Beowulf died about 568. He reigned fifty years.", "Geats killed one of them with his bow and arrows and ended his\nwave-strife, and he was in the sea, slower at swimming as death swept\nhim away. And on the waves by fierce battle hard pressed, and with", "warrior. And Beowulf spake, over his deathly pitiful wound, for well\nhe knew that he had enjoyed the day's while of his earthly joy: and", "his cavern, and in battle and his cliff-wall. But his hope deceived\nhim. Then was the terror made known to Beowulf, quickly and soothly,", "THE STORY OF BEOWULF\n\nI\n\nThe Prelude", "There are in the poem four distinct lays:\n\n1. Beowulf's Fight with Grendel.\n\n2. Beowulf's Fight with Grendel's mother.", "it with Beowulf when he sought out the guardian of the cavern and\nhis cunning crafts. And he himself knew not how his departure from\nthis world would come about. And thus famous chieftains uttered deep", "4. There is, too, the fatalistic note heard all through the\npoem. Beowulf feels himself hard pressed by Fate. The Anglo-Saxon", "Then did Beowulf, kinsman of Hygelac, see the dire distress, how the\nwicked scather would fare with sudden grip. Nor did the monster think", "And in after-days it happened that there were battle-crashings, and\nHygelac lay dead, [62] and swords under shields became a death-bane to" ], [ "And heaven swallowed up the smoke. Then on the cliff-slopes the people\nof the Geats erected a mound, very high and very broad, that it might", "Then the People of the Geats got ready the mighty funeral pyre, and\nhung it round with helmets and battle-shields, and bright byrnies as", "Then the Lord of earls as he sat on the mead-bench gave glorious gifts\nto each one of those who had fared with Beowulf over the ocean-ways,", "it on the bosom of Beowulf, and gave him seven thousand men and a\nbuilding and a throne. And both of them held the land, the earth,", "their horses. And there was the glory of Beowulf proclaimed. And many\na one was saying that no man was a better man, no, none in the whole", "Now Beowulf the Prince of earls and protector of warriors commanded\nthem to fashion him a glorious war-shield all made of iron. For he", "gave to him glory. Famous was Beowulf. [4] Far and wide spread his\nfame. Heir was he of Scyld in the land of the Danes. Thus should", "that ye should build after death of your friend a high grave-mound\nin the place of the funeral pyre, a great and famous monument,\nfor he himself was the most worshipful of men throughout the earth,", "of the Geats fast on his death-bed, and by the deed of the dragon\nhe inhabits the place of rest gained by a violent death. And by his", "of the story. In the ancient days some remote predecessors of the\nGeats seem to have heaped up in the neighbourhood a pile of wonderful", "Danes. And the Geat, the shield-warrior, desired greatly to go to\nhis rest. And straightway a hall-thane guided the far-comer, weary", "stronghold of the people, both the sea-board and neighbouring land. And\ntherefore the King of the Weder-Geats devised revenge upon him.", "Hrothgar gave answer, the protector of the Danes: 'O my friend Beowulf,\nnow thou hast sought us, for defence and for favour. Thy father fought", "man Beowulf, the warrior King, the Lord of the Weder-Goths, had died\na wondrous death.", "famous Prince Hrothgar glorying in victory, for it seemed unto many\nthat the sea-wolf had destroyed him.", "namely that his very homestead, that best of houses, that throne of\nthe Geats, was dissolving in the whelming fire. And full rueful was", "forth, the foamy-necked one, over the waves, the bound prow over the\nocean streams, till they could see the cliffs of the Geats' land,\nthe well-known headlands.", "where the mead-hall stood. Then this Prince of the thanes, this man so\nbold of deed and honoured by Fate, this battle-dear warrior went into", "cavern in the cliffs near the site, in after-generations, of Beowulf's\npalace, and delivers a pathetic farewell address (pp. 136 et seq.). The", "had done. And he gave to the Geats a countless number of each kind\nof war-weeds, when he in old age passed away from this life, on the" ], [ "II\n\nThe Story\n\n\nI", "In Jornandes the story is as follows.\n\n\n Characters", "Saxo Grammaticus, to whom we also owe the story of Hamlet, tells a\nsimilar story.\n\n\n Characters", "In the Edda the story is as follows.\n\n\n Characters", "the battle-hero. And it was a day's while before he could see the\nbottom of the sea. And very soon the fierce and eager one who had", "shall she escape into safety. Do thou this day be patient in every\nkind of trouble as I also hope to be.' The old man leapt up and gave", "he was the strongest of main of all men in the world; noble was he\nand powerful. He bade a fair ship be made, and said that he would be", "THE STORY OF BEOWULF\n\nI\n\nThe Prelude", "Bicco accuses Swawilda to Jarmeric of unfaithfulness. He causes her\nto be torn to pieces by wild horses. Then her brothers kill Jarmeric", "thou wast living. Now shalt thou, the brave in deeds and the resolute\nnoble, save thy life with all thy might. I am come to help thee.' After", "THE STORY OF BEOWULF", "whilst she lived she well did enjoy her fate, that woman famous\nfor good works. And she kept great love for the prince of heroes,\nand of all mankind he was, as I have learned by asking, the greatest", "Then the watchman, the fearless warrior, as he sat on his horse,\nquickly made answer: 'The shield-warrior who is wide awake, shall know", "thanes, and embraced his neck. And tears were falling down the face\nof the old man. And the old and wise man had hope of both things,\nbut most of all of the other that they might see each the other,", "through the doomed flesh-covering. And she fell on the floor. The\nsword was all bloody, and the man rejoiced in his work. Shone forth the", "so young in years, thou art strong of main and proud of soul, and\nof words a wise sayer. I reckon that if it cometh to pass that an", "main, and ready-handed he grasped at me. An ample and wondrous glove\nhung fast by cunning bands. And it was cunningly fashioned by the", "He the stout-hearted came swimming to shore, he the Prince of the\nsea-men enjoying the sea-spoils, the great burden of that which he", "[2] See conclusion of Tess of the D'Urbervilles.\n\n[3] See Appendix II.\n\n[4] Not the hero of the poem.", "the doomed one, it had often cut in two. That was the first time\nthat his dear sword-treasure failed him. Then he became resolute," ], [ "Hrothgar gave answer, the protector of the Danes: 'O my friend Beowulf,\nnow thou hast sought us, for defence and for favour. Thy father fought", "Beowulf the Atheling, of good worth to the Danes, went up to the dais\nwhere was Hrothgar the faithful and bold, and greeted him there.", "the discharge of a solemn obligation of help from the strong to the\nweak. He announces to Hrothgar that he is come 'to cleanse Hart of", "Beowulf. He came to Leire, the Danish royal residence, and killed a\ndemon in animal form. Saxo says it was a bear. This demon attacked", "of Hrothgar. He was a king, blameless in every way, until old age,\nthat scather of many, bereft him of the joys of strength.", "THE STORY OF BEOWULF\n\nI\n\nThe Prelude", "of Hrothgar--he who had come from far, the proud and stout-hearted\none, and saved them from strife. He rejoiced in the night-work and", "boat that he may fare across the sea to the help of Hrothgar, because\n'he was lacking in warriors.' Beowulf's whole mission in Hart was", "least their friend and lord, the glad Hrothgar; for he was a good king.", "watch over Hrothgar's homestead. Then Beowulf, the Atheling's child,\nstepped o'er the steep and stony slopes and the narrow pathways, and", "and I destroyed the fierce one. And now all alone I shall settle\nthe affair of Grendel the deadly monster, the cruel giant. And one\nboon will I be asking, O Prince of the Bright Danes, thou lord of", "And Beowulf, son of Ecgtheow, so famous in warfare and in good deeds,\nbore himself boldly and fulfilled his fate, nor did he slay the drunken", "Then he waded through the slaughter-reek, and bore the war-helmet\nto the help of his lord, and uttered a few words: 'Beloved Beowulf,", "strength of himself alone. Nor was that a coward's journey. Then\nBeowulf, possessed of manly virtues, who had escaped in many a\nconflict and crashing of battle when men encountered on foot, saw", "Lord greeted the other, Hrothgar greeted Beowulf, and wished him\ngood health and the warding of that wine-hall, and he spake the word:", "Then did Beowulf, kinsman of Hygelac, see the dire distress, how the\nwicked scather would fare with sudden grip. Nor did the monster think", "Beowulf got possession of his wits again, and drew his bitter and\nbattle-sharp short sword that he bore on his shield. And the King", "low which bestowed every kind of joy upon you.' And in the end of the\npoem it is said of Beowulf that he was 'most gentle to his folk.' The", "King of the Geats. In the Hall of Hart Hrothgar and his Queen and his\ncourtiers sit at the high table on the dais, and the lower orders", "help against such crimes. He gladly received it, he the battle-fierce\nwarrior, from the hand of Wealtheow, and then began singing, inspired\nby a warlike spirit." ], [ "of Hrothgar. He was a king, blameless in every way, until old age,\nthat scather of many, bereft him of the joys of strength.", "Hrothgar gave answer, the protector of the Danes: 'O my friend Beowulf,\nnow thou hast sought us, for defence and for favour. Thy father fought", "And Beowulf, son of Ecgtheow, so famous in warfare and in good deeds,\nbore himself boldly and fulfilled his fate, nor did he slay the drunken", "4. There is, too, the fatalistic note heard all through the\npoem. Beowulf feels himself hard pressed by Fate. The Anglo-Saxon", "So Beowulf, son of Healfdene, ever was brooding over this time-care,\nnor could the brave hero avert woe. That conflict was too strong,", "Hrothgar spake, he the Lord of the Danes: 'Ask not after our luck,\nfor sorrow is renewed to the folk of the Danes. Aeschere is dead, the", "the cliff-cave. Then Beowulf's share of lordly treasure was paid for\nby his death. And both he and the dragon had come to an end of their\nfleeting days.", "far otherwhere, as must each man let go these fleeting days sooner or\nlater. And not long after this Beowulf and the monster met together", "his cavern, and in battle and his cliff-wall. But his hope deceived\nhim. Then was the terror made known to Beowulf, quickly and soothly,", "namely that his very homestead, that best of houses, that throne of\nthe Geats, was dissolving in the whelming fire. And full rueful was", "Hygelac, son of Hrethel, was king of the Geats, and uncle of\nBeowulf, his sister's son. He was the reigning king of Beowulf's", "man Beowulf, the warrior King, the Lord of the Weder-Goths, had died\na wondrous death.", "Beowulf the Atheling, of good worth to the Danes, went up to the dais\nwhere was Hrothgar the faithful and bold, and greeted him there.", "famous Prince Hrothgar glorying in victory, for it seemed unto many\nthat the sea-wolf had destroyed him.", "of the Geats fast on his death-bed, and by the deed of the dragon\nhe inhabits the place of rest gained by a violent death. And by his", "Then did Beowulf, kinsman of Hygelac, see the dire distress, how the\nwicked scather would fare with sudden grip. Nor did the monster think", "it with Beowulf when he sought out the guardian of the cavern and\nhis cunning crafts. And he himself knew not how his departure from\nthis world would come about. And thus famous chieftains uttered deep", "watch over Hrothgar's homestead. Then Beowulf, the Atheling's child,\nstepped o'er the steep and stony slopes and the narrow pathways, and", "King of the Geats. In the Hall of Hart Hrothgar and his Queen and his\ncourtiers sit at the high table on the dais, and the lower orders", "[84] Hrethel, King of Geats, father of Hygelac and grandfather\nof Beowulf.\n\n[85] Literally, 'the sword-leavings.'" ], [ "the cliff-cave. Then Beowulf's share of lordly treasure was paid for\nby his death. And both he and the dragon had come to an end of their\nfleeting days.", "takes a golden goblet while the dragon is sleeping, and offers it to\nhis lord as a peace-offering. This brought about Beowulf's feud with\nthe dragon in which he met his death.", "of the Geats fast on his death-bed, and by the deed of the dragon\nhe inhabits the place of rest gained by a violent death. And by his", "of the Geats cut asunder the dragon in the midst of his body. And\nthe fiend fell prone; courage had driven out his life, and they two", "steep shield, and he and the dragon fell quickly together. Beowulf\nwaited warily all in his war-gear. Then the flaming monster bent as", "dragon finds the cavern and the treasure and appropriates it for three\nhundred years. Then one of Beowulf's retainers finds the treasure and", "And Beowulf, son of Ecgtheow, so famous in warfare and in good deeds,\nbore himself boldly and fulfilled his fate, nor did he slay the drunken", "3. Beowulf's Return to the land of the Geats.\n\n4. Beowulf's Fight with the Dragon.", "end. Likewise the terrible dragon, his slayer, lay there bereft of life\nand pressed sore by ruin. And the coiled dragon could no longer wield", "man Beowulf, the warrior King, the Lord of the Weder-Goths, had died\na wondrous death.", "And heaven swallowed up the smoke. Then on the cliff-slopes the people\nof the Geats erected a mound, very high and very broad, that it might", "pass forth from my body. Now do thou, beloved Wiglaf, go quickly and\nlook on the hoard under the hoar stone, now that the dragon lieth", "low which bestowed every kind of joy upon you.' And in the end of the\npoem it is said of Beowulf that he was 'most gentle to his folk.' The", "of his wounds, and carried the ring-net and the coat of mail adorned,\nunder the roof of the barrow. And as Wiglaf, exulting in victory, came", "the guardian of the hoard when he was sleeping, by the craft of a\nthief. And Beowulf found out that the dragon was angry. [64]", "far otherwhere, as must each man let go these fleeting days sooner or\nlater. And not long after this Beowulf and the monster met together", "slumbered, a youth of renown. Beowulf was not there. To another the\nplace was assigned after the treasure-gift had been bestowed on the", "a dragon. Then spake the wise man the son of Healfdene, and all kept\nsilence: 'He who doeth truth and right among the folk, and he who can", "Then the Lord of earls as he sat on the mead-bench gave glorious gifts\nto each one of those who had fared with Beowulf over the ocean-ways,", "Beowulf moreover now for the last time spake these boastful words: 'In\nmany a war I risked my life in the days of my youth, yet still will I" ], [ "Beowulf is an Anglo-Saxon poem.--It consists of 3182 lines. It is\nwritten in the alliterative verse of our ancestors in the Anglo-Saxon", "'Beowulf' may rightly be pronounced the great national epic of the\nAnglo-Saxon race. Not that it exalts the race so much as that it", "composed an epic poem to which, although it contains the record of\nthose adventures, the heroic scale of the figure who accomplishes them\nall imparts a real unifying epic interest.' Whatever may be the truth", "There are in the poem four distinct lays:\n\n1. Beowulf's Fight with Grendel.\n\n2. Beowulf's Fight with Grendel's mother.", "4. There is, too, the fatalistic note heard all through the\npoem. Beowulf feels himself hard pressed by Fate. The Anglo-Saxon", "gave to him glory. Famous was Beowulf. [4] Far and wide spread his\nfame. Heir was he of Scyld in the land of the Danes. Thus should", "low which bestowed every kind of joy upon you.' And in the end of the\npoem it is said of Beowulf that he was 'most gentle to his folk.' The", "THE STORY OF BEOWULF\n\nI\n\nThe Prelude", "THE STORY OF BEOWULF", "strength of himself alone. Nor was that a coward's journey. Then\nBeowulf, possessed of manly virtues, who had escaped in many a\nconflict and crashing of battle when men encountered on foot, saw", "Beowulf answered, the son of Ecgtheow: 'O Lord Hygelac, it is well\nknown to many a man, our famous meeting, and the battle we fought,", "setting before us a great national hero. Beowulf himself was not an\nAnglo-Saxon. He was a Geat-Dane; but he belonged to that confraternity", "And Beowulf, son of Ecgtheow, so famous in warfare and in good deeds,\nbore himself boldly and fulfilled his fate, nor did he slay the drunken", "[21] i.e. Beowulf.\n\n[22] Thus we see how sagas or legends came to be woven together into\na song. See Appendix X.", "that the composer of Beowulf--perhaps a missioner, perhaps a layman\nattached to the mission--was attracted to the Scandinavian lands;\nthat he resided there long enough to become thoroughly steeped in", "century. Among these sagas, that of Beowulf the Geat must have had\na prominent place; others celebrated Hygelac his uncle, Hnaef the", "Beowulf spake, the son of Ecgtheow: 'Lo, son of Healfdene, lord of\nthe Danes, we have brought thee this booty of the sea all joyfully,", "3. Beowulf's Return to the land of the Geats.\n\n4. Beowulf's Fight with the Dragon.", "The Tale of Beowulf, sometime King of the Folk of the\nWeder-Geats. Translated by William Morris, A. J. Wyatt. 1898. Longmans.", "Beowulf spake, the son of Ecgtheow: 'I had intended at once to work\nout the will of this your people when I set forth over the sea and" ], [ "composed an epic poem to which, although it contains the record of\nthose adventures, the heroic scale of the figure who accomplishes them\nall imparts a real unifying epic interest.' Whatever may be the truth", "up, the writer in The Cambridge History of English Literature says:\n'I am disposed to think that a large portion of the poem existed\nin epic form before the change of faith, and that the appearance of", "There would seem to be some justifiable doubt as to the unity of\nthe poem. Though on the whole pagan and primitive in tone, it has", "whole those which he found suitable to his own purpose, he composed\nan epic which, on his return home, must soon have become known to all\nthe lovers of English song.' [1] Dr. Sarrazin thought this unknown", "whether any genuine Anglo-Saxon epic existed, and has been destroyed\nin the passing of the centuries. The curious feature about this poem", "'Beowulf' may rightly be pronounced the great national epic of the\nAnglo-Saxon race. Not that it exalts the race so much as that it", "Beowulf is an Anglo-Saxon poem.--It consists of 3182 lines. It is\nwritten in the alliterative verse of our ancestors in the Anglo-Saxon", "APPENDICES\n\n\nI\n\nGENERAL NOTE ON THE POEM", "4. There is, too, the fatalistic note heard all through the\npoem. Beowulf feels himself hard pressed by Fate. The Anglo-Saxon", "combined into one poem, and, while there is no proof of this, it is\nquite possible and not unlikely.'", "There are in the poem four distinct lays:\n\n1. Beowulf's Fight with Grendel.\n\n2. Beowulf's Fight with Grendel's mother.", "is one of the few historical personages of the poem.", "I have relegated to the Appendix all notes of any considerable\nlength. The reader is advised to consult the Appendices wherever\ndirected in the footnotes. He will then have a much clearer conception\nof the principal characters and events of the poem.", "a typical King of the English people. He has become the epic King of\nthe English in the poetry of Tennyson. It is always a mystery to the\nwriter that no competent singer among us has ever laid hands upon our", "The poem was built up between A.D. 512, the date of the famous raid\nof Hygelac (Chocilaicus) against the Hetware (Chatuarii), and 752,", "is that it concerns a man who was not an Anglo-Saxon. Our poem is\nwritten in the West Saxon dialect. The original poem was probably in", "This is the greatest poem that has come down to us from our Teutonic\nancestors. Our only knowledge of it is through the unique MS. in the\nBritish Museum.\n\nIt has already been translated at least eight times as follows:", "gave to him glory. Famous was Beowulf. [4] Far and wide spread his\nfame. Heir was he of Scyld in the land of the Danes. Thus should", "a host of very many old sagas, he found other words, but bound by the\ntruth. And a man began wisely to sing the journey of Beowulf, and to", "to the ground. But not yet was he doomed, but he raised himself up,\nthough the wound touched him close. And the hardy thane of Hygelac" ], [ "Wiglaf was he called, he who was the son of Weohstan, the beloved\nshield-warrior, the Prince of the Danes and the kinsman of Aelfhere. He", "Wiglaf spake, he the son of Weohstan, the sad-hearted. 'He who will\nspeak truth may say that the lord and master who gave you gifts, and", "Wiglaf spake many fitting words, and said to his comrades (for his\nmind was sad within him): 'I remember the time when we partook of the", "Wiglaf spake, the son of Weohstan: 'Often shall many an earl of his\nown only will suffer misery, as is our fate. Nor could we teach the", "helmet, the ring, and the byrny, and bade him enjoy it well. 'Thou,\nO Wiglaf,' he said, 'art the last heir of our race, of that of the", "of his wounds, and carried the ring-net and the coat of mail adorned,\nunder the roof of the barrow. And as Wiglaf, exulting in victory, came", "carried their shields, and battle-weeds, to where the old prince was\nlying. And they looked on Wiglaf; he the foot-warrior sat aweary near", "Hrothgar gave answer, the protector of the Danes: 'O my friend Beowulf,\nnow thou hast sought us, for defence and for favour. Thy father fought", "Wulf; but Eofor came to the help of his brother and dealt Ongentheow\nhis death-blow over the guard of his shield.", "[72] See Appendices VII. and IX.\n\n[73] Waegmundings--the family to which both Beowulf and Wiglaf\nbelonged.", "pass forth from my body. Now do thou, beloved Wiglaf, go quickly and\nlook on the hoard under the hoar stone, now that the dragon lieth", "Hygelac, son of Hrethel, was king of the Geats, and uncle of\nBeowulf, his sister's son. He was the reigning king of Beowulf's", "and was attacked by the Geats. Two brothers, Eofor and Wulf, assailed\nthe veteran warrior. He defended himself with great vigour and killed", "here a thousand thanes, heroes to help thee. And I know that Hygelac,\nthe Lord of the Geats, the guardian of my folk, though young in years,", "as it had been in days of yore. Then the good kinsman of Hygelac\nremembered the evening talk, and stood upright and laid hold upon", "takes a golden goblet while the dragon is sleeping, and offers it to\nhis lord as a peace-offering. This brought about Beowulf's feud with\nthe dragon in which he met his death.", "Then he waded through the slaughter-reek, and bore the war-helmet\nto the help of his lord, and uttered a few words: 'Beloved Beowulf,", "their horses. And there was the glory of Beowulf proclaimed. And many\na one was saying that no man was a better man, no, none in the whole", "[58] Numbers XXIX. and XXX. are lacking in the MS. The divisions here\nare as in Wyatt's edition.\n\n[59] Withergyld--name of a Heathobard warrior.", "Beowulf answered, the son of Ecgtheow: 'O Lord Hygelac, it is well\nknown to many a man, our famous meeting, and the battle we fought," ], [ "Wiglaf was he called, he who was the son of Weohstan, the beloved\nshield-warrior, the Prince of the Danes and the kinsman of Aelfhere. He", "Wiglaf spake, he the son of Weohstan, the sad-hearted. 'He who will\nspeak truth may say that the lord and master who gave you gifts, and", "Wiglaf spake, the son of Weohstan: 'Often shall many an earl of his\nown only will suffer misery, as is our fate. Nor could we teach the", "Wiglaf spake many fitting words, and said to his comrades (for his\nmind was sad within him): 'I remember the time when we partook of the", "helmet, the ring, and the byrny, and bade him enjoy it well. 'Thou,\nO Wiglaf,' he said, 'art the last heir of our race, of that of the", "of his wounds, and carried the ring-net and the coat of mail adorned,\nunder the roof of the barrow. And as Wiglaf, exulting in victory, came", "Scyld (meaning Shield) refers to the fact that the king was the\nprotector of the people in war, and is therefore symbolical, like Scef.", "Wulf; but Eofor came to the help of his brother and dealt Ongentheow\nhis death-blow over the guard of his shield.", "[72] See Appendices VII. and IX.\n\n[73] Waegmundings--the family to which both Beowulf and Wiglaf\nbelonged.", "Hygelac. Beowulf is my name. I will say fully this my errand to the\nson of Healfdene the famous chieftain, unto thy lord and master,", "carried their shields, and battle-weeds, to where the old prince was\nlying. And they looked on Wiglaf; he the foot-warrior sat aweary near", "Hrothgar gave answer, the protector of the Danes: 'O my friend Beowulf,\nnow thou hast sought us, for defence and for favour. Thy father fought", "11. Scylfingas. Name for the Swedes.\n\n12. Waegmundings. The tribe to which both Beowulf and Wiglaf belonged.", "and was attacked by the Geats. Two brothers, Eofor and Wulf, assailed\nthe veteran warrior. He defended himself with great vigour and killed", "[58] Numbers XXIX. and XXX. are lacking in the MS. The divisions here\nare as in Wyatt's edition.\n\n[59] Withergyld--name of a Heathobard warrior.", "gave to him glory. Famous was Beowulf. [4] Far and wide spread his\nfame. Heir was he of Scyld in the land of the Danes. Thus should", "pass forth from my body. Now do thou, beloved Wiglaf, go quickly and\nlook on the hoard under the hoar stone, now that the dragon lieth", "low which bestowed every kind of joy upon you.' And in the end of the\npoem it is said of Beowulf that he was 'most gentle to his folk.' The", "Then spake Wulfgar (he was Prince of the Wendels [14]). His courage\nwas known to all, his valour and wisdom. 'I will make known to the", "Beowulf answered, the son of Ecgtheow: 'O Lord Hygelac, it is well\nknown to many a man, our famous meeting, and the battle we fought," ], [ "And heaven swallowed up the smoke. Then on the cliff-slopes the people\nof the Geats erected a mound, very high and very broad, that it might", "man Beowulf, the warrior King, the Lord of the Weder-Goths, had died\na wondrous death.", "the cliff-cave. Then Beowulf's share of lordly treasure was paid for\nby his death. And both he and the dragon had come to an end of their\nfleeting days.", "Then the People of the Geats got ready the mighty funeral pyre, and\nhung it round with helmets and battle-shields, and bright byrnies as", "At the fated hour Scyld passed away, very vigorous in spirit, to the\nkeeping of his Lord. Then his pleasant companions carried him down to", "of the Geats fast on his death-bed, and by the deed of the dragon\nhe inhabits the place of rest gained by a violent death. And by his", "of his wounds, and carried the ring-net and the coat of mail adorned,\nunder the roof of the barrow. And as Wiglaf, exulting in victory, came", "low which bestowed every kind of joy upon you.' And in the end of the\npoem it is said of Beowulf that he was 'most gentle to his folk.' The", "had done. And he gave to the Geats a countless number of each kind\nof war-weeds, when he in old age passed away from this life, on the", "Danes. And the Geat, the shield-warrior, desired greatly to go to\nhis rest. And straightway a hall-thane guided the far-comer, weary", "to whom I owe much, says: 'I cannot believe that any Christian poet\ncould have composed the account of Beowulf's funeral.' One passage", "brother, and of her son are burnt together on the funeral pyre, 'and\ngreat is the mourning of Hildeburh for her son.' But Hengest is ever", "was burning in his breast against his blood. [49] So Beowulf the\nwarrior, proud of his golden gifts, went forth o'er the grassy plain", "Then the Lord of earls as he sat on the mead-bench gave glorious gifts\nto each one of those who had fared with Beowulf over the ocean-ways,", "saw his lord suffering burning pain under his visor. Then he called\nto mind the favour that he (Beowulf) had bestowed upon him in days", "gave to him glory. Famous was Beowulf. [4] Far and wide spread his\nfame. Heir was he of Scyld in the land of the Danes. Thus should", "afterwards, being old, he sought refuge under the earth-wall. Then\nwas chase given to the people of the Swedes and the banner of Hygelac", "Geats killed one of them with his bow and arrows and ended his\nwave-strife, and he was in the sea, slower at swimming as death swept\nhim away. And on the waves by fierce battle hard pressed, and with", "vessels jewel-bedecked, and treasures of all kinds, of inconceivable\nvalue. Then the last of the race carries the treasure to a barrow or", "their horses. And there was the glory of Beowulf proclaimed. And many\na one was saying that no man was a better man, no, none in the whole" ], [ "here a thousand thanes, heroes to help thee. And I know that Hygelac,\nthe Lord of the Geats, the guardian of my folk, though young in years,", "against Grendel. A thane was in waiting on the Prince of the Danes,\nand his watch was keeping against the giant. The Lord of the Geats", "Now we have heard, by inquiry, of the glory of the kings of the\npeople, they of the Spear-Danes, how the Athelings were doing deeds", "as it had been in days of yore. Then the good kinsman of Hygelac\nremembered the evening talk, and stood upright and laid hold upon", "issue of words.' Then the Prince rose up, and about him was many a\nwarrior, a glorious band of thanes. And some bided there and held the", "and the Queen and the nobility and the commonalty are all concerned\nin the tragedy. The loss of one is the loss of all. When Aeschere is", "had with him. They advanced towards him and gave thanks to God, that\nglorious crowd of thanes, and rejoiced in their lord that they could\nsee him once more. Then was loosed quickly from that valiant man both", "century. Among these sagas, that of Beowulf the Geat must have had\na prominent place; others celebrated Hygelac his uncle, Hnaef the", "together had killed him, noble comrades in arms. And thus should a\nman who is a thane always be helping his lord at his need. And that", "Then the eldest gave answer, and unlocked his treasure of words,\nthe wise one of the troop: 'We are of the race of the Geats and", "old and very grey with his troop of earls. The brave man then went\nand stood before the shoulders of the Lord of the Danes. Well he knew", "his fellow, and mild of mood, and faithful to his liege-lord. Thanes\nare gentle, the people all ready. O ye warriors who have drunk deep,", "them. The good man, wise and very sad, went away with his comrades to\nseek out a stronghold. Earl Ongentheow turned away to higher ground,", "two fugitives and is killed in the mêlée. Twenty years pass by--Hnaef\nand Hengest, sons of Hoc, take up the 'vendetta.' In the fighting", "Then in the hall the giver of rings was grey-haired and\nbattle-brave. The Prince of the Danes was hopeful of help. The guardian", "Then answered the brave man, the chief of the Geats, and spake\nthese words, hard under helmet: 'We are the comrades at table of", "Lord of the Danes. Go ye forth, therefore, bear weapons and armour, as\nI will direct you. And I will command my thanes to hold against every", "Then in that hall the prince of the earls, the son of Healfdene,\ngave him twelve treasures, and bade him be seeking his own people in", "Then he went visiting the high house after nightfall, to see how the\nRing-Danes were holding it. And he found there a band of Athelings", "Hrothgar gave answer, the protector of the Danes: 'O my friend Beowulf,\nnow thou hast sought us, for defence and for favour. Thy father fought" ], [ "Hygelac, son of Hrethel, was king of the Geats, and uncle of\nBeowulf, his sister's son. He was the reigning king of Beowulf's", "Then the thane of Hygelac, [10] the good man of the Geats, [11]\nheard from home of the deeds of Grendel. And on the day of this life", "here a thousand thanes, heroes to help thee. And I know that Hygelac,\nthe Lord of the Geats, the guardian of my folk, though young in years,", "Danes. And the Geat, the shield-warrior, desired greatly to go to\nhis rest. And straightway a hall-thane guided the far-comer, weary", "century. Among these sagas, that of Beowulf the Geat must have had\na prominent place; others celebrated Hygelac his uncle, Hnaef the", "setting before us a great national hero. Beowulf himself was not an\nAnglo-Saxon. He was a Geat-Dane; but he belonged to that confraternity", "the treasures, and fairly he promised reward for the people, and he\ndid as he promised. The lord of the Geats (Hygelac) son of Hrethel,", "of the Geats, both comfort and help. So that they all overcame their\nenemies through the craft of one man and by his might only. And truly", "Then the eldest gave answer, and unlocked his treasure of words,\nthe wise one of the troop: 'We are of the race of the Geats and", "of the Geats fast on his death-bed, and by the deed of the dragon\nhe inhabits the place of rest gained by a violent death. And by his", "fellow countrymen the Geats during the greater part of the action\nof the poem. Beowulf is often called 'Hygelac's kinsman,' and when", "Then answered the brave man, the chief of the Geats, and spake\nthese words, hard under helmet: 'We are the comrades at table of", "6. Hæthcyn, King of Geats.\n 7. Hygelac, King of Geats.\n 8. Heardred, King of Geats.", "[16] Hygelac, King of the Geats at the time, and uncle of Beowulf.", "though dear he was to them. They urged on the valiant man and marked\nthe omen. The good man of the Geats had chosen champions of those", "of the story. In the ancient days some remote predecessors of the\nGeats seem to have heaped up in the neighbourhood a pile of wonderful", "English nation, though he really fought against the English, so the\nSaxon singer of Beowulf has idealized this Geatish chieftain, and in", "though the other bought his life with a hard bargain. And war was\nthreatening Hæthcyn the lord of the Geats. Then I heard tell that", "a people of the Geats, and the eldest the warriors call Beowulf. And\nthey are asking that they may exchange words with thee, my lord. O", "Geats killed one of them with his bow and arrows and ended his\nwave-strife, and he was in the sea, slower at swimming as death swept\nhim away. And on the waves by fierce battle hard pressed, and with" ], [ "takes a golden goblet while the dragon is sleeping, and offers it to\nhis lord as a peace-offering. This brought about Beowulf's feud with\nthe dragon in which he met his death.", "steep shield, and he and the dragon fell quickly together. Beowulf\nwaited warily all in his war-gear. Then the flaming monster bent as", "of the Geats cut asunder the dragon in the midst of his body. And\nthe fiend fell prone; courage had driven out his life, and they two", "the cliff-cave. Then Beowulf's share of lordly treasure was paid for\nby his death. And both he and the dragon had come to an end of their\nfleeting days.", "of the Geats fast on his death-bed, and by the deed of the dragon\nhe inhabits the place of rest gained by a violent death. And by his", "the guardian of the hoard when he was sleeping, by the craft of a\nthief. And Beowulf found out that the dragon was angry. [64]", "And Beowulf, son of Ecgtheow, so famous in warfare and in good deeds,\nbore himself boldly and fulfilled his fate, nor did he slay the drunken", "was hot with battle-fires. Nor could he survive any while near to\nthe hoard unburnt because of the flame of the dragon. Then in a fury", "or weapon against the dragon if I knew how else I might maintain my\nboast against the monster, as I formerly did against Grendel. But\nin this conflict I expect the hot battle-fire, both breath and", "end. Likewise the terrible dragon, his slayer, lay there bereft of life\nand pressed sore by ruin. And the coiled dragon could no longer wield", "dragon finds the cavern and the treasure and appropriates it for three\nhundred years. Then one of Beowulf's retainers finds the treasure and", "3. Beowulf's Return to the land of the Geats.\n\n4. Beowulf's Fight with the Dragon.", "pass forth from my body. Now do thou, beloved Wiglaf, go quickly and\nlook on the hoard under the hoar stone, now that the dragon lieth", "was burning in his breast against his blood. [49] So Beowulf the\nwarrior, proud of his golden gifts, went forth o'er the grassy plain", "far otherwhere, as must each man let go these fleeting days sooner or\nlater. And not long after this Beowulf and the monster met together", "his cavern, and in battle and his cliff-wall. But his hope deceived\nhim. Then was the terror made known to Beowulf, quickly and soothly,", "Then the wound which the Earth-dragon had formerly dealt him began\nto burn and to swell. And he soon discovered that the baleful", "sword pierced through the wondrous worm, and it stood in the wall,\nthat doughty iron, and the dragon was dead. And so this monster had", "Beowulf got possession of his wits again, and drew his bitter and\nbattle-sharp short sword that he bore on his shield. And the King", "of his wounds, and carried the ring-net and the coat of mail adorned,\nunder the roof of the barrow. And as Wiglaf, exulting in victory, came" ], [ "and I destroyed the fierce one. And now all alone I shall settle\nthe affair of Grendel the deadly monster, the cruel giant. And one\nboon will I be asking, O Prince of the Bright Danes, thou lord of", "fatal demon. And Grendel was one of them, the hateful fierce wolf,\nwho found the man wide awake awaiting the battle. And there was the", "bore forth yet another one, that loathly prey. And well he requited\nhim, this furious champion, when he saw the war-weary Grendel lying in", "first fell, the champion begirt. For Grendel was to the famous thane\na banesman by biting, and devoured whole the dear man. Nor would he,", "Then did Beowulf, kinsman of Hygelac, see the dire distress, how the\nwicked scather would fare with sudden grip. Nor did the monster think", "to be greeting the murderous stranger, but to let the South Danes\nthemselves wage war against Grendel. And I now give God thanks that\nI see thee safe and sound.'", "of the Geats cut asunder the dragon in the midst of his body. And\nthe fiend fell prone; courage had driven out his life, and they two", "in fighting, and careth not for his life. Then the Lord of the Geats\nseized by the shoulder the mother of Grendel (nor at all did he mourn", "or weapon against the dragon if I knew how else I might maintain my\nboast against the monster, as I formerly did against Grendel. But\nin this conflict I expect the hot battle-fire, both breath and", "famous Geat. Then a great tumult was made in Hart, and with bloodshed\nshe had seized the well-known hand of Grendel her son. And care was", "far otherwhere, as must each man let go these fleeting days sooner or\nlater. And not long after this Beowulf and the monster met together", "recked not any man my foeman under the sweep of heaven. Lo! then there\ncame to me change in my homeland, sorrow after gaming, when Grendel,", "takes a golden goblet while the dragon is sleeping, and offers it to\nhis lord as a peace-offering. This brought about Beowulf's feud with\nthe dragon in which he met his death.", "And Beowulf, son of Ecgtheow, so famous in warfare and in good deeds,\nbore himself boldly and fulfilled his fate, nor did he slay the drunken", "THE STORY OF BEOWULF\n\nI\n\nThe Prelude", "to Beowulf. Thence would Grendel, mortally wounded, flee under the\nfen-slopes to seek out a joyless dwelling. The more surely he knew he", "There are in the poem four distinct lays:\n\n1. Beowulf's Fight with Grendel.\n\n2. Beowulf's Fight with Grendel's mother.", "Grendel. But easily may the good God restrain the deeds of the foolish\nscather. And drunken with beer the warriors full often boasted o'er", "Hrothgar spake. He went to the hall and stood on the threshold and saw\nthe steep roof all decked out with gold and the hand of Grendel. 'Let", "craft of thirty men. 'And the holy God hath sent him for favour to us\nWest Danes, and of this I have hope, 'gainst the terror of Grendel. I" ], [ "Then spake Wulfgar (he was Prince of the Wendels [14]). His courage\nwas known to all, his valour and wisdom. 'I will make known to the", "thou wast living. Now shalt thou, the brave in deeds and the resolute\nnoble, save thy life with all thy might. I am come to help thee.' After", "his brave works, and deemed them doughty, as is fitting that a man\nshould praise his lord in words and cherish him in his heart when he\nshall have gone forth from the fleeting body. So the People of the", "'of noble character,' and 'wise.' She is compared, to her advantage,\nwith Thrytho, who was a shrewish woman. No one dared to look upon", "strength of himself alone. Nor was that a coward's journey. Then\nBeowulf, possessed of manly virtues, who had escaped in many a\nconflict and crashing of battle when men encountered on foot, saw", "Wiglaf was he called, he who was the son of Weohstan, the beloved\nshield-warrior, the Prince of the Danes and the kinsman of Aelfhere. He", "over many lands. Then the dear one in battle showed them the bright\nhouse where were the brave ones, that they might straightway make\ntheir way towards it. Then one of the warriors turned his horse round,", "amongst men, the protector of warriors. He formerly throve thus. Then\nthe warfare of Heremod [23] was waning, his strength and his courage,", "though dear he was to them. They urged on the valiant man and marked\nthe omen. The good man of the Geats had chosen champions of those", "of his comrade, and the well-wrought armour for fighting. Nor did\nhe speak of the feud, though he slew his brother's son. And he held", "in his breast. Nevertheless the Atheling must unavenged be losing his\nlife. For so is it a sorrowful thing for a venerable man to see his", "as it had been in days of yore. Then the good kinsman of Hygelac\nremembered the evening talk, and stood upright and laid hold upon", "lord of troops esteem him as of much worth on the mead-bench. Besides,\nthey thought him slack and by no means a warlike Atheling. Then came a", "treasures on to the ship's bosom, he the son of Waels. The worm melted\nhot. He was of wanderers the most widely famous in deeds of courage,", "Then I heard that four horses, of reddish yellow hue, followed the\narmour. And thus he did him honour with horses and gifts. So should", "came marching on the track.' Ongentheow now was alarmed, for Hygelac's\nprowess in battle was far-famed. He withdrew into some fortification,", "[46] 'Honour-full' is Wyatt's translation.\n\n[47] Hrethric, one of Hrothgar's sons.", "Scyld (meaning Shield) refers to the fact that the king was the\nprotector of the people in war, and is therefore symbolical, like Scef.", "and many an Atheling destroyed by wounds. Some fell on the field of\ndeath. Then Hildeburh commanded her very own son to be thrust in", "before 'mongst these brave ones who sat on the floor. And the helmet\nof night grew dark over men. And the noble warriors arose. The\nvenerable king wished to go to his bed, the old prince of the" ], [ "And Beowulf, son of Ecgtheow, so famous in warfare and in good deeds,\nbore himself boldly and fulfilled his fate, nor did he slay the drunken", "gave to him glory. Famous was Beowulf. [4] Far and wide spread his\nfame. Heir was he of Scyld in the land of the Danes. Thus should", "Beowulf moreover now for the last time spake these boastful words: 'In\nmany a war I risked my life in the days of my youth, yet still will I", "low which bestowed every kind of joy upon you.' And in the end of the\npoem it is said of Beowulf that he was 'most gentle to his folk.' The", "of Hereric, and it was then that the broad kingdom came into the\npossession of Beowulf. And he held sway therein fifty winters (and", "in battle by Onela (see Appendix IX.). Then Beowulf succeeded to the\nthrone of the Geats (Chapter XXXI., p. 134). Hygelac died between", "man Beowulf, the warrior King, the Lord of the Weder-Goths, had died\na wondrous death.", "far otherwhere, as must each man let go these fleeting days sooner or\nlater. And not long after this Beowulf and the monster met together", "THE STORY OF BEOWULF\n\nI\n\nThe Prelude", "strength of himself alone. Nor was that a coward's journey. Then\nBeowulf, possessed of manly virtues, who had escaped in many a\nconflict and crashing of battle when men encountered on foot, saw", "a.d. 512 and 520. Beowulf died about 568. He reigned fifty years.", "Beowulf answered, the son of Ecgtheow: 'O Lord Hygelac, it is well\nknown to many a man, our famous meeting, and the battle we fought,", "(Chapters XXXIII. and XXXIV., pp. 144 sq.) and slew Heardred. Then\nit was that Beowulf became King of the Geats. Thus two Geatish kings", "of Hrothgar. He was a king, blameless in every way, until old age,\nthat scather of many, bereft him of the joys of strength.", "Hrothgar gave answer, the protector of the Danes: 'O my friend Beowulf,\nnow thou hast sought us, for defence and for favour. Thy father fought", "Beowulf. He came to Leire, the Danish royal residence, and killed a\ndemon in animal form. Saxo says it was a bear. This demon attacked", "Beowulf spake, the son of Ecgtheow: 'Lo, son of Healfdene, lord of\nthe Danes, we have brought thee this booty of the sea all joyfully,", "takes a golden goblet while the dragon is sleeping, and offers it to\nhis lord as a peace-offering. This brought about Beowulf's feud with\nthe dragon in which he met his death.", "Beowulf spake, the son of Ecgtheow: 'Sorrow not, O wise man. It\nis better for each one to avenge his friend, when he is much", "So Beowulf, son of Healfdene, ever was brooding over this time-care,\nnor could the brave hero avert woe. That conflict was too strong," ], [ "us for a while, and the sea boiled with gore; I cut off the head of\nGrendel's mother in the hall at the bottom of the sea, with powerful", "famous Geat. Then a great tumult was made in Hart, and with bloodshed\nshe had seized the well-known hand of Grendel her son. And care was", "in fighting, and careth not for his life. Then the Lord of the Geats\nseized by the shoulder the mother of Grendel (nor at all did he mourn", "slain by Grendel's mother Hrothgar thus bewails his loss: 'Seek no more\nafter joy; sorrow is renewed for the Danish folk. Aeschere is dead,", "and I destroyed the fierce one. And now all alone I shall settle\nthe affair of Grendel the deadly monster, the cruel giant. And one\nboon will I be asking, O Prince of the Bright Danes, thou lord of", "shield-warriors marched along. And the traces were widely seen in the\nforest-ways, the goings of Grendel's mother over the ground. Forwards", "an avenger survived the loathsome one, for a long time after the\nwar-sorrow. A woman, the mother of Grendel, a terrible wife, bore in", "night came down upon men. Then was the mother of Grendel quickly\nready for vengeance, and came on a woful journey, for Death had", "bore forth yet another one, that loathly prey. And well he requited\nhim, this furious champion, when he saw the war-weary Grendel lying in", "made famous, went on her journeys. She was wreaking vengeance for the\nfeud of thy making when thou killedst Grendel but yesternight, in a", "fatal demon. And Grendel was one of them, the hateful fierce wolf,\nwho found the man wide awake awaiting the battle. And there was the", "on the funeral pyre. For she bore away the body in her fiendish grip\nunder the mountain-streams. And that was to Hrothgar the bitterest", "of the Geats cut asunder the dragon in the midst of his body. And\nthe fiend fell prone; courage had driven out his life, and they two", "In the Grettis Saga the hero kills two demons, male and female. It is\ntrue that the scene is laid in Iceland, but minor details of scenery,", "Geats killed one of them with his bow and arrows and ended his\nwave-strife, and he was in the sea, slower at swimming as death swept\nhim away. And on the waves by fierce battle hard pressed, and with", "brother, and of her son are burnt together on the funeral pyre, 'and\ngreat is the mourning of Hildeburh for her son.' But Hengest is ever", "or weapon against the dragon if I knew how else I might maintain my\nboast against the monster, as I formerly did against Grendel. But\nin this conflict I expect the hot battle-fire, both breath and", "to be greeting the murderous stranger, but to let the South Danes\nthemselves wage war against Grendel. And I now give God thanks that\nI see thee safe and sound.'", "takes a golden goblet while the dragon is sleeping, and offers it to\nhis lord as a peace-offering. This brought about Beowulf's feud with\nthe dragon in which he met his death.", "to Beowulf. Thence would Grendel, mortally wounded, flee under the\nfen-slopes to seek out a joyless dwelling. The more surely he knew he" ], [ "his cavern, and in battle and his cliff-wall. But his hope deceived\nhim. Then was the terror made known to Beowulf, quickly and soothly,", "Then did Beowulf, kinsman of Hygelac, see the dire distress, how the\nwicked scather would fare with sudden grip. Nor did the monster think", "various tribes and nations. When Beowulf the Geat hears in Gautland of\nthe raids of Grendel upon Hart, he commands his folk to make ready a", "THE STORY OF BEOWULF\n\nI\n\nThe Prelude", "resounded under the hoar cliffs. And hatred was stirred, for the\nguardian of the hoard recognized well the voice of Beowulf. And that", "his father's kingdom, and hold the folk, the hoard and city of refuge,\nthe kingdom of heroes, the country of the Danes. But Beowulf Hygelac's", "began to do evil, a devil from hell; and this grim spirit was called\nGrendel. And he was a march-stepper, who ruled on the moorlands, the", "Beowulf. He came to Leire, the Danish royal residence, and killed a\ndemon in animal form. Saxo says it was a bear. This demon attacked", "the guardian of the hoard when he was sleeping, by the craft of a\nthief. And Beowulf found out that the dragon was angry. [64]", "far otherwhere, as must each man let go these fleeting days sooner or\nlater. And not long after this Beowulf and the monster met together", "takes a golden goblet while the dragon is sleeping, and offers it to\nhis lord as a peace-offering. This brought about Beowulf's feud with\nthe dragon in which he met his death.", "the earth resounded. The warrior, the Lord of the Geats, raised his\nshield under the barrow against the terrible sprite. Now the heart of", "and I destroyed the fierce one. And now all alone I shall settle\nthe affair of Grendel the deadly monster, the cruel giant. And one\nboon will I be asking, O Prince of the Bright Danes, thou lord of", "of Hereric, and it was then that the broad kingdom came into the\npossession of Beowulf. And he held sway therein fifty winters (and", "Hrothgar gave answer, the protector of the Danes: 'O my friend Beowulf,\nnow thou hast sought us, for defence and for favour. Thy father fought", "the hall to greet King Hrothgar. Then over the floor where warriors\nwere drinking they bore Grendel's head, a terror to the earls and", "And Beowulf, son of Ecgtheow, so famous in warfare and in good deeds,\nbore himself boldly and fulfilled his fate, nor did he slay the drunken", "to Beowulf. Thence would Grendel, mortally wounded, flee under the\nfen-slopes to seek out a joyless dwelling. The more surely he knew he", "steep shield, and he and the dragon fell quickly together. Beowulf\nwaited warily all in his war-gear. Then the flaming monster bent as", "against Grendel. A thane was in waiting on the Prince of the Danes,\nand his watch was keeping against the giant. The Lord of the Geats" ], [ "Hrothgar gave answer, the protector of the Danes: 'O my friend Beowulf,\nnow thou hast sought us, for defence and for favour. Thy father fought", "Hygelac, son of Hrethel, was king of the Geats, and uncle of\nBeowulf, his sister's son. He was the reigning king of Beowulf's", "city. And quickly was made known to Hygelac the coming of Beowulf,\nthat he the Prince of warriors, the comrade in arms, was returning", "Beowulf the Atheling, of good worth to the Danes, went up to the dais\nwhere was Hrothgar the faithful and bold, and greeted him there.", "his father's kingdom, and hold the folk, the hoard and city of refuge,\nthe kingdom of heroes, the country of the Danes. But Beowulf Hygelac's", "Beowulf spake, the son of Ecgtheow: 'Lo, son of Healfdene, lord of\nthe Danes, we have brought thee this booty of the sea all joyfully,", "Beowulf answered, the son of Ecgtheow: 'O Lord Hygelac, it is well\nknown to many a man, our famous meeting, and the battle we fought,", "of Hereric, and it was then that the broad kingdom came into the\npossession of Beowulf. And he held sway therein fifty winters (and", "[16] Hygelac, King of the Geats at the time, and uncle of Beowulf.", "Beowulf got possession of his wits again, and drew his bitter and\nbattle-sharp short sword that he bore on his shield. And the King", "King of the Geats. In the Hall of Hart Hrothgar and his Queen and his\ncourtiers sit at the high table on the dais, and the lower orders", "boat that he may fare across the sea to the help of Hrothgar, because\n'he was lacking in warriors.' Beowulf's whole mission in Hart was", "here a thousand thanes, heroes to help thee. And I know that Hygelac,\nthe Lord of the Geats, the guardian of my folk, though young in years,", "Hygelac. Beowulf is my name. I will say fully this my errand to the\nson of Healfdene the famous chieftain, unto thy lord and master,", "Moreover the Danish Beowulf, [6] the dear King of his people, was\na long time renowned amongst the folk in the cities (his father,", "of Hrothgar. He was a king, blameless in every way, until old age,\nthat scather of many, bereft him of the joys of strength.", "Then did Beowulf, kinsman of Hygelac, see the dire distress, how the\nwicked scather would fare with sudden grip. Nor did the monster think", "Beowulf. He came to Leire, the Danish royal residence, and killed a\ndemon in animal form. Saxo says it was a bear. This demon attacked", "the discharge of a solemn obligation of help from the strong to the\nweak. He announces to Hrothgar that he is come 'to cleanse Hart of", "And Beowulf, son of Ecgtheow, so famous in warfare and in good deeds,\nbore himself boldly and fulfilled his fate, nor did he slay the drunken" ], [ "dragon finds the cavern and the treasure and appropriates it for three\nhundred years. Then one of Beowulf's retainers finds the treasure and", "takes a golden goblet while the dragon is sleeping, and offers it to\nhis lord as a peace-offering. This brought about Beowulf's feud with\nthe dragon in which he met his death.", "of the Geats fast on his death-bed, and by the deed of the dragon\nhe inhabits the place of rest gained by a violent death. And by his", "steep shield, and he and the dragon fell quickly together. Beowulf\nwaited warily all in his war-gear. Then the flaming monster bent as", "the guardian of the hoard when he was sleeping, by the craft of a\nthief. And Beowulf found out that the dragon was angry. [64]", "the cliff-cave. Then Beowulf's share of lordly treasure was paid for\nby his death. And both he and the dragon had come to an end of their\nfleeting days.", "of the Geats cut asunder the dragon in the midst of his body. And\nthe fiend fell prone; courage had driven out his life, and they two", "pass forth from my body. Now do thou, beloved Wiglaf, go quickly and\nlook on the hoard under the hoar stone, now that the dragon lieth", "3. Beowulf's Return to the land of the Geats.\n\n4. Beowulf's Fight with the Dragon.", "was hot with battle-fires. Nor could he survive any while near to\nthe hoard unburnt because of the flame of the dragon. Then in a fury", "and flame. Then, as the dragon wished, day was departing. Not any\nlonger would he wait within walls, but went forth girt with baleful\nfire. And terrible was this beginning to the people in that country,", "far otherwhere, as must each man let go these fleeting days sooner or\nlater. And not long after this Beowulf and the monster met together", "his cavern, and in battle and his cliff-wall. But his hope deceived\nhim. Then was the terror made known to Beowulf, quickly and soothly,", "and the stout-hearted saw the foot-mark of his foe. He had stepped\ntoo far forth with cunning craft near the head of the dragon. So may", "And Beowulf, son of Ecgtheow, so famous in warfare and in good deeds,\nbore himself boldly and fulfilled his fate, nor did he slay the drunken", "THE STORY OF BEOWULF\n\nI\n\nThe Prelude", "at the trembling cowards who had hurried away into the woods, to save\ntheir own skins, whilst their King Beowulf wrestled with the dragon,", "a dragon. Then spake the wise man the son of Healfdene, and all kept\nsilence: 'He who doeth truth and right among the folk, and he who can", "was burning in his breast against his blood. [49] So Beowulf the\nwarrior, proud of his golden gifts, went forth o'er the grassy plain", "strength of himself alone. Nor was that a coward's journey. Then\nBeowulf, possessed of manly virtues, who had escaped in many a\nconflict and crashing of battle when men encountered on foot, saw" ], [ "steep shield, and he and the dragon fell quickly together. Beowulf\nwaited warily all in his war-gear. Then the flaming monster bent as", "takes a golden goblet while the dragon is sleeping, and offers it to\nhis lord as a peace-offering. This brought about Beowulf's feud with\nthe dragon in which he met his death.", "or weapon against the dragon if I knew how else I might maintain my\nboast against the monster, as I formerly did against Grendel. But\nin this conflict I expect the hot battle-fire, both breath and", "the guardian of the hoard when he was sleeping, by the craft of a\nthief. And Beowulf found out that the dragon was angry. [64]", "And Beowulf, son of Ecgtheow, so famous in warfare and in good deeds,\nbore himself boldly and fulfilled his fate, nor did he slay the drunken", "of the Geats cut asunder the dragon in the midst of his body. And\nthe fiend fell prone; courage had driven out his life, and they two", "Then did Beowulf, kinsman of Hygelac, see the dire distress, how the\nwicked scather would fare with sudden grip. Nor did the monster think", "Beowulf got possession of his wits again, and drew his bitter and\nbattle-sharp short sword that he bore on his shield. And the King", "dragon finds the cavern and the treasure and appropriates it for three\nhundred years. Then one of Beowulf's retainers finds the treasure and", "the courageous encounters, until the day on which he was to wage war\nwith the dragon. And so it came to pass that the Lord of the Geats", "was hot with battle-fires. Nor could he survive any while near to\nthe hoard unburnt because of the flame of the dragon. Then in a fury", "and was attacked by the Geats. Two brothers, Eofor and Wulf, assailed\nthe veteran warrior. He defended himself with great vigour and killed", "Then Beowulf spake, the son of Ecgtheow: 'What! my friend Unferth,\ndrunken with beer, many things thou art saying about that Breca", "3. Beowulf's Return to the land of the Geats.\n\n4. Beowulf's Fight with the Dragon.", "strength of himself alone. Nor was that a coward's journey. Then\nBeowulf, possessed of manly virtues, who had escaped in many a\nconflict and crashing of battle when men encountered on foot, saw", "of the Geats fast on his death-bed, and by the deed of the dragon\nhe inhabits the place of rest gained by a violent death. And by his", "at the trembling cowards who had hurried away into the woods, to save\ntheir own skins, whilst their King Beowulf wrestled with the dragon,", "his cavern, and in battle and his cliff-wall. But his hope deceived\nhim. Then was the terror made known to Beowulf, quickly and soothly,", "the cliff-cave. Then Beowulf's share of lordly treasure was paid for\nby his death. And both he and the dragon had come to an end of their\nfleeting days.", "Hrothgar gave answer, the protector of the Danes: 'O my friend Beowulf,\nnow thou hast sought us, for defence and for favour. Thy father fought" ] ]

[ "What is the name of Hrothgar's great hall?", "What plagues Heorot?", "How does Beowulf kill Grendel's mother?", "What does medias res mean?", "What are thegns?", "What does Wiglaf's name mean?", "What is Wiglaf's nationality?", "How does Beowulf die?", "What is built by the sea in Beowulf's honor?", "Who is the main protagonist in the story?", "How does Beowulf help king Hrothgar?", "How does Beowulf's own destiny repeat that of King Horthgar's?", "What happens to Beowulf after he slays the dragon?", "Why is Beowulf considered an epic poem? ", "What is another reason why the poem can be called epic?", "Who is Wiglaf?", "What does Wiglaf's name mean?", "What kind of burial does Beowulf receive?", "Who are thegns?", "Who is a hero of the Geats?", "What happens to Beowulf during the slaying of the dragon?", "How is the monster Grendel killed?", "Who's name means remnant of valour?", "Who does Beowulf become later in life?", "How is Grendel's mother killed?", "What is Beowulf's realm terrorized by?", "Beowulf comes to the aid of what king?", "Where does Beowulf follow the dragon?", "Beowulf attacks the dragon with who's help?" ]

[ [ "Heorot.", "heorot" ], [ "The monstor Grendel.", "Grendal." ], [ "With the sword of a giant that Beowulf finds in her lair.", "With a giant's sword" ], [ "In the middle of things.", "In the middle of things" ], [ "Servants.", "servents" ], [ "Remnant of valour.", "remnant of valour" ], [ "Swedish.", "Swedish" ], [ "He is mortally wounded by a dragon.", "slaying the dragon" ], [ "A burial mound.", "A buriel mound." ], [ "Beowulf", "Beowulf" ], [ "By killing the monster that terrorized his castle along with the monster's mother", "Killing Grendal and Grendal's mother" ], [ "He becomes king, and his territory is terrorized by a dragon whose treasures had been stolen", "His own kingdom is being attacked by a mythical creature" ], [ "He is mortally wounded", "he dies" ], [ "Because the hero demonstrates strength and perseverance at impossible odds ", "It's about triumping against immpossible odds" ], [ "It begins in the middle of things, just like most other epic pieces", "It begins in medias res" ], [ "Swedish relative of Beowulf who helps him defeat the dragon", "Beowulf's reletive." ], [ "Remnant of valor", "\"remnant of valour\"" ], [ "His body is cremated", "He is laid to rest in a burial mound" ], [ "Servants ", "servents" ], [ "Beowulf. ", "Beowulf." ], [ "Beowulf is mortally wounded. ", "wounded fatally " ], [ "Beowulf's bare hands. ", "By Beowulf hands" ], [ "Wiglaf. ", "Wiglaf" ], [ "King of the Geats. ", "king of the Geats" ], [ "A giant sword. ", "A sword found by Beowulf" ], [ "A dragon. ", "A dragon." ], [ "Hrothgar. ", "Hrothgar" ], [ "Earnanaes. ", "To it's lair" ], [ "Thegns. ", "Wiglaf" ] ]

[ [ "of some indeterminate sort among the willows, and as the branches swayed in\nthe wind they seemed to group themselves about these shapes, forming a\nseries of monstrous outlines that shifted rapidly beneath the moon. Close,", "Creeping with silent feet over the shifting sands, drawing imperceptibly\nnearer by soft, unhurried movements, the willows had come closer during the", "but that an alteration had apparently been effected in the relation of the\ntent to the willows, and of the willows to the tent. Surely the bushes now", "With this general hush of the wind--though it still indulged in occasional\nbrief gusts--the river seemed to me to grow blacker, the willows to stand", "The willows, for once, were motionless and silent. Then a sound began to\nreach my ears faintly, a peculiar sound--something like the humming of a", "\"It's the willows, of course. The willows mask the others, but the others\nare feeling about for us. If we let our minds betray our fear, we're lost,", "in its own way, stirred in me this sensation of a strange distress. But the\nwillows especially; for ever they went on chattering and talking among", "with a huge sweep into the willows, which closed about it like a herd of\nmonstrous antediluvian creatures crowding down to drink. They made me think", "With this multitude of willows, however, it was something far different, I\nfelt. Some essence emanated from them that besieged the heart. A sense of", "night. But had the wind moved them, or had they moved of themselves? I\nrecalled the sound of infinite small patterings and the pressure upon the", "a willow-stem, and the washed-up dishes removed to a safe distance from the\nfire, all ready for the morning meal.", "\"But now the wind has dropped,\" I objected. \"The willows can hardly make a\nnoise by themselves, can they?\"", "We were grubbing away in the middle of a thickish clump of willows where\nsome driftwood from a former flood had caught high among the branches, when", "signs, the shifting willows, one and all had been robbed of its natural\ncharacter, and revealed in something of its other aspect--as it existed", "indeed that something in their appearance proclaimed them to be not human\nat all. Certainly they were not merely the moving tracery of the branches\nagainst the moonlight. They shifted independently. They rose upwards in a", "willows shivering about us, but apart from this not very welcome sound a\ndeep and depressing silence reigned, broken only by the gurgling of the\nriver and the humming in the air overhead.", "a suitable camping-ground for the night. But the bewildering character of\nthe islands made landing difficult; the swirling flood carried us in shore\nand then swept us out again; the willow branches tore our hands as we", "But my emotion, so far as I could understand it, seemed to attach itself\nmore particularly to the willow bushes, to these acres and acres of", "through somehow. But, if you listen carefully, you'll find it's not above\nso much as around us. It's in the willows. It's the willows themselves", "But the sky kept wholly clear of clouds, and soon after supper the full\nmoon rose up in the east and covered the river and the plain of shouting\nwillows with a light like the day." ], [ "that the tent was surrounded. That sound of multitudinous soft pattering\nwas again audible outside, filling the night with horror.", "Outside there was a sound of multitudinous little patterings. They had been\ncoming, I was aware, for a long time, and in my sleep they had first become", "\"It is because the wind has dropped we now hear it. It was drowned before.\nIt is the cry, I believe, of the--\"", "But this second time I jumped up with a genuine start of terror. It was\nneither the wind nor the river that woke me, but the slow approach of", "\"And, for Heaven's sake,\" I went on, \"don't keep pretending you hear\nthings, because it only gives me the jumps, and there's nothing to hear but\nthe river and this cursed old thundering wind.\"", "Nothing further came in to disturb me, and I fell asleep almost at once,\nutterly exhausted, yet still in dread of hearing again that weird sound of\nmultitudinous pattering, or of feeling the pressure upon my heart that had\nmade it difficult to breathe.", "\"I know. But the wind won't account for all the noises.\"\n\n\"Then you heard it too?\"", "Then at length his breathing became regular and I heard unmistakable sounds\nof snoring--the first and only time in my life when snoring has been a\nwelcome and calming influence.", "up, asking me if I \"heard this\" or \"heard that.\" He tossed about on his\ncork mattress, and said the tent was moving and the river had risen over", "\"I watched it settle downwards through the bushes,\" he sobbed at me. \"Look,\nby God! It's coming this way! Oh, oh!\"--he gave a kind of whistling cry.\n\"They've found us.\"", "We stood there, listening attentively together. At first I heard only the\ndeep note of the water and the hissings rising from its turbulent surface.", "The willows, for once, were motionless and silent. Then a sound began to\nreach my ears faintly, a peculiar sound--something like the humming of a", "night. But had the wind moved them, or had they moved of themselves? I\nrecalled the sound of infinite small patterings and the pressure upon the", "And, another time, when the gong sounds had come nearer, ringing much\nlouder than before, and directly over our heads, he said as though talking\nto himself:", "\"Look! By my soul!\" he whispered, and for the first time in my experience I\nknew what it was to hear tears of terror in a human voice. He was pointing", "The melancholy shrill cry of a night-bird sounded overhead, and suddenly I\nnearly lost my balance as the piece of bank I stood upon fell with a great", "Contrary to our expectations, the wind did not go down with the sun. It\nseemed to increase with the darkness, howling overhead and shaking the", "distant gong. It seemed to come across to us in the darkness from the waste\nof swamps and willows opposite. It was repeated at regular intervals, but", "\"Come and listen,\" he said, \"and see what you make of it.\" He held his hand\ncupwise to his ear, as so often before.\n\n\"Now do you hear anything?\" he asked, watching me curiously.", "night. They were focusing upon our island, and more particularly upon\nourselves. For thus, somehow, in the terms of the imagination, did my\nreally indescribable sensations in this extraordinary place present" ], [ "I called again to him, louder than before. He did not answer, but I missed\nthe sound of his snoring, and also noticed that the flap of the tent was", "He woke naturally and easily, as I have said, when the sun was already high\nin a windless hot sky, and he at once got up and set about the preparation", "\"I slept badly a little after dawn,\" I replied evasively, trying to follow\nhis instructions, which I knew instinctively were true, \"but the wind, of\ncourse--\"", "\"It wasn't there last night,\" he said presently, straightening up from his\nexamination and looking anywhere but at me.", "He began to look curiously about him. The sunlight lay in hot patches on\nthe sand. There was no wind. The willows were motionless. He slowly rose to\nfeet.", "My companion had not stirred when I called him, and there was no need to\nwaken him now. I looked about me carefully, noting everything; the", "Neither of us said a word. We both knew that sleep was the safest thing we\ncould do, and to bed we went accordingly without further delay, having", "After all, we had to spend the night together, and to sleep in the same\ntent side by side. I saw that I could not get along much longer without the", "It was earlier than usual when we camped, for the sun was a good hour or\ntwo from the horizon, and leaving my friend still asleep on the hot sand, I", "however, and I crawled quietly out of the tent to see if our belongings\nwere safe. I moved carefully so as not to waken my companion. A curious\nexcitement was on me.", "saw by the bright moonlight that it was past twelve o'clock--the threshold\nof a new day--and I had therefore slept a couple of hours. The Swede was", "of the fire for breakfast. I followed him anxiously at bathing, but he did\nnot attempt to plunge in, merely dipping his head and making some remark\nabout the extra coldness of the water.", "The sun was high in the heavens when my companion woke me from a heavy\nsleep and announced that the porridge was cooked and there was just time to\nbathe. The grateful smell of frizzling bacon entered the tent door.", "Meanwhile, in the pitchy night the fire died down and the wood pile grew\nsmall. Neither of us moved to replenish the stock, and the darkness", "I dropped the long spoon and ran up. Everything the sack had contained lay\nupon the ground-sheet, but there was no loaf.", "howled magnificently, but the fire no longer gave out any glow, and I saw\nthe east reddening in streaks through the trees. Several hours must have\npassed since I stood there before watching the ascending figures, and the", "And, once they were gone and the immediate wonder of their great presence\nhad passed, fear came down upon me with a cold rush. The esoteric meaning", "We smothered the embers of the fire with sand, and then turned in. The flap\nof the tent door was up, and I saw the branches and the stars and the white", "It was my firm intention to lie awake all night and watch, but the\nexhaustion of nerves and body decreed otherwise, and sleep after a while", "thought was that my companion had rolled off his mattress on to my own in\nhis sleep. I called to him and sat up, and at the same moment it came to me" ], [ "saw by the bright moonlight that it was past twelve o'clock--the threshold\nof a new day--and I had therefore slept a couple of hours. The Swede was", "The Swede started to save it, shouting again something I did not catch\nabout a \"proper burial\"--and then abruptly dropped upon his knees on the\nsand and covered his eyes with his hands. I was beside him in an instant.", "The Swede's face turned very white beneath the deep tan of sun and wind. He\nstared straight at me and answered quietly, but his voice betrayed his huge", "But this second time I jumped up with a genuine start of terror. It was\nneither the wind nor the river that woke me, but the slow approach of", "I at once set the pitch melting, and presently the Swede joined me at the\nwork, though under the best conditions in the world the canoe could not be", "\"It's the deliberate, calculating purpose that reduces one's courage to\nzero,\" the Swede said suddenly, as if he had been actually following my", "I stopped in the middle, seized anew by the old horror. I tried to smother\nthe sound of my voice as something sacrilegious. The Swede, of course,", "backwards with a crash into the branches. These failed, of course, to\nsupport my weight, so that with the Swede on top of me we fell in a", "An acute spasm of pain passed through me, and I was aware that the Swede\nhad hold of me in such a way that he hurt me abominably. It was the way he\ncaught at me in falling.", "later--hours of ceaseless vigil for me--it became so clear to me that he\nremembered absolutely nothing of what he had attempted to do, that I deemed", "It was my firm intention to lie awake all night and watch, but the\nexhaustion of nerves and body decreed otherwise, and sleep after a while", "Quite suddenly then the implied meaning of the Swede's words flashed across\nme, showing that he no longer wished to leave post-haste, and had changed", "Neither of us said a word. We both knew that sleep was the safest thing we\ncould do, and to bed we went accordingly without further delay, having", "something else disquieting, and I wanted to keep myself well in hand for\nwhat might happen later. There was another night to be faced before we\nescaped from this distressing place, and there was no knowing yet what it", "The Swede glanced up sharply at me, an undecipherable expression on his\nface, and began clambering down the bank. I followed him more leisurely.", "After all, we had to spend the night together, and to sleep in the same\ntent side by side. I saw that I could not get along much longer without the", "\"I believe you're right,\" the Swede said, shading his eyes with his hand\nand watching the man out of sight. He seemed to be gone in a moment,", "Then, quite unexpectedly, I came out upon the island's point and saw a dark\nfigure outlined between the water and the sky. It was the Swede. And", "\"The oatmeal, too, is much less than it was this morning,\" the Swede\ninterrupted.\n\nWhy in the world need he draw attention to it? I thought angrily.", "\"I lost consciousness for a moment or two,\" I heard him say. \"That's what\nsaved me. It made me stop thinking about them.\"" ], [ "But this second time I jumped up with a genuine start of terror. It was\nneither the wind nor the river that woke me, but the slow approach of", "saw by the bright moonlight that it was past twelve o'clock--the threshold\nof a new day--and I had therefore slept a couple of hours. The Swede was", "He began to look curiously about him. The sunlight lay in hot patches on\nthe sand. There was no wind. The willows were motionless. He slowly rose to\nfeet.", "That afternoon, while the canoe dried and hardened, we spent trying to\nfish, testing the leak, collecting wood, and watching the enormous flood of", "\"The river's still rising, though,\" he added, as if following out some\nthoughts of his own, and dropping his load with a gasp. \"This island will\nbe under water in two days if it goes on.\"", "safe for traveling till the following day. I drew his attention casually to\nthe hollows in the sand.", "We smothered the embers of the fire with sand, and then turned in. The flap\nof the tent door was up, and I saw the branches and the stars and the white", "blundering about like men hunting for a leak of gas. The paddle and canoe\nand provisions prove that. I think they feel us, but cannot actually see", "After all, we had to spend the night together, and to sleep in the same\ntent side by side. I saw that I could not get along much longer without the", "We went back to the fire and made a final blaze, poking it up with our\nfeet. We took a last look round. But for the wind the heat would have been", "And when I peered across his shoulder I saw that his stick rested on the\nbody of a man. He turned it over. It was the corpse of a peasant, and the", "This was many days back, of course, and since then we had come to know\nother aspects of the great creature, and across the Bavarian wheat plain of", "I made a hurried examination of the tent and its surroundings, but the\nmeasurements of the night remained the same. There were deep hollows formed", "night. But had the wind moved them, or had they moved of themselves? I\nrecalled the sound of infinite small patterings and the pressure upon the", "Meanwhile, in the pitchy night the fire died down and the wood pile grew\nsmall. Neither of us moved to replenish the stock, and the darkness", "I crossed over to the farther shore and noted how the coast-line had\naltered in the night, and what masses of sand the river had torn away. I", "\"I watched it settle downwards through the bushes,\" he sobbed at me. \"Look,\nby God! It's coming this way! Oh, oh!\"--he gave a kind of whistling cry.\n\"They've found us.\"", "howled magnificently, but the fire no longer gave out any glow, and I saw\nthe east reddening in streaks through the trees. Several hours must have\npassed since I stood there before watching the ascending figures, and the", "And, once they were gone and the immediate wonder of their great presence\nhad passed, fear came down upon me with a cold rush. The esoteric meaning", "tremendous sense of relief in their train. We made our way back to the fire\nand put the wood on so that it blazed at once. Then we saw that the tent" ], [ "And when I turned my eyes again from his ghastly face to the river, the\ncurrent had done its work, and the body had been swept away into mid-stream", "though to sweep it bodily away, and then swirling by in two foaming streams\non either side. The ground seemed to shake with the shock and rush, while", "It was an otter, alive, and out on the hunt; yet it had looked exactly like\nthe body of a drowned man turning helplessly in the current. Far below it", "\"Good heavens, it's a man's body!\" he cried excitedly. \"Look!\"", "And when I peered across his shoulder I saw that his stick rested on the\nbody of a man. He turned it over. It was the corpse of a peasant, and the", "The current, I noticed, had torn away much of the clothing from the body,\nso that the neck and part of the chest lay bare.", "completely over, the dead face uppermost, staring at the sky. It lay on the\nedge of the main stream. In another moment it would be swept away.", "\"I did rather wonder, if you want to know,\" he said slowly, \"what that\nthing in the boat was. I remember thinking at the time it was not a man.\nThe whole business seemed to rise quite suddenly out of the water.\"", "\"I suppose so,\" I replied. I shuddered a little in spite of myself, for\nthere was something about the appearance of that poor drowned man that\nturned me cold.", "At the moment we touched the body there rose from its surface the loud\nsound of humming--the sound of several hummings--which passed with a vast", "sand so that our feet splashed into the water. And, before anything could\nbe done, we had collided a little heavily against the corpse.", "A black thing, turning over and over in the foaming waves, swept rapidly\npast. It kept disappearing and coming up to the surface again. It was about", "For just as the body swung round to the current the face and the exposed\nchest turned full towards us, and showed plainly how the skin and flesh", "The Swede started to save it, shouting again something I did not catch\nabout a \"proper burial\"--and then abruptly dropped upon his knees on the\nsand and covered his eyes with his hands. I was beside him in an instant.", "\"The river's still rising, though,\" he added, as if following out some\nthoughts of his own, and dropping his load with a gasp. \"This island will\nbe under water in two days if it goes on.\"", "movement of the current was turning the corpse round so that it became\nreleased from the grip of the willow roots. A moment later it had turned", "\"What in the world's this?\" I heard him cry again, and this time his voice\nhad become serious.\n\nI ran up quickly and joined him on the bank. He was looking over the river,\npointing at something in the water.", "And, once they were gone and the immediate wonder of their great presence\nhad passed, fear came down upon me with a cold rush. The esoteric meaning", "Then, too, just as we turned back, our arms full of driftwood, another\nthing happened to recall us to the river bank. This time it really was a", "themselves, laughing a little, shrilly crying out, sometimes sighing--but\nwhat it was they made so much to-do about belonged to the secret life of" ], [ "creature. Sleepy at first, but later developing violent desires as it\nbecame conscious of its deep soul, it rolled, like some huge fluid being,\nthrough all the countries we had passed, holding our little craft on its", "a living column into the heavens. Their faces I never could see.\nUnceasingly they poured upwards, swaying in great bending curves, with a\nhue of dull bronze upon their skins.", "though to sweep it bodily away, and then swirling by in two foaming streams\non either side. The ground seemed to shake with the shock and rush, while", "mighty shoulders, playing roughly with us sometimes, yet always friendly\nand well-meaning, till at length we had come inevitably to regard it as a\nGreat Personage.", "And when I peered across his shoulder I saw that his stick rested on the\nbody of a man. He turned it over. It was the corpse of a peasant, and the", "shapes against the sky. I sat back on my haunches and stared. It was\nincredible, surely, but there, opposite and slightly above me, were shapes", "it difficult to focus my sight properly upon the flying apparition. It\nseemed, however, to be a man standing upright in a sort of flat-bottomed", "of the swaying of the branches. I saw them plainly and noted, now I came to\nexamine them more calmly, that they were very much larger than human, and", "\"Look here now,\" I cried, \"this place is quite queer enough without going\nout of our way to imagine things! That boat was an ordinary boat, and the", "indeed that something in their appearance proclaimed them to be not human\nat all. Certainly they were not merely the moving tracery of the branches\nagainst the moonlight. They shifted independently. They rose upwards in a", "and fell. It seemed to shake the dream violently out of me. At least it\ngave me another point of view somehow. The figures still remained, still", "examination I made of the shore did not assist this theory, but all the\nsame I clung to it with that diminishing portion of my intelligence which I\ncalled my \"reason.\" An explanation of some kind was an absolute necessity,", "My companion clutched me, and I think I clutched him, but before either of\nus had time properly to recover from the unexpected shock, we saw that a", "twenty feet from the shore, and just as it was opposite to where we stood\nit lurched round and looked straight at us. We saw its eyes reflecting the", "They first became properly visible, these huge figures, just within the\ntops of the bushes--immense, bronze-colored, moving, and wholly independent", "\"It is because the wind has dropped we now hear it. It was drowned before.\nIt is the cry, I believe, of the--\"", "up, asking me if I \"heard this\" or \"heard that.\" He tossed about on his\ncork mattress, and said the tent was moving and the river had risen over", "themselves, laughing a little, shrilly crying out, sometimes sighing--but\nwhat it was they made so much to-do about belonged to the secret life of", "\"Partly, yes. It seemed to me that the weight of the atmosphere had been\naltered--had increased enormously, so that we should have been crushed.\"", "\"I did rather wonder, if you want to know,\" he said slowly, \"what that\nthing in the boat was. I remember thinking at the time it was not a man.\nThe whole business seemed to rise quite suddenly out of the water.\"" ], [ "And when I peered across his shoulder I saw that his stick rested on the\nbody of a man. He turned it over. It was the corpse of a peasant, and the", "\"It's those sand-funnels,\" exclaimed the Swede, when the tent was up again\nand the firelight lit up the ground for several yards about us. \"And look\nat the size of them!\"", "All round the tent and about the fireplace where we had seen the moving\nshadows there were deep funnel-shaped hollows in the sand, exactly similar", "\"Their mark!\" I heard my companion mutter under his breath. \"Their awful\nmark!\"", "were indented with small hollows, beautifully formed, and exactly similar\nin shape and kind to the sand-funnels that we had found all over the\nisland.", "\"He saw our smoke, and thought we were spirits probably,\" laughed my\ncompanion. \"These Hungarians believe in all sorts of rubbish; you remember", "At the moment we touched the body there rose from its surface the loud\nsound of humming--the sound of several hummings--which passed with a vast", "\"Look! By my soul!\" he whispered, and for the first time in my experience I\nknew what it was to hear tears of terror in a human voice. He was pointing", "For just as the body swung round to the current the face and the exposed\nchest turned full towards us, and showed plainly how the skin and flesh", "This was many days back, of course, and since then we had come to know\nother aspects of the great creature, and across the Bavarian wheat plain of", "first. Tell me what you make of those hollows in the ground all about us,\nthose sand-funnels?\"", "\"I watched it settle downwards through the bushes,\" he sobbed at me. \"Look,\nby God! It's coming this way! Oh, oh!\"--he gave a kind of whistling cry.\n\"They've found us.\"", "to the fire, some fifty feet away. I followed the direction of his finger,\nand I swear my heart missed a beat.", "Small things testified to the amazing influence of the place, and now in\nthe silence round the fire they allowed themselves to be noted by the mind.", "consequently came up very close to our faces. A few feet beyond the circle\nof firelight it was inky black. Occasionally a stray puff of wind set the", "\"There, you see an attempt to prepare a victim for the sacrifice,\" I heard\nhim saying, more to himself than to me, \"two victims rather,\" he added as\nhe bent over and ran his fingers along the slit.", "And, another time, when the gong sounds had come nearer, ringing much\nlouder than before, and directly over our heads, he said as though talking\nto himself:", "themselves, laughing a little, shrilly crying out, sometimes sighing--but\nwhat it was they made so much to-do about belonged to the secret life of", "\"The elements are always the true immortals,\" I replied, laughing as\nnaturally as I could manage, yet knowing quite well that my face reflected\nmy true feelings when he looked up gravely at me and spoke across the\nsmoke:", "no doubt, was responsible for these miniature craters, just as it was for\nlifting the paddle and tossing it towards the water. The rent in the canoe" ], [ "It was extraordinary, too, how the withdrawal suddenly of bright sunlight\ntook everything out of the landscape that made for cheerfulness; and since\nthis particular landscape had already managed to convey the suggestion of", "The willows, for once, were motionless and silent. Then a sound began to\nreach my ears faintly, a peculiar sound--something like the humming of a", "carry up a few acres of willows into the air and scatter them like so much\nchaff over the landscape. The wind was simply enjoying itself, for nothing", "landing-place opposite the tent. The water was icy, and the banks flew by\nlike the country from an express train. Bathing under such conditions was", "The change came suddenly, as when a series of bioscope pictures snaps down\non the streets of a town and shifts without warning into the scenery of", "through somehow. But, if you listen carefully, you'll find it's not above\nso much as around us. It's in the willows. It's the willows themselves", "\"I watched it settle downwards through the bushes,\" he sobbed at me. \"Look,\nby God! It's coming this way! Oh, oh!\"--he gave a kind of whistling cry.\n\"They've found us.\"", "He began to look curiously about him. The sunlight lay in hot patches on\nthe sand. There was no wind. The willows were motionless. He slowly rose to\nfeet.", "\"It is because the wind has dropped we now hear it. It was drowned before.\nIt is the cry, I believe, of the--\"", "any single sign of human habitation and civilization within sight. The\nsense of remoteness from the world of humankind, the utter isolation, the\nfascination of this singular world of willows, winds, and waters, instantly", "shaking oddly from the roots upwards. When common objects in this way be\ncome charged with the suggestion of horror, they stimulate the imagination\nfar more than things of unusual appearance; and these bushes, crowding", "When I reached the point of sand jutting out among the waves, the spell of\nthe place descended upon me with a positive shock. No mere \"scenery\" could\nhave produced such an effect. There was something more here, something to\nalarm.", "How, indeed, could it be otherwise, since it told us so much of its secret\nlife? At night we heard it singing to the moon as we lay in our tent,", "At any rate, here was a place unpolluted by men, kept clean by the winds\nfrom coarsening human influences, a place where spiritual agencies were", "And when I peered across his shoulder I saw that his stick rested on the\nbody of a man. He turned it over. It was the corpse of a peasant, and the", "\"Look here now,\" I cried, \"this place is quite queer enough without going\nout of our way to imagine things! That boat was an ordinary boat, and the", "But my emotion, so far as I could understand it, seemed to attach itself\nmore particularly to the willow bushes, to these acres and acres of", "Altogether it was an impressive scene, with its utter loneliness, its\nbizarre suggestion; and as I gazed, long and curiously, a singular emotion", "\"It's the willows, of course. The willows mask the others, but the others\nare feeling about for us. If we let our minds betray our fear, we're lost,", "For a change, I thought, had somehow come about in the arrangement of the\nlandscape. It was not that my point of vantage gave me a different view," ], [ "blundering about like men hunting for a leak of gas. The paddle and canoe\nand provisions prove that. I think they feel us, but cannot actually see", "That afternoon, while the canoe dried and hardened, we spent trying to\nfish, testing the leak, collecting wood, and watching the enormous flood of", "\"Won't stand much nonsense now, will it?\" he said, pulling the canoe a\nlittle farther into safety up the sand, and then composing himself for a\nnap.", "canoe. He was a grand fellow for an adventurous trip, a tower of strength\nwhen untoward things happened. I looked at his strong face and light curly", "Properly speaking, this fascinating part of the river's life begins soon\nafter leaving Pressburg, and we, in our Canadian canoe, with gipsy tent and", "the tent a few yards on the other side of the fireplace. The canoe still\nlay there as I had last seen her in the night, ribs uppermost, the paddles,", "river's in flood, and we've only got a single paddle. Besides, we only go\ndeeper into their country! There's nothing ahead for fifty miles but\nwillows, willows, willows!\"", "\"And there's a tear in the bottom of the canoe,\" he added, with a genuine\nlittle tremor in his voice.", "seized them to stop the canoe, and we pulled many a yard of sandy bank into\nthe water before at length we shot with a great sideways blow from the wind", "questions. And meanwhile, as he mended that torn canoe with the skill and\naddress of a red Indian, I was glad to notice his absorption in the work,", "The canoe we had carefully covered with a waterproof sheet during the day,\nand the one remaining paddle had been securely tied by the Swede to the", "dashing to and fro in order to get through in time. And during the fight\nour canoe slipped down from its shoulder to its breast, and had the time of", "man, and what was more, a man in a boat. Now a small boat on the Danube was\nan unusual sight at any time, but here in this deserted region, and at", "\"The island's much smaller than when we landed,\" said the accurate Swede.\n\"It won't last long at this rate. We'd better drag the canoe close to the", "There was a long, finely made tear in the bottom of the canoe where a\nlittle slither of wood had been neatly taken clean out; it looked as if the", "Everything was snug for the night; the canoe lying turned over beside the\ntent, with both yellow paddles beneath her; the provision sack hanging from", "boat, steering with a long oar, and being carried down the opposite shore\nat a tremendous pace. He apparently was looking across in our direction,\nbut the distance was too great and the light too uncertain for us to make", "\"The river's still rising, though,\" he added, as if following out some\nthoughts of his own, and dropping his load with a gasp. \"This island will\nbe under water in two days if it goes on.\"", "the canoe; and often we saw fawns peering at us from the underbrush, or\nlooked straight into the brown eyes of a stag as we charged full tilt round", "man in it was an ordinary man, and they were both going down-stream as fast\nas they could lick. And that otter was an otter, so don't let's play the\nfool about it!\"" ], [ "man, and what was more, a man in a boat. Now a small boat on the Danube was\nan unusual sight at any time, but here in this deserted region, and at", "boat, steering with a long oar, and being carried down the opposite shore\nat a tremendous pace. He apparently was looking across in our direction,\nbut the distance was too great and the light too uncertain for us to make", "The very atmosphere had proved itself a magnifying medium to distort every\nindication: the otter rolling in the current, the hurrying boatman making", "shouting something furiously, but the wind drowned it so that no single\nword was audible. There was something curious about the whole\nappearance--man, boat, signs, voice--that made an impression on me out of", "\"I did rather wonder, if you want to know,\" he said slowly, \"what that\nthing in the boat was. I remember thinking at the time it was not a man.\nThe whole business seemed to rise quite suddenly out of the water.\"", "\"Look here now,\" I cried, \"this place is quite queer enough without going\nout of our way to imagine things! That boat was an ordinary boat, and the", "\"And there's a tear in the bottom of the canoe,\" he added, with a genuine\nlittle tremor in his voice.", "it difficult to focus my sight properly upon the flying apparition. It\nseemed, however, to be a man standing upright in a sort of flat-bottomed", "man in it was an ordinary man, and they were both going down-stream as fast\nas they could lick. And that otter was an otter, so don't let's play the\nfool about it!\"", "\"That was the sun too,\" I laughed, a trifle boisterously. \"I suppose you'll\nwonder next if that fellow in the boat--\"", "\"What in the world's this?\" I heard him cry again, and this time his voice\nhad become serious.\n\nI ran up quickly and joined him on the bank. He was looking over the river,\npointing at something in the water.", "It was an otter, alive, and out on the hunt; yet it had looked exactly like\nthe body of a drowned man turning helplessly in the current. Far below it", "He started off on a run, and I followed him. He kept to the banks, poking\nwith a stick among the sandy bays and caves and little back-waters, myself\nalways close on his heels.", "\"The river's still rising, though,\" he added, as if following out some\nthoughts of his own, and dropping his load with a gasp. \"This island will\nbe under water in two days if it goes on.\"", "He began to look curiously about him. The sunlight lay in hot patches on\nthe sand. There was no wind. The willows were motionless. He slowly rose to\nfeet.", "\"The same wind that caught the steering paddle and flung it so near the\nbank that it fell in with the next lump that crumbled,\" I called out after\nhim, absolutely determined to find an explanation for everything he showed\nme.", "up, asking me if I \"heard this\" or \"heard that.\" He tossed about on his\ncork mattress, and said the tent was moving and the river had risen over", "The Swede glanced up sharply at me, an undecipherable expression on his\nface, and began clambering down the bank. I followed him more leisurely.", "And when I peered across his shoulder I saw that his stick rested on the\nbody of a man. He turned it over. It was the corpse of a peasant, and the", "out very plainly what he was about. It seemed to me that he was\ngesticulating and making signs at us. His voice came across the water to us" ], [ "Then he dropped back upon his blankets and went to sleep literally under my\neyes. He simply collapsed, and began to snore again as healthily as though", "I called again to him, louder than before. He did not answer, but I missed\nthe sound of his snoring, and also noticed that the flap of the tent was", "up, asking me if I \"heard this\" or \"heard that.\" He tossed about on his\ncork mattress, and said the tent was moving and the river had risen over", "end of the tent that our feet touched it, and the least motion would\ndisturb and wake us.", "After all, we had to spend the night together, and to sleep in the same\ntent side by side. I saw that I could not get along much longer without the", "Suddenly I found myself lying awake, peering from my sandy mattress through\nthe door of the tent. I looked at my watch pinned against the canvas, and", "however, and I crawled quietly out of the tent to see if our belongings\nwere safe. I moved carefully so as not to waken my companion. A curious\nexcitement was on me.", "We smothered the embers of the fire with sand, and then turned in. The flap\nof the tent door was up, and I saw the branches and the stars and the white", "tent, and be ready to start at a moment's notice. I shall sleep in my\nclothes.\"", "tent and upon my own heart that caused me to wake in terror. I swayed for a\nmoment in the wind like a tree, finding it hard to keep my upright position", "Neither of us said a word. We both knew that sleep was the safest thing we\ncould do, and to bed we went accordingly without further delay, having", "Everything was snug for the night; the canoe lying turned over beside the\ntent, with both yellow paddles beneath her; the provision sack hanging from", "It was earlier than usual when we camped, for the sun was a good hour or\ntwo from the horizon, and leaving my friend still asleep on the hot sand, I", "But this second time I jumped up with a genuine start of terror. It was\nneither the wind nor the river that woke me, but the slow approach of", "How, indeed, could it be otherwise, since it told us so much of its secret\nlife? At night we heard it singing to the moon as we lay in our tent,", "I sat up quickly and looked out. The trees were swaying violently to and\nfro as the gusts smote them, but our little bit of green canvas lay snugly", "Then at length his breathing became regular and I heard unmistakable sounds\nof snoring--the first and only time in my life when snoring has been a\nwelcome and calming influence.", "\"I watched it settle downwards through the bushes,\" he sobbed at me. \"Look,\nby God! It's coming this way! Oh, oh!\"--he gave a kind of whistling cry.\n\"They've found us.\"", "tremendous sense of relief in their train. We made our way back to the fire\nand put the wood on so that it blazed at once. Then we saw that the tent", "\"Lucky,\" I cried back, \"our tent's in the hollow. I think it'll hold all\nright.\" I added something about the difficulty of finding wood, in order to" ], [ "The willows, for once, were motionless and silent. Then a sound began to\nreach my ears faintly, a peculiar sound--something like the humming of a", "Creeping with silent feet over the shifting sands, drawing imperceptibly\nnearer by soft, unhurried movements, the willows had come closer during the", "\"It's the willows, of course. The willows mask the others, but the others\nare feeling about for us. If we let our minds betray our fear, we're lost,", "With this general hush of the wind--though it still indulged in occasional\nbrief gusts--the river seemed to me to grow blacker, the willows to stand", "through somehow. But, if you listen carefully, you'll find it's not above\nso much as around us. It's in the willows. It's the willows themselves", "of some indeterminate sort among the willows, and as the branches swayed in\nthe wind they seemed to group themselves about these shapes, forming a\nseries of monstrous outlines that shifted rapidly beneath the moon. Close,", "willows shivering about us, but apart from this not very welcome sound a\ndeep and depressing silence reigned, broken only by the gurgling of the\nriver and the humming in the air overhead.", "\"But now the wind has dropped,\" I objected. \"The willows can hardly make a\nnoise by themselves, can they?\"", "in its own way, stirred in me this sensation of a strange distress. But the\nwillows especially; for ever they went on chattering and talking among", "humming, because here the willows have been made symbols of the forces that\nare against us.\"", "a willow-stem, and the washed-up dishes removed to a safe distance from the\nfire, all ready for the morning meal.", "bend and rustle in the free winds, showing their silver leaves to the\nsunshine in an ever-moving plain of bewildering beauty. These willows never", "silently into the tent and lay down again upon my sandy mattress, first\nlowering the door-curtain to shut out the sight of the willows in the", "We were grubbing away in the middle of a thickish clump of willows where\nsome driftwood from a former flood had caught high among the branches, when", "but that an alteration had apparently been effected in the relation of the\ntent to the willows, and of the willows to the tent. Surely the bushes now", "Then he dropped back upon his blankets and went to sleep literally under my\neyes. He simply collapsed, and began to snore again as healthily as though", "With this multitude of willows, however, it was something far different, I\nfelt. Some essence emanated from them that besieged the heart. A sense of", "with a huge sweep into the willows, which closed about it like a herd of\nmonstrous antediluvian creatures crowding down to drink. They made me think", "there, tending the fire, talking in desultory fashion, peering about us\ninto the dense willow bushes, and listening to the thunder of wind and", "moonlight. The shaking willows and the heavy buffetings of the wind against\nour taut little house were the last things I remembered as sleep came down\nand covered all with its soft and delicious forgetfulness." ], [ "But this second time I jumped up with a genuine start of terror. It was\nneither the wind nor the river that woke me, but the slow approach of", "I dropped the long spoon and ran up. Everything the sack had contained lay\nupon the ground-sheet, but there was no loaf.", "however, and I crawled quietly out of the tent to see if our belongings\nwere safe. I moved carefully so as not to waken my companion. A curious\nexcitement was on me.", "Suddenly I found myself lying awake, peering from my sandy mattress through\nthe door of the tent. I looked at my watch pinned against the canvas, and", "I called again to him, louder than before. He did not answer, but I missed\nthe sound of his snoring, and also noticed that the flap of the tent was", "Then he dropped back upon his blankets and went to sleep literally under my\neyes. He simply collapsed, and began to snore again as healthily as though", "My companion had not stirred when I called him, and there was no need to\nwaken him now. I looked about me carefully, noting everything; the", "And, once they were gone and the immediate wonder of their great presence\nhad passed, fear came down upon me with a cold rush. The esoteric meaning", "blundering about like men hunting for a leak of gas. The paddle and canoe\nand provisions prove that. I think they feel us, but cannot actually see", "saw by the bright moonlight that it was past twelve o'clock--the threshold\nof a new day--and I had therefore slept a couple of hours. The Swede was", "He began to look curiously about him. The sunlight lay in hot patches on\nthe sand. There was no wind. The willows were motionless. He slowly rose to\nfeet.", "Neither of us said a word. We both knew that sleep was the safest thing we\ncould do, and to bed we went accordingly without further delay, having", "thought was that my companion had rolled off his mattress on to my own in\nhis sleep. I called to him and sat up, and at the same moment it came to me", "\"There's nothing here!\" he shouted, holding his sides.\n\n\"Bread, I mean.\"\n\n\"It's gone. There is no bread. They've taken it!\"", "And when I peered across his shoulder I saw that his stick rested on the\nbody of a man. He turned it over. It was the corpse of a peasant, and the", "He woke naturally and easily, as I have said, when the sun was already high\nin a windless hot sky, and he at once got up and set about the preparation", "\"There, you see an attempt to prepare a victim for the sacrifice,\" I heard\nhim saying, more to himself than to me, \"two victims rather,\" he added as\nhe bent over and ran his fingers along the slit.", "It was earlier than usual when we camped, for the sun was a good hour or\ntwo from the horizon, and leaving my friend still asleep on the hot sand, I", "\"I watched it settle downwards through the bushes,\" he sobbed at me. \"Look,\nby God! It's coming this way! Oh, oh!\"--he gave a kind of whistling cry.\n\"They've found us.\"", "He came over slowly and took the provision sack from the tree, fumbling in\nits mysterious depths, and then emptying the entire contents upon the\nground-sheet at his feet." ], [ "blundering about like men hunting for a leak of gas. The paddle and canoe\nand provisions prove that. I think they feel us, but cannot actually see", "\"We'll make one more blaze,\" I said firmly, \"and then turn in for the\nnight. At sunrise we'll be off full speed for Komorn. Now, pull yourself\ntogether a bit, and remember your own advice about not thinking fear!\"", "II\n\n\n\"You've been gone so long,\" he shouted above the wind, \"I thought something\nmust have happened to you.\"", "\"After that,\" he said in a sort of helpless, frantic way, \"we must go! We\ncan't stay now; we must strike camp this very instant and go on--down the\nriver.\"", "questions. And meanwhile, as he mended that torn canoe with the skill and\naddress of a red Indian, I was glad to notice his absorption in the work,", "\"The river's still rising, though,\" he added, as if following out some\nthoughts of his own, and dropping his load with a gasp. \"This island will\nbe under water in two days if it goes on.\"", "That afternoon, while the canoe dried and hardened, we spent trying to\nfish, testing the leak, collecting wood, and watching the enormous flood of", "all the afternoon, engaged in re-caulking the canoe, strengthening the tent\nropes, and fishing for driftwood while I slept. No more talk about", "tremendous sense of relief in their train. We made our way back to the fire\nand put the wood on so that it blazed at once. Then we saw that the tent", "\"It is because the wind has dropped we now hear it. It was drowned before.\nIt is the cry, I believe, of the--\"", "\"There, you see an attempt to prepare a victim for the sacrifice,\" I heard\nhim saying, more to himself than to me, \"two victims rather,\" he added as\nhe bent over and ran his fingers along the slit.", "It was on the tip of my tongue to tell him that I had clearly noticed two\npaddles a few hours before, but a second impulse made me think better of\nit, and I said nothing. I approached to see.", "made, and of our plans ahead. The map lay spread in the door of the tent,\nbut the high wind made it hard to study, and presently we lowered the", "After all, we had to spend the night together, and to sleep in the same\ntent side by side. I saw that I could not get along much longer without the", "\"Won't stand much nonsense now, will it?\" he said, pulling the canoe a\nlittle farther into safety up the sand, and then composing himself for a\nnap.", "water--such wind and such water!--had tired us both, and an early bed was\nthe obvious program. Yet neither of us made the move for the tent. We lay", "tent, and be ready to start at a moment's notice. I shall sleep in my\nclothes.\"", "\"Lucky,\" I cried back, \"our tent's in the hollow. I think it'll hold all\nright.\" I added something about the difficulty of finding wood, in order to", "We lay on the sandy patch beside the fire, smoking, listening to the noises\nof the night round us, and talking happily of the journey we had already", "He made no reply, and we worked on in silence for a bit. I watched him\nsurreptitiously all the time, and I had an idea he was watching me. He" ], [ "saw by the bright moonlight that it was past twelve o'clock--the threshold\nof a new day--and I had therefore slept a couple of hours. The Swede was", "He looked up at me quietly with his normal expression. Evidently he\nremembered everything except his own attempt at suicide.\n\n\"Everything has stopped,\" he said, \"because--\"", "The Swede started to save it, shouting again something I did not catch\nabout a \"proper burial\"--and then abruptly dropped upon his knees on the\nsand and covered his eyes with his hands. I was beside him in an instant.", "An acute spasm of pain passed through me, and I was aware that the Swede\nhad hold of me in such a way that he hurt me abominably. It was the way he\ncaught at me in falling.", "The Swede's face turned very white beneath the deep tan of sun and wind. He\nstared straight at me and answered quietly, but his voice betrayed his huge", "I stopped in the middle, seized anew by the old horror. I tried to smother\nthe sound of my voice as something sacrilegious. The Swede, of course,", "\"It's the deliberate, calculating purpose that reduces one's courage to\nzero,\" the Swede said suddenly, as if he had been actually following my", "\"I lost consciousness for a moment or two,\" I heard him say. \"That's what\nsaved me. It made me stop thinking about them.\"", "backwards with a crash into the branches. These failed, of course, to\nsupport my weight, so that with the Swede on top of me we fell in a", "But this second time I jumped up with a genuine start of terror. It was\nneither the wind nor the river that woke me, but the slow approach of", "It was my firm intention to lie awake all night and watch, but the\nexhaustion of nerves and body decreed otherwise, and sleep after a while", "I at once set the pitch melting, and presently the Swede joined me at the\nwork, though under the best conditions in the world the canoe could not be", "The Swede uttered a sharp cry. And I sprang back as if I had been shot.", "Quite suddenly then the implied meaning of the Swede's words flashed across\nme, showing that he no longer wished to leave post-haste, and had changed", "\"The oatmeal, too, is much less than it was this morning,\" the Swede\ninterrupted.\n\nWhy in the world need he draw attention to it? I thought angrily.", "Then, quite unexpectedly, I came out upon the island's point and saw a dark\nfigure outlined between the water and the sky. It was the Swede. And", "later--hours of ceaseless vigil for me--it became so clear to me that he\nremembered absolutely nothing of what he had attempted to do, that I deemed", "nothing had happened and he had never tried to offer his own life as a\nsacrifice by drowning. And when the sunlight woke him three hours", "something else disquieting, and I wanted to keep myself well in hand for\nwhat might happen later. There was another night to be faced before we\nescaped from this distressing place, and there was no knowing yet what it", "\"There, you see an attempt to prepare a victim for the sacrifice,\" I heard\nhim saying, more to himself than to me, \"two victims rather,\" he added as\nhe bent over and ran his fingers along the slit." ], [ "And when I turned my eyes again from his ghastly face to the river, the\ncurrent had done its work, and the body had been swept away into mid-stream", "\"I believe you're right,\" the Swede said, shading his eyes with his hand\nand watching the man out of sight. He seemed to be gone in a moment,", "\"The river's still rising, though,\" he added, as if following out some\nthoughts of his own, and dropping his load with a gasp. \"This island will\nbe under water in two days if it goes on.\"", "He hesitated. But I knew some reference to that remark he had made just\nbefore he fainted was in his mind, and I was determined to know it.\n\n\"Because 'They've found another victim'?\" I said, forcing a little laugh.", "\"What in the world's this?\" I heard him cry again, and this time his voice\nhad become serious.\n\nI ran up quickly and joined him on the bank. He was looking over the river,\npointing at something in the water.", "up, asking me if I \"heard this\" or \"heard that.\" He tossed about on his\ncork mattress, and said the tent was moving and the river had risen over", "\"River's falling at last,\" he said, \"and I'm glad of it.\"\n\n\"The humming has stopped too,\" I said.", "The Swede started to save it, shouting again something I did not catch\nabout a \"proper burial\"--and then abruptly dropped upon his knees on the\nsand and covered his eyes with his hands. I was beside him in an instant.", "\"There, you see an attempt to prepare a victim for the sacrifice,\" I heard\nhim saying, more to himself than to me, \"two victims rather,\" he added as\nhe bent over and ran his fingers along the slit.", "\"A sacrifice, a victim, might save us by distracting them until we could\nget away,\" he went on, \"just as the wolves stop to devour the dogs and give\nthe sleigh another start. But--I see no chance of any other victim now.\"", "It was an otter, alive, and out on the hunt; yet it had looked exactly like\nthe body of a drowned man turning helplessly in the current. Far below it", "\"It's the deliberate, calculating purpose that reduces one's courage to\nzero,\" the Swede said suddenly, as if he had been actually following my", "\"And, for Heaven's sake,\" I went on, \"don't keep pretending you hear\nthings, because it only gives me the jumps, and there's nothing to hear but\nthe river and this cursed old thundering wind.\"", "\"My life, old man--it's my life I owe you. But it's all over now anyhow.\nThey've found a victim in our place!\"", "\"What a river!\" I said to my companion, thinking of all the way we had\ntraveled from the source in the Black Forest, and how he had often been\nobliged to wade and push in the upper shallows at the beginning of June.", "I stopped in the middle, seized anew by the old horror. I tried to smother\nthe sound of my voice as something sacrilegious. The Swede, of course,", "The Swede's face turned very white beneath the deep tan of sun and wind. He\nstared straight at me and answered quietly, but his voice betrayed his huge", "The Swede glanced up sharply at me, an undecipherable expression on his\nface, and began clambering down the bank. I followed him more leisurely.", "completely over, the dead face uppermost, staring at the sky. It lay on the\nedge of the main stream. In another moment it would be swept away.", "saw by the bright moonlight that it was past twelve o'clock--the threshold\nof a new day--and I had therefore slept a couple of hours. The Swede was" ], [ "And when I peered across his shoulder I saw that his stick rested on the\nbody of a man. He turned it over. It was the corpse of a peasant, and the", "\"Good heavens, it's a man's body!\" he cried excitedly. \"Look!\"", "And when I turned my eyes again from his ghastly face to the river, the\ncurrent had done its work, and the body had been swept away into mid-stream", "The current, I noticed, had torn away much of the clothing from the body,\nso that the neck and part of the chest lay bare.", "Then he dropped back upon his blankets and went to sleep literally under my\neyes. He simply collapsed, and began to snore again as healthily as though", "\"There, you see an attempt to prepare a victim for the sacrifice,\" I heard\nhim saying, more to himself than to me, \"two victims rather,\" he added as\nhe bent over and ran his fingers along the slit.", "He began to look curiously about him. The sunlight lay in hot patches on\nthe sand. There was no wind. The willows were motionless. He slowly rose to\nfeet.", "For just as the body swung round to the current the face and the exposed\nchest turned full towards us, and showed plainly how the skin and flesh", "At the moment we touched the body there rose from its surface the loud\nsound of humming--the sound of several hummings--which passed with a vast", "face was hidden in the sand. Clearly the man had been drowned, but a few\nhours before, and his body must have been swept down upon our island", "\"I watched it settle downwards through the bushes,\" he sobbed at me. \"Look,\nby God! It's coming this way! Oh, oh!\"--he gave a kind of whistling cry.\n\"They've found us.\"", "He came over slowly and took the provision sack from the tree, fumbling in\nits mysterious depths, and then emptying the entire contents upon the\nground-sheet at his feet.", "He hesitated. But I knew some reference to that remark he had made just\nbefore he fainted was in his mind, and I was determined to know it.\n\n\"Because 'They've found another victim'?\" I said, forcing a little laugh.", "sand so that our feet splashed into the water. And, before anything could\nbe done, we had collided a little heavily against the corpse.", "It was an otter, alive, and out on the hunt; yet it had looked exactly like\nthe body of a drowned man turning helplessly in the current. Far below it", "\"He saw our smoke, and thought we were spirits probably,\" laughed my\ncompanion. \"These Hungarians believe in all sorts of rubbish; you remember", "\"Look! By my soul!\" he whispered, and for the first time in my experience I\nknew what it was to hear tears of terror in a human voice. He was pointing", "to the fire, some fifty feet away. I followed the direction of his finger,\nand I swear my heart missed a beat.", "I stared blankly at him. The gleam in his eye was dreadful. Presently he\ncontinued.\n\n\n\n\nIV", "\"Their mark!\" I heard my companion mutter under his breath. \"Their awful\nmark!\"" ], [ "\"What in the world's this?\" I heard him cry again, and this time his voice\nhad become serious.\n\nI ran up quickly and joined him on the bank. He was looking over the river,\npointing at something in the water.", "river. The loneliness of the place had entered our very bones, and silence\nseemed natural, for after a bit the sound of our voices became a trifle", "And when I turned my eyes again from his ghastly face to the river, the\ncurrent had done its work, and the body had been swept away into mid-stream", "\"What a river!\" I said to my companion, thinking of all the way we had\ntraveled from the source in the Black Forest, and how he had often been\nobliged to wade and push in the upper shallows at the beginning of June.", "up, asking me if I \"heard this\" or \"heard that.\" He tossed about on his\ncork mattress, and said the tent was moving and the river had risen over", "fireworks. A few yards beyond, the river gurgled and hissed, and from time\nto time a heavy splash announced the falling away of further portions of\nthe bank.", "Above, for a mile or two, I could see the great river descending upon me;\nit was like looking up the slope of a sliding hill, white with foam, and\nleaping up everywhere to show itself to the sun.", "Properly speaking, this fascinating part of the river's life begins soon\nafter leaving Pressburg, and we, in our Canadian canoe, with gipsy tent and", "of the porous limestone hills and start a new river with another name;\nleaving, too, so little water in its own bed that we had to climb out and\nwade and push the canoe through miles of shallows.", "\"The river's still rising, though,\" he added, as if following out some\nthoughts of his own, and dropping his load with a gasp. \"This island will\nbe under water in two days if it goes on.\"", "The willows, for once, were motionless and silent. Then a sound began to\nreach my ears faintly, a peculiar sound--something like the humming of a", "river's in flood, and we've only got a single paddle. Besides, we only go\ndeeper into their country! There's nothing ahead for fifty miles but\nwillows, willows, willows!\"", "three feet above the level of the river. The far end, pointing into the\nsunset, was covered with flying spray which the tremendous wind drove off", "of course, changed, and the river looked dark and angry. Only the backs of\nthe flying waves were visible, streaked with foam, and pushed forcibly by", "Then, too, just as we turned back, our arms full of driftwood, another\nthing happened to recall us to the river bank. This time it really was a", "\"And, for Heaven's sake,\" I went on, \"don't keep pretending you hear\nthings, because it only gives me the jumps, and there's nothing to hear but\nthe river and this cursed old thundering wind.\"", "\"River still rising,\" he cried, pointing to the flood in the moonlight,\n\"and the wind's simply awful.\"", "\"River still rising,\" he said, \"and several islands out in mid-stream have\ndisappeared altogether. Our own island's much smaller.\"\n\n\"Any wood left?\" I asked sleepily.", "I crossed over to the farther shore and noted how the coast-line had\naltered in the night, and what masses of sand the river had torn away. I", "\"River's falling at last,\" he said, \"and I'm glad of it.\"\n\n\"The humming has stopped too,\" I said." ], [ "Above, for a mile or two, I could see the great river descending upon me;\nit was like looking up the slope of a sliding hill, white with foam, and\nleaping up everywhere to show itself to the sun.", "\"What in the world's this?\" I heard him cry again, and this time his voice\nhad become serious.\n\nI ran up quickly and joined him on the bank. He was looking over the river,\npointing at something in the water.", "\"What a river!\" I said to my companion, thinking of all the way we had\ntraveled from the source in the Black Forest, and how he had often been\nobliged to wade and push in the upper shallows at the beginning of June.", "And when I turned my eyes again from his ghastly face to the river, the\ncurrent had done its work, and the body had been swept away into mid-stream", "of course, changed, and the river looked dark and angry. Only the backs of\nthe flying waves were visible, streaked with foam, and pushed forcibly by", "fireworks. A few yards beyond, the river gurgled and hissed, and from time\nto time a heavy splash announced the falling away of further portions of\nthe bank.", "interested and impressed me far more than the state of the river or the\ndifficulties of the steamers. He had changed somehow since the evening", "I walked round the tent and then went out a little way into the bush, so\nthat I could see across the river to the farther landscape, and the same", "I crossed over to the farther shore and noted how the coast-line had\naltered in the night, and what masses of sand the river had torn away. I", "up, asking me if I \"heard this\" or \"heard that.\" He tossed about on his\ncork mattress, and said the tent was moving and the river had risen over", "\"The river's still rising, though,\" he added, as if following out some\nthoughts of his own, and dropping his load with a gasp. \"This island will\nbe under water in two days if it goes on.\"", "I stood there for several minutes, watching the impetuous crimson flood\nbearing down with a shouting roar, dashing in waves against the bank as", "river. The loneliness of the place had entered our very bones, and silence\nseemed natural, for after a bit the sound of our voices became a trifle", "He began to look curiously about him. The sunlight lay in hot patches on\nthe sand. There was no wind. The willows were motionless. He slowly rose to\nfeet.", "\"River still rising,\" he cried, pointing to the flood in the moonlight,\n\"and the wind's simply awful.\"", "three feet above the level of the river. The far end, pointing into the\nsunset, was covered with flying spray which the tremendous wind drove off", "A rising river, perhaps, always suggests something of the ominous; many of\nthe little islands I saw before me would probably have been swept away by", "With this general hush of the wind--though it still indulged in occasional\nbrief gusts--the river seemed to me to grow blacker, the willows to stand", "effects; and when I reached a high point in the middle of the island from\nwhich I could see the wide stretch of river, crimson in the sunrise, the", "He started off on a run, and I followed him. He kept to the banks, poking\nwith a stick among the sandy bays and caves and little back-waters, myself\nalways close on his heels." ], [ "Above, for a mile or two, I could see the great river descending upon me;\nit was like looking up the slope of a sliding hill, white with foam, and\nleaping up everywhere to show itself to the sun.", "\"What a river!\" I said to my companion, thinking of all the way we had\ntraveled from the source in the Black Forest, and how he had often been\nobliged to wade and push in the upper shallows at the beginning of June.", "\"What in the world's this?\" I heard him cry again, and this time his voice\nhad become serious.\n\nI ran up quickly and joined him on the bank. He was looking over the river,\npointing at something in the water.", "And when I turned my eyes again from his ghastly face to the river, the\ncurrent had done its work, and the body had been swept away into mid-stream", "of course, changed, and the river looked dark and angry. Only the backs of\nthe flying waves were visible, streaked with foam, and pushed forcibly by", "and deal with it accordingly, though I was aware somehow that it had to do\nwith my realization of our utter insignificance before this unrestrained\npower of the elements about me. The huge-grown river had something to do", "I crossed over to the farther shore and noted how the coast-line had\naltered in the night, and what masses of sand the river had torn away. I", "\"River's falling at last,\" he said, \"and I'm glad of it.\"\n\n\"The humming has stopped too,\" I said.", "great river-game of losing itself among the deserted swamps, unobserved,\nunrestrained, it had seemed to us like following the grown of some living", "river. The loneliness of the place had entered our very bones, and silence\nseemed natural, for after a bit the sound of our voices became a trifle", "up, asking me if I \"heard this\" or \"heard that.\" He tossed about on his\ncork mattress, and said the tent was moving and the river had risen over", "fireworks. A few yards beyond, the river gurgled and hissed, and from time\nto time a heavy splash announced the falling away of further portions of\nthe bank.", "It was an otter, alive, and out on the hunt; yet it had looked exactly like\nthe body of a drowned man turning helplessly in the current. Far below it", "I stood there for several minutes, watching the impetuous crimson flood\nbearing down with a shouting roar, dashing in waves against the bank as", "growing speed! We knew all its sounds and voices, its tumblings and\nfoamings, its unnecessary splashing against the bridges; that\nself-conscious chatter when there were hills to look on; the affected", "interested and impressed me far more than the state of the river or the\ndifficulties of the steamers. He had changed somehow since the evening", "sound of the river burst upon my ears with a sudden roar. These things, I\nknew, were real, and proved that my senses were acting normally. Yet the", "\"And, for Heaven's sake,\" I went on, \"don't keep pretending you hear\nthings, because it only gives me the jumps, and there's nothing to hear but\nthe river and this cursed old thundering wind.\"", "The willows, for once, were motionless and silent. Then a sound began to\nreach my ears faintly, a peculiar sound--something like the humming of a", "But this second time I jumped up with a genuine start of terror. It was\nneither the wind nor the river that woke me, but the slow approach of" ], [ "that the tent was surrounded. That sound of multitudinous soft pattering\nwas again audible outside, filling the night with horror.", "up, asking me if I \"heard this\" or \"heard that.\" He tossed about on his\ncork mattress, and said the tent was moving and the river had risen over", "I called again to him, louder than before. He did not answer, but I missed\nthe sound of his snoring, and also noticed that the flap of the tent was", "Outside there was a sound of multitudinous little patterings. They had been\ncoming, I was aware, for a long time, and in my sleep they had first become", "\"It is because the wind has dropped we now hear it. It was drowned before.\nIt is the cry, I believe, of the--\"", "\"I watched it settle downwards through the bushes,\" he sobbed at me. \"Look,\nby God! It's coming this way! Oh, oh!\"--he gave a kind of whistling cry.\n\"They've found us.\"", "How, indeed, could it be otherwise, since it told us so much of its secret\nlife? At night we heard it singing to the moon as we lay in our tent,", "\"And, for Heaven's sake,\" I went on, \"don't keep pretending you hear\nthings, because it only gives me the jumps, and there's nothing to hear but\nthe river and this cursed old thundering wind.\"", "We smothered the embers of the fire with sand, and then turned in. The flap\nof the tent door was up, and I saw the branches and the stars and the white", "end of the tent that our feet touched it, and the least motion would\ndisturb and wake us.", "tent, and be ready to start at a moment's notice. I shall sleep in my\nclothes.\"", "There they stood in the moonlight, like a vast army surrounding our camp,\nshaking their innumerable silver spears defiantly, formed all ready for an\nattack.", "blundering about like men hunting for a leak of gas. The paddle and canoe\nand provisions prove that. I think they feel us, but cannot actually see", "tent and upon my own heart that caused me to wake in terror. I swayed for a\nmoment in the wind like a tree, finding it hard to keep my upright position", "I sat up quickly and looked out. The trees were swaying violently to and\nfro as the gusts smote them, but our little bit of green canvas lay snugly", "against the sides of the tent and weighing down upon it from above. Was it\nthe body of the wind? Was this the pattering rain, the dripping of the", "\"Come and listen,\" he said, \"and see what you make of it.\" He held his hand\ncupwise to his ear, as so often before.\n\n\"Now do you hear anything?\" he asked, watching me curiously.", "And, another time, when the gong sounds had come nearer, ringing much\nlouder than before, and directly over our heads, he said as though talking\nto himself:", "\"Lucky,\" I cried back, \"our tent's in the hollow. I think it'll hold all\nright.\" I added something about the difficulty of finding wood, in order to", "\"It's their sound,\" he whispered gravely. \"It's the sound of their world,\nthe humming in their region. The division here is so thin that it leaks" ], [ "He began to look curiously about him. The sunlight lay in hot patches on\nthe sand. There was no wind. The willows were motionless. He slowly rose to\nfeet.", "My companion had not stirred when I called him, and there was no need to\nwaken him now. I looked about me carefully, noting everything; the", "I dropped the long spoon and ran up. Everything the sack had contained lay\nupon the ground-sheet, but there was no loaf.", "He ate very little breakfast, and for once omitted to smoke his pipe. He\nhad the map spread open beside him, and kept studying its markings.", "\"It wasn't there last night,\" he said presently, straightening up from his\nexamination and looking anywhere but at me.", "I called again to him, louder than before. He did not answer, but I missed\nthe sound of his snoring, and also noticed that the flap of the tent was", "He woke naturally and easily, as I have said, when the sun was already high\nin a windless hot sky, and he at once got up and set about the preparation", "But this second time I jumped up with a genuine start of terror. It was\nneither the wind nor the river that woke me, but the slow approach of", "blundering about like men hunting for a leak of gas. The paddle and canoe\nand provisions prove that. I think they feel us, but cannot actually see", "\"There, you see an attempt to prepare a victim for the sacrifice,\" I heard\nhim saying, more to himself than to me, \"two victims rather,\" he added as\nhe bent over and ran his fingers along the slit.", "however, and I crawled quietly out of the tent to see if our belongings\nwere safe. I moved carefully so as not to waken my companion. A curious\nexcitement was on me.", "saw by the bright moonlight that it was past twelve o'clock--the threshold\nof a new day--and I had therefore slept a couple of hours. The Swede was", "And, once they were gone and the immediate wonder of their great presence\nhad passed, fear came down upon me with a cold rush. The esoteric meaning", "\"There's nothing here!\" he shouted, holding his sides.\n\n\"Bread, I mean.\"\n\n\"It's gone. There is no bread. They've taken it!\"", "It was on the tip of my tongue to tell him that I had clearly noticed two\npaddles a few hours before, but a second impulse made me think better of\nit, and I said nothing. I approached to see.", "\"Further disaster! Why, what's happened?\"\n\n\"For one thing--the steering paddle's gone,\" he said quietly.", "It was earlier than usual when we camped, for the sun was a good hour or\ntwo from the horizon, and leaving my friend still asleep on the hot sand, I", "Neither of us said a word. We both knew that sleep was the safest thing we\ncould do, and to bed we went accordingly without further delay, having", "II\n\n\n\"You've been gone so long,\" he shouted above the wind, \"I thought something\nmust have happened to you.\"", "And when I peered across his shoulder I saw that his stick rested on the\nbody of a man. He turned it over. It was the corpse of a peasant, and the" ], [ "This lessening of the wind came as a great relief, for the incessant\nroaring, banging, and thundering had irritated our nerves. Yet the silence", "Contrary to our expectations, the wind did not go down with the sun. It\nseemed to increase with the darkness, howling overhead and shaking the", "\"It is because the wind has dropped we now hear it. It was drowned before.\nIt is the cry, I believe, of the--\"", "howled magnificently, but the fire no longer gave out any glow, and I saw\nthe east reddening in streaks through the trees. Several hours must have\npassed since I stood there before watching the ascending figures, and the", "\"But now the wind has dropped,\" I objected. \"The willows can hardly make a\nnoise by themselves, can they?\"", "first time for three days the wind showed signs of abating. Clouds began to\ngather in the south-west, spreading thence slowly over the sky.", "Though still early in the afternoon, the ceaseless buffetings of a most\ntempestuous wind made us feel weary, and we at once began casting about for", "The willows, for once, were motionless and silent. Then a sound began to\nreach my ears faintly, a peculiar sound--something like the humming of a", "\"River's falling at last,\" he said, \"and I'm glad of it.\"\n\n\"The humming has stopped too,\" I said.", "strangely. The winds were about and walking, I remember saying to myself,\nfor the winds often move like great presences under the trees. And\naltogether the fear that hovered about me was such an unknown and immense", "With this general hush of the wind--though it still indulged in occasional\nbrief gusts--the river seemed to me to grow blacker, the willows to stand", "night. But had the wind moved them, or had they moved of themselves? I\nrecalled the sound of infinite small patterings and the pressure upon the", "\"I watched it settle downwards through the bushes,\" he sobbed at me. \"Look,\nby God! It's coming this way! Oh, oh!\"--he gave a kind of whistling cry.\n\"They've found us.\"", "He began to look curiously about him. The sunlight lay in hot patches on\nthe sand. There was no wind. The willows were motionless. He slowly rose to\nfeet.", "memory of it now came back to me horribly, like an evil dream. Oh, how\ntired it made me feel, that ceaseless raging wind! Yet, though the deep", "I think the suddenness with which it all went and he grew calm, coinciding\nas it did with the equally abrupt cessation of the humming and pattering", "\"And, for Heaven's sake,\" I went on, \"don't keep pretending you hear\nthings, because it only gives me the jumps, and there's nothing to hear but\nthe river and this cursed old thundering wind.\"", "made, and of our plans ahead. The map lay spread in the door of the tent,\nbut the high wind made it hard to study, and presently we lowered the", "A cold, grey light filtered down through the bushes and lay on the faintly\ngleaming sand. Stars still crowded the sky directly overhead, and the wind", "II\n\n\n\"You've been gone so long,\" he shouted above the wind, \"I thought something\nmust have happened to you.\"" ], [ "Then, too, just as we turned back, our arms full of driftwood, another\nthing happened to recall us to the river bank. This time it really was a", "pointing with his stick at a large black object that lay half in the water\nand half on the sand. It appeared to be caught by some twisted willow roots", "twenty feet from the shore, and just as it was opposite to where we stood\nit lurched round and looked straight at us. We saw its eyes reflecting the", "\"What in the world's this?\" I heard him cry again, and this time his voice\nhad become serious.\n\nI ran up quickly and joined him on the bank. He was looking over the river,\npointing at something in the water.", "We were grubbing away in the middle of a thickish clump of willows where\nsome driftwood from a former flood had caught high among the branches, when", "And when I peered across his shoulder I saw that his stick rested on the\nbody of a man. He turned it over. It was the corpse of a peasant, and the", "\"I watched it settle downwards through the bushes,\" he sobbed at me. \"Look,\nby God! It's coming this way! Oh, oh!\"--he gave a kind of whistling cry.\n\"They've found us.\"", "That afternoon, while the canoe dried and hardened, we spent trying to\nfish, testing the leak, collecting wood, and watching the enormous flood of", "\"The river's still rising, though,\" he added, as if following out some\nthoughts of his own, and dropping his load with a gasp. \"This island will\nbe under water in two days if it goes on.\"", "sand so that our feet splashed into the water. And, before anything could\nbe done, we had collided a little heavily against the corpse.", "blundering about like men hunting for a leak of gas. The paddle and canoe\nand provisions prove that. I think they feel us, but cannot actually see", "so that the river could not sweep it away. A few hours before the spot must\nhave been under water.", "He began to look curiously about him. The sunlight lay in hot patches on\nthe sand. There was no wind. The willows were motionless. He slowly rose to\nfeet.", "\"Good heavens, it's a man's body!\" he cried excitedly. \"Look!\"", "It was an otter, alive, and out on the hunt; yet it had looked exactly like\nthe body of a drowned man turning helplessly in the current. Far below it", "I crossed over to the farther shore and noted how the coast-line had\naltered in the night, and what masses of sand the river had torn away. I", "of the swaying of the branches. I saw them plainly and noted, now I came to\nexamine them more calmly, that they were very much larger than human, and", "I threw myself upon him, flinging my arms about his waist and dragging him\nshorewards with all my strength. Of course he struggled furiously, making a", "They first became properly visible, these huge figures, just within the\ntops of the bushes--immense, bronze-colored, moving, and wholly independent", "He started off on a run, and I followed him. He kept to the banks, poking\nwith a stick among the sandy bays and caves and little back-waters, myself\nalways close on his heels." ], [ "And when I peered across his shoulder I saw that his stick rested on the\nbody of a man. He turned it over. It was the corpse of a peasant, and the", "For just as the body swung round to the current the face and the exposed\nchest turned full towards us, and showed plainly how the skin and flesh", "At the moment we touched the body there rose from its surface the loud\nsound of humming--the sound of several hummings--which passed with a vast", "And when I turned my eyes again from his ghastly face to the river, the\ncurrent had done its work, and the body had been swept away into mid-stream", "The current, I noticed, had torn away much of the clothing from the body,\nso that the neck and part of the chest lay bare.", "\"Good heavens, it's a man's body!\" he cried excitedly. \"Look!\"", "\"Their mark!\" I heard my companion mutter under his breath. \"Their awful\nmark!\"", "\"I suppose so,\" I replied. I shuddered a little in spite of myself, for\nthere was something about the appearance of that poor drowned man that\nturned me cold.", "sand so that our feet splashed into the water. And, before anything could\nbe done, we had collided a little heavily against the corpse.", "completely over, the dead face uppermost, staring at the sky. It lay on the\nedge of the main stream. In another moment it would be swept away.", "He had turned ashen white under the tan. He stood bolt upright in front of\nthe fire, stiff as a rod, staring at me.", "\"Look! By my soul!\" he whispered, and for the first time in my experience I\nknew what it was to hear tears of terror in a human voice. He was pointing", "It was an otter, alive, and out on the hunt; yet it had looked exactly like\nthe body of a drowned man turning helplessly in the current. Far below it", "\"There, you see an attempt to prepare a victim for the sacrifice,\" I heard\nhim saying, more to himself than to me, \"two victims rather,\" he added as\nhe bent over and ran his fingers along the slit.", "Then he dropped back upon his blankets and went to sleep literally under my\neyes. He simply collapsed, and began to snore again as healthily as though", "He hesitated. But I knew some reference to that remark he had made just\nbefore he fainted was in his mind, and I was determined to know it.\n\n\"Because 'They've found another victim'?\" I said, forcing a little laugh.", "to the fire, some fifty feet away. I followed the direction of his finger,\nand I swear my heart missed a beat.", "face was hidden in the sand. Clearly the man had been drowned, but a few\nhours before, and his body must have been swept down upon our island", "The Swede's face turned very white beneath the deep tan of sun and wind. He\nstared straight at me and answered quietly, but his voice betrayed his huge", "I stared blankly at him. The gleam in his eye was dreadful. Presently he\ncontinued.\n\n\n\n\nIV" ], [ "The willows, for once, were motionless and silent. Then a sound began to\nreach my ears faintly, a peculiar sound--something like the humming of a", "With this general hush of the wind--though it still indulged in occasional\nbrief gusts--the river seemed to me to grow blacker, the willows to stand", "With this multitude of willows, however, it was something far different, I\nfelt. Some essence emanated from them that besieged the heart. A sense of", "ferry, turned the corner sharply to the left, and plunged on yellow foam\ninto the wilderness of islands, sandbanks, and swamp-land beyond--the land\nof the willows.", "willow-bushes. On the big maps this deserted area is painted in a fluffy\nblue, growing fainter in color as it leaves the banks, and across it may be", "willows shivering about us, but apart from this not very welcome sound a\ndeep and depressing silence reigned, broken only by the gurgling of the\nriver and the humming in the air overhead.", "bend and rustle in the free winds, showing their silver leaves to the\nsunshine in an ever-moving plain of bewildering beauty. These willows never", "Creeping with silent feet over the shifting sands, drawing imperceptibly\nnearer by soft, unhurried movements, the willows had come closer during the", "willows, crowding, so thickly growing there, swarming everywhere the eye\ncould reach, pressing upon the river as though to suffocate it, standing in", "But my emotion, so far as I could understand it, seemed to attach itself\nmore particularly to the willow bushes, to these acres and acres of", "of some indeterminate sort among the willows, and as the branches swayed in\nthe wind they seemed to group themselves about these shapes, forming a\nseries of monstrous outlines that shifted rapidly beneath the moon. Close,", "through somehow. But, if you listen carefully, you'll find it's not above\nso much as around us. It's in the willows. It's the willows themselves", "melting away down there into the sea of willows where the sun caught them\nin the bend of the river and turned them into a great crimson wall of", "with a huge sweep into the willows, which closed about it like a herd of\nmonstrous antediluvian creatures crowding down to drink. They made me think", "We were grubbing away in the middle of a thickish clump of willows where\nsome driftwood from a former flood had caught high among the branches, when", "The eeriness of this lonely island, set among a million willows, swept by a\nhurricane, and surrounded by hurrying deep waters, touched us both, I", "in its own way, stirred in me this sensation of a strange distress. But the\nwillows especially; for ever they went on chattering and talking among", "\"It's the willows, of course. The willows mask the others, but the others\nare feeling about for us. If we let our minds betray our fear, we're lost,", "crowding everywhere about me, enveloping all, the willows, those endless,\nshaking willows. A bird uttered its morning cry, and a string of duck", "humming, because here the willows have been made symbols of the forces that\nare against us.\"" ] ]

[ "During the night what do the willow appear to have done?", "What two sounds do the men hear during the first night?", "What is missing in the morning after the first night?", "During the second night the Swede attempts to do what?", "What do they find the day after the second night?", "When the body is swept away what do the men think it resembles?", "What held their craft on it's shoulders?", "Where had they seen the funnel shaped pock marks from the peasant's body before? ", "The story suggests that the landscape is what?", "Where are the two men canoeing?", "What does the man on the flat bottomed boat do?", "What happens while the two men are sleeping in the tent?", "What do the willows do while the two men are sleeping?", "When the two men awake what do they find is missing?", "What do the two men need to repair before continuing on their trip?", "What does the Swede attempt to do to himself on the second night?", "Why does the Swede believe that the river has found another sacrifice?", "What do they find on the peasants body?", "What is the name of the river introduced in the beginning of the story?", "How does the main character initially see the river?", "How does the main character describe the river once it has revealed itself?", "What do the men hear outside of their tent?", "What do the two men notice missing in the morning? ", "On which day this the howling winds die down? ", "What did the two men find lodged in roots along the shore?", "What is the corpse body pockmarked with?", "What color are the willows described as being?" ]

[ [ "Changed locations.", "Changed location." ], [ "Tapping outside the tent, and shifting gong like sounds.", "tapping and gong-like sounds" ], [ "One of the paddles, and some food.", "one of the canoe paddles" ], [ "Hurl himself into the river as a sacrifice.", "hurl himself into the river as a \"sacrifice\"" ], [ "A peasant's body lodged in roots near the shore.", "The Swede attempts to hurl himself into the river as a \"sacrifice\"" ], [ "An otter.", "An otter." ], [ "The river.", "violent desires" ], [ "The sands of the island.", "In the sand." ], [ "A point of contact for a different dimension.", "alive" ], [ "On the Danube River.", "Danube River." ], [ "He tries to warn them of something and disappears down river.", "Warning the two men before hurtling out of sight. " ], [ "Dark shapes move around and make noise outside of their tent.", "The wind whips through the willows outside." ], [ "They seem to change positions.", "relocate" ], [ "One of their canoe paddles and some food.", "a paddle and some of their food" ], [ "Their canoe.", "Their canoe" ], [ "Sacrifice himself to the river.", "Throw himself in the river" ], [ "They find a body of a peasant near the shore.", "the corpse of a peasant is found" ], [ "Marks that are funnel shaped.", "funnel shapes" ], [ "Danube", "Danube River" ], [ "As sleepy", "Great Personage" ], [ "As having violent desires", "potency, human qualities" ], [ "Tapping and Gong-like sounds", "tapping and gong sounds" ], [ "Two paddles ", "One of their oars and some food." ], [ "The second day and night", "Second" ], [ "A peasant's dead body", "corpse of a peasant" ], [ "Funnel shapes", "funnel shapes " ], [ "Silver", "silvery" ] ]

[ [ "And thus Alaric, intent mainly on the interest of his cousin, and\nactuated perhaps a little by the feeling that a rich cousin would be", "therefore the money, when in his hands, might probably be manageable. He\nwas also Alaric's cousin, and therefore acceptable.", "Alaric, who saw something of what was going on in his cousin's mind,\nessayed to remove the impression which was thus made. 'Besides, you", "Undy; and on Alaric's part, it would be no more than one cousin would be\nbound to do for another. Looking at it in this light, Alaric saw nothing", "'I am afraid you will find him very rough,' said his cousin Alaric.\n\n'At any rate you will not find him a fool,' said Norman, who was always\nthe more charitable of the two.", "friends, Alaric, Harry, and Mr. M'Ruen. Alaric was his cousin and his\nnatural resource in such a position, but he had lately rejected", "his lodgings with his cousin. Alaric, with the advantage in age of\nthree or four years--at that period of life the advantage lies in that\ndirection--with his acquired experience of London life, and also with", "Charley Tudor was some few years younger than his cousin Alaric when he\ncame up to town, and Alaric had at that time some three or four years'", "'My cousin Alaric! Oh, nonsense! you don't suppose I'd ask him to do\nsuch a thing? You might as well tell me to go to my father.'", "he had transferred to Alaric's cousin all the friendship which he had\nonce felt for Alaric; and the deeper were Charley's sins of idleness and", "But what was Alaric to do? He soon found himself under the guardianship\nof the constant Gitemthruet in a neighbouring tavern, and his cousin", "And thus Alaric and Undy Scott had become fast friends; that is, as\nfast as such friends generally are. Alaric was no more blind to his own", "But Alaric and Charley were coming, she knew; Alaric was her\nbrother-in-law now, and therefore she would be delighted to meet him;", "'Well, Charley, what do you think of the beautiful Clementina?' said\nAlaric, pushing over the bottle to his cousin, as soon as they found", "Such being the case, he had striven, not unsuccessfully, to draw Alaric\ninto the concern. Alaric had bought very cheaply a good many shares,", "There was much more in the letter, but enough has been given for our\npurpose. It will be seen that hope yet remained both for Alaric and his", "Accordingly as Alaric was elated, Sir Gregory was depressed. He had\nrisen high, but now this young tyro whom he had fostered was about to\nclimb above his head. O the ingratitude of men!", "Alaric laughed, and muttered something.\n\n'Now I have been thinking of something;' and Uncle Bat looked strangely\nmysterious--'I wonder what you think of Gertrude?'", "But Alaric, at the moment, hardly felt it. 'You have brought me and mine\nto ruin,' said he; 'you have done it purposely, like a fiend. But, low", "To this request he received a kind rejoinder in the affirmative. Though\nCharley was related to Alaric, there had always apparently been a closer\nfriendship between him and Norman than between the two cousins; and now," ], [ "And Charley was there, acting as best man. It was just the place and\njust the work for Charley. He forgot all his difficulties, all his", "than Charley. It had been produced by one of those far-stretching,\nworld-moving commotions which now and then occur, sometimes twice or", "Among those who were drafted into other offices was Charley, whom\npropitious fate took to the Weights and Measures. But it must not be", "'You don't know the sort of place that office of mine is,' continued\nCharley. 'You don't know the sort of fellows the men are. I hate the", "Charley was with him. Charley had been in court the whole day, except\nthat he had twice posted down to the West End in a cab to let Gertrude", "while Harry and Charley were at Surbiton Cottage. The old gentleman was\nanything but pleased. In the first place he liked his money, though not", "He shuffled into the room where Charley was standing with little\nshort quick steps, and putting out his hand, just touched that of his\ncustomer, by way of going through the usual process of greeting.", "Charley, when he entered the door punctually at two o'clock, saw that it\nwas as usual nearly deserted. One long, lanky, middle-aged man, seedy as", "Mrs. Val's dance had taken place in June, and it was now late in\nOctober. Four months had intervened, and during that period Charley had", "Charley sat down and did the required work. On any other day he would\ngreatly have disliked such a summons, but now he did not care much about", "Charley said that he thought he did rather like hard work. Hereupon\na senior clerk standing by, though a man not given to much laughter,", "The school in which Charley now lived, that of the infernal navvies,\nhad taught him to laugh at romance; but it had not been so successful in", "Charley kept his appointment, and came away from Mr. M'Ruen's with a\nwell-contented mind. He had, it is true, left £5 behind him, and had", "Charley to begin. She got up and pottered about the room, went to a\ncupboard, and wiped a couple of glasses, and then out into the bar and", "Charley sat at his office on the Saturday afternoon, very meditative and\nunlike himself. What was he to do when his office hours were over? In", "Charley was to return to town that night, and they had not therefore\nmuch time to lose; they went upstairs at once, and found Linda and", "In answer to this, Charley was not even able to mutter; so he went his\nway to the inn, and lay awake half the night thinking how Katie had", "But this was too much for Charley. He had often before bought bill\nstamps in vain, and in vain had paid for mutton chops and beer for Mr.", "Hereupon Charley began his task in a large, ugly, round hand, neither\nthat of a man nor of a boy, and set himself to copy the contents of", "Poor Charley had had but small opportunity of learning what are the\npleasures of decent society. He had gone headlong among the infernal\nnavvies too quickly to allow of that slow and gradual formation of" ], [ "Alaric had married for love, and was not two years married, yet had his\neducation so far progressed in that short period as to enable him to\nlaugh at such an objection.", "clear to them that this year was no time for marrying. Alaric had been\narrested. Alaric, their own Gertrude's own husband, their son-in-law and", "'Has she?' said Linda, on whom the full certainty of her misery had now\nall but come.\n\n'She has accepted our dear Alaric.'", "Alaric to her heart as her son-in-law.", "married Gertrude, and Alaric Linda, he would have regarded either of\nthose matches with disfavour. But now he was quite satisfied--now he", "But Alaric and Charley were coming, she knew; Alaric was her\nbrother-in-law now, and therefore she would be delighted to meet him;", "'But you married for love, Alaric?'", "Alaric, with his happy prospects, was soon dismissed; but Mrs. Woodward\ncontinued to sing the praises of him who, had she been potent with the", "Our dear Alaric! what words for Linda's ears! They did reach her ears,\nbut they did not dwell there--her soft gentle nature sank beneath the", "Linda's marriage till after the trial; and this, of course was\nthe source of fresh grief. When men such as Alaric Tudor stoop to", "is. I certainly will not mend it by marrying a girl that I can never\nlove. And as for you, Alaric, all who know you and love you watch your", "will hinder the wife from being with her husband. But, Alaric,' she went\non, 'do not droop now, love--will you?'", "not in love with Alaric, and her daughter was. She thought that Alaric's\nlove was a passion that had but lately come to the birth, and that had", "her husband. Of Undy's wife Alaric saw nothing and heard little, but\nit suited Undy to make use of his sister-in-law's house, and it suited", "And thus Alaric and Undy Scott had become fast friends; that is, as\nfast as such friends generally are. Alaric was no more blind to his own", "'Alaric,' said he, 'I proposed to Gertrude last night, and she refused\nme.'", "resolve, and the strong hope, that in a very few weeks, Alaric would be\npromoted to a marrying income of £600 per annum, made the prospect of", "Alaric went on with his wooing, and he also went on with his\nshare-buying. Undy Scott had returned to town for a week or two to", "'Not if you don't marry,' said Alaric, who felt rather at a loss for a\nproper answer. He could not, however, have made a better one.", "And then Alaric went on, and Charley and Katie were left together." ], [ "herself. But seeing that Norman was Gertrude's lover, was it not natural\nthat Alaric should be hers? And then, though Harry was the handsomer and", "married Gertrude, and Alaric Linda, he would have regarded either of\nthose matches with disfavour. But now he was quite satisfied--now he", "'Set him against Alaric! No, Gertrude. I certainly shall not do that.\nBut whether I can reconcile Harry to it, that is another thing.'", "'Alaric,' said he, 'I proposed to Gertrude last night, and she refused\nme.'", "Harry's brow grew black. On the previous evening he had spoken of Alaric\nwithout bitterness, nay, almost with affection; of Gertrude he had", "what we must feel about Alaric and Gertrude. Harry is still at\nNormansgrove. We shall all be glad to see you, and Katie, who never", "clear to them that this year was no time for marrying. Alaric had been\narrested. Alaric, their own Gertrude's own husband, their son-in-law and", "'Harry told him all,' continued Gertrude, 'and Alaric--Alaric said\nnothing of his own feelings. Alaric never said a word to me that he", "Alaric--there--there--now go.' And so he went, and Gertrude shutting\nherself into her room threw herself on to the bed, and wept aloud.", "Alaric rose from his chair and made a faint attempt to smile. 'Well,\nGertrude,' said he, 'it has come at last.'", "loved Gertrude? 'If, as Harry had himself said, there was no longer any\nhope for him, why,' said Alaric to himself, 'why should not I try my", "Alaric laughed, and muttered something.\n\n'Now I have been thinking of something;' and Uncle Bat looked strangely\nmysterious--'I wonder what you think of Gertrude?'", "This hardly came well from Gertrude, seeing that Alaric at any rate had\nnever been required to sacrifice any of his individuality. But she was", "Gertrude, and been rejected by her. All that he said and all that he\nthought was exactly what he might have said and thought had Alaric taken", "angry with Alaric,' she went on to say, as soon as she had told her\ntale. Oh, must he not? Not be angry with Alaric! Not angry with the man", "the richer, she liked Alaric so much the better of the two. But now that\nAlaric was alone with her, the only subject he could think to talk of\nwas Gertrude's beauty!", "Alaric was well aware that it was Gertrude before her name had been\npronounced.", "and Measures. But Alaric's condition, Gertrude's misery, and Katie's\nillness, threw all such matters into the background. Katie became no", "On the next morning he received Gertrude's letter and Alaric's. The\nlatter he never read--he opened it, saw that it began as usual, 'My dear", "And so Gertrude Woodward became Gertrude Tudor, and she and Alaric were\nwhirled away by a post-chaise and post-boy, done out with white bows," ], [ "We have delayed the happiness of your marriage, Harry--you must forgive\nus that, as well as all our other trespasses. I fear Linda will never\nforgive that.'", "'Oh, Katie! Harry would in a moment.'\n\n'Not for me; perhaps he might for you--though I'm not quite sure that he\nwould.' It was thus that Katie took her revenge on her sister.", "them. Harry would now be Mr. Norman of Normansgrove, and Linda would\nbecome Mrs. Norman of Normansgrove; Harry's mother had long been dead,", "And now the time came for them to part. Harry was to say good-bye\nto her, and then to see her no more. Early on the following morning", "'Because, you know, Harry does not want it so much as you do. I am sure\nI wish you success with all my heart. Perhaps it's wicked to wish for", "had not been dying for love during the period of Harry's unsuccessful\ncourtship. He might, she thought, have waited a little longer before he\nchose for his wife the girl whom his friend had loved, seeing that he", "'Harry, said she, 'you must go and see Alaric.'", "'Harry, my dear Harry,' said Mrs. Woodward, rushing to him, throwing\nher arms round him, and kissing him; 'we know it all, we understand it\nall--my fine, dear, good Harry.'", "Harry,' and then crammed it into his pocket. By return of post it\nwent back under a blank cover, addressed to Alaric at the Weights and", "Harry was melted in a moment, and in the softness of his mood kissed\nKatie too, and Linda also. Katie he had often kissed, but never Linda,", "Harry said he did find her altered. It was her dress, he said, and the\ncap on her head.", "misery of meeting those who might know him. And now Harry came with Mrs.\nWoodward to bid farewell, probably for ever on this side the grave, to", "poor Harry's hopes have been all in vain; he has lost his promotion,\nand now he has lost his bride--poor Harry!'--and then it occurred to him", "Harry's brow grew black. On the previous evening he had spoken of Alaric\nwithout bitterness, nay, almost with affection; of Gertrude he had", "'Harry Norman is no fool.'\n\n'I dare say not,' said the captain; 'but take my word, she'll never have\nhim--Lord bless you, Norman knows that as well as I do.'", "But still there was happiness--quiet, staid happiness--at the Cottage.\nMrs. Woodward could not but be happy to see Linda married to Harry", "'Oh, Harry,' said Katie, 'we are so sorry--that is, not sorry about\nAlaric, but sorry about you. Why were there not two prizes?'", "Mrs. Woodward's heart melted within her when she heard that Harry was\nreally ill. She had gone on waiting day after day for an answer to her", "'Harry told him all,' continued Gertrude, 'and Alaric--Alaric said\nnothing of his own feelings. Alaric never said a word to me that he", "'Take him, Harry, take him,' said she, handing over the child to his\nfather. And then gliding quick as thought through the furniture of the\ndrawing-room, she darted out upon the lawn, to save herself from the\ncoming storm." ], [ "Charley, when he entered the door punctually at two o'clock, saw that it\nwas as usual nearly deserted. One long, lanky, middle-aged man, seedy as", "Charley was with him. Charley had been in court the whole day, except\nthat he had twice posted down to the West End in a cab to let Gertrude", "And Charley was there, acting as best man. It was just the place and\njust the work for Charley. He forgot all his difficulties, all his", "Charley to begin. She got up and pottered about the room, went to a\ncupboard, and wiped a couple of glasses, and then out into the bar and", "than Charley. It had been produced by one of those far-stretching,\nworld-moving commotions which now and then occur, sometimes twice or", "and Charley, dear Charley! she had not seen him since he went away that\nmorning, now four days since; and four days was a long time, considering", "Charley sat down and did the required work. On any other day he would\ngreatly have disliked such a summons, but now he did not care much about", "Charley was to return to town that night, and they had not therefore\nmuch time to lose; they went upstairs at once, and found Linda and", "Charley sat at his office on the Saturday afternoon, very meditative and\nunlike himself. What was he to do when his office hours were over? In", "He shuffled into the room where Charley was standing with little\nshort quick steps, and putting out his hand, just touched that of his\ncustomer, by way of going through the usual process of greeting.", "properly settled in their new lodgings, and visited them at Christmas,\nand once again during their stay there. He then went down to fetch them\nhome, and when they all returned, informed Charley, with whom he was", "Since Alaric's conviction Charley led a busy life; and as men who have\nreally something to do have seldom time to get into much mischief, he", "Charley puffed at his cigar and sipped his gin and water. It was now\ntwelve o'clock, and he thoroughly wished himself at home and in bed. The", "Charley was rather a favourite with Mr. Oldeschole, having been\nappointed by himself at the instance of Mr. Oldeschole's great friend,", "Latterly, indeed, Charley had utterly deserted the front parlour; for\nthere had come there a pestilent fellow, highly connected with the", "We need not give any detailed description of Charley's prison-house. He\nwas luckily not detained there so long as to make it necessary that we", "Charley kept his appointment, and came away from Mr. M'Ruen's with a\nwell-contented mind. He had, it is true, left £5 behind him, and had", "And now Charley stood once more in that dingy little front parlour in\nwhich he had never yet seen a fire, and once more Mr. Jabesh M'Ruen\nshuffled into the room in his big cravat and dirty loose slippers.", "deserted. At this time Charley was true to her, and did for her all\nthose thousand nameless things which a woman cannot do for herself.\nHe came to her everyday after leaving his office, and on one excuse or", "ten minutes when Jabesh, more punctual than usual, entered the place.\nThis Charley regarded as a promising sign of forthcoming cash. It very\nfrequently happened that he waited there an hour, and that after all" ], [ "Charley did as he was bid, and Katie intended to do the same; but\nunfortunately she pulled the wrong hand. They were now very near the", "After that Katie spoke no further of Charley. But it was evident to them\nall, that though she said nothing, she had not ceased to think of him.", "And at last he came to Katie. There was no getting over it. She\nalso stretched out her now thin hand, and Charley, as he touched it,", "Charley was clearly of opinion that they might, and should, and would;\nand so away they sallied back to the roses, and Katie began to enjoy", "'Come, Charley,' said she, 'now for the romance. Katie, come and sit\nby me.' But Katie had already taken her seat, a little behind Charley,\nquite in the shade, and she was not to be moved.", "'Charley,' said Mrs. Woodward, when he had been some little time in the\nhouse, 'our dear Katie wants to see you; she is very ill, you know.'\n\nCharley said he knew she was ill.", "herself. It was not that she was ashamed of loving Charley, but that she\nfelt at once that such love would distress her mother's heart.", "Charley got up and took her hand; and as he did so, he saw that her\nnails were dirty. He put his arms round her waist and kissed her; and as", "But it must not be thought that Charley abused the friendship of Mrs.\nWoodward, and made love to Katie, as love is usually made--with warm", "In answer to this, Charley was not even able to mutter; so he went his\nway to the inn, and lay awake half the night thinking how Katie had", "Charley was at any rate as ignorant what he ought to say as Katie was.\nHe felt the pressure of her warm lips on his hand, and hardly knew", "Her mother knew what she meant. Charley had been there, Charley to whom\nshe had declared her love when lying, as she thought, on her bed of", "Charley's heart was as soft as it was inflammable. He was utterly unable\nto resist such tenderness as Mrs. Woodward showed to him. He had made", "on her pillow. But before she did so Katie was fast asleep, and twice in\nher sleep she cried out, 'Oh, Charley! Oh, Charley!' Then Linda guessed", "Charley declared that he would not willingly do anything to cause pain\nto any of them.\n\n'No--I am sure you will not. And therefore, Charley, you must not see\nKatie any more.'", "Charley did not analyse his feelings, nor did Katie analyse hers. It\nwould have been impossible for her to do so. But could she have done it,", "Charley, before you go,' So he stooped down over her, and pressed his\nlips to hers.", "'And therefore, Charley, you must not see Katie any more.' So much she\nsaid, and then she looked into his face with imploring eyes.", "'Do they?' said Katie, looking over her shoulder to watch what Charley\nwas doing, and to see whether he was coming to notice her.", "as Katie did; but he spoke no word of his love. He walked among\nthe flowers with her, laughing and listening to her in his usual\nlight-hearted, easy manner; every now and again his arm would thrill" ], [ "And Charley was there, acting as best man. It was just the place and\njust the work for Charley. He forgot all his difficulties, all his", "Charley had engaged to pull up to Avis's at Putney with Harry Norman,\nto dine there, take a country walk, and row back in the cool of the", "On that same day, the day that was to witness Charley's betrothal to\nMiss Geraghty, and that of M. Jaquêtanàpe with Miss Golightly, Alaric", "Mrs. Woodward quite understood the nature of the promise conveyed in her\ndaughter's assurance, and replied that Charley should be asked. He", "But Alaric and Charley were coming, she knew; Alaric was her\nbrother-in-law now, and therefore she would be delighted to meet him;", "Charley was to return to town that night, and they had not therefore\nmuch time to lose; they went upstairs at once, and found Linda and", "'Charley,' said Mrs. Woodward, when he had been some little time in the\nhouse, 'our dear Katie wants to see you; she is very ill, you know.'\n\nCharley said he knew she was ill.", "Charley got up and took her hand; and as he did so, he saw that her\nnails were dirty. He put his arms round her waist and kissed her; and as", "'Mrs. Davis told me flatly that you were going to marry the man,' said\nCharley; 'so what was I to think?'", "She leant towards him and put her hand caressingly on his arm. 'It shall\nbe so, shall it not, Charley?'\n\n'Oh, of course, if you say so.'", "Charley? might not he be dead? Oh! better so than the other. She knew,\nand said as much to herself over and over again; but she did not the\nless feel that his death must involve her own also.", "Charley acknowledged the truth of this, said that he would think of the\nmatrimonial project, and promised, at any rate, to call on Clementina", "Charley was with him. Charley had been in court the whole day, except\nthat he had twice posted down to the West End in a cab to let Gertrude", "Mrs. Richards' story was soon told. It simply amounted to this--that\n'Mister Charley,' as she always called him, had been arrested for debt", "could only get dancing enough. But on this matter her heart misgave\nher. To be sure, she was engaged to Charley for the first quadrille and", "'Intended sposo!' said Charley, expressing by his upturned lip a\nwithering amount of scorn--'how well I know the fellow's low attempts at", "Mrs. Val's dance had taken place in June, and it was now late in\nOctober. Four months had intervened, and during that period Charley had", "Charley to begin. She got up and pottered about the room, went to a\ncupboard, and wiped a couple of glasses, and then out into the bar and", "Looking round among his acquaintance for a fitting _parti_ for the sweet\nClementina, his mind, after much consideration, settled upon Charley", "her to stop when she pleased. And so they went on with apparently\ninterminable gyrations. Charley and the heiress had twice been in" ], [ "Charley declared that he would not willingly do anything to cause pain\nto any of them.\n\n'No--I am sure you will not. And therefore, Charley, you must not see\nKatie any more.'", "'And therefore, Charley, you must not see Katie any more.' So much she\nsaid, and then she looked into his face with imploring eyes.", "At this moment Mrs. Woodward knocked at the door, and Charley rose from\nhis knees. 'Not quite yet, mamma,' said Katie, as Mrs. Woodward opened", "'Charley,' said Mrs. Woodward, when he had been some little time in the\nhouse, 'our dear Katie wants to see you; she is very ill, you know.'\n\nCharley said he knew she was ill.", "Charley did as he was bid, and Katie intended to do the same; but\nunfortunately she pulled the wrong hand. They were now very near the", "After that Katie spoke no further of Charley. But it was evident to them\nall, that though she said nothing, she had not ceased to think of him.", "in wording her request. She hardly liked asking Charley to come because\nKatie was ill; nor did she like to ask him without mentioning Katie's", "But it must not be thought that Charley abused the friendship of Mrs.\nWoodward, and made love to Katie, as love is usually made--with warm", "Poor Katie was kept in bed till the afternoon. Charley and Harry,\nhowever, were allowed to come up to her bedroom door, and hear her\npronounce herself quite well.", "in her daughter's bosom. When Katie ceased to ask that Charley might\nbe sent for, when she ceased to plead for his pardon and to praise his", "In answer to this, Charley was not even able to mutter; so he went his\nway to the inn, and lay awake half the night thinking how Katie had", "Mrs. Woodward told him that he was never again to see Katie, that was,\nof course, tantamount to turning him out of the Cottage. It might be", "'Come, Charley,' said she, 'now for the romance. Katie, come and sit\nby me.' But Katie had already taken her seat, a little behind Charley,\nquite in the shade, and she was not to be moved.", "'You may do so, mamma,' said Katie. Katie was already a braver woman\nthan her mother. 'I think Harry would like it, and poor Charley will", "There was a sort of compact, Katie knew, that there should be no other\nTudor marriage. Charley was not now the scamp he had been, but still--it", "Charley's story so as to enable Katie to go to bed after the accident,\nhad she been able to do so. But she was not able to do so without an", "herself. It was not that she was ashamed of loving Charley, but that she\nfelt at once that such love would distress her mother's heart.", "'No, Harry Norman never does,' said Charley, with something like\nvexation in his tone. He made no exception to Katie's list of", "Her mother knew what she meant. Charley had been there, Charley to whom\nshe had declared her love when lying, as she thought, on her bed of", "'Do tell me, mamma,' said Katie; 'do tell me all at once. Has\nanything--anything happened to--to Charley?'" ], [ "'They were both in the Weights and Measures, by far the most respectable\npublic office in London,' as she told him, 'and both doing extremely", "Among those who were drafted into other offices was Charley, whom\npropitious fate took to the Weights and Measures. But it must not be", "Measures', and the 'Office of the Board of Commissioners for Regulating\nWeights and Measures', are very long phrases; and as, in the course of\nthis tale, frequent mention will be made of the public establishment in", "So Charley, with a faint heart, went back to his cousin's lodgings and\nwaited till the two friends had arrived from the Weights and Measures.", "It is generally admitted that the Weights and Measures is a\nwell-conducted public office; indeed, to such a degree of efficiency has\nit been brought by its present very excellent secretary, the two", "There was no answering this; so the two men changed the conversation as\nthey walked up together from the boat wharf to the office of the Weights\nand Measures.", "There were three or four in the Weights and Measures who felt all this\nwith the keenest anxiety. The fact of their being there, and of their", "The Weights and Measures had never been a noisy office; but now it\nbecame more silent than ever. Men there talked but little at any time,", "The Secretary at the Weights and Measures had, after all, but a\ndull time of it, and was precluded by the routine of his office from", "our two friends of the Weights and Measures, it would not be becoming to\nintroduce them at the end of this.", "solicitude for the Weights and Measures. One or two lads crept in, by no\nmeans conspicuous for their attainments in abstract science; young men,", "Weights and Measures, and to receive civil speeches from mammas with\nmarriageable daughters. But a clerk in the Weights and Measures is soon\nmade to understand that it is not for him to--", "public offices be more plainly seen than in the presence or absence of\nsuch little items of accommodation as this. At the Weights and\nMeasures there was an elegant little chamber, carpeted, furnished", "of the advice of his medical friends, and retire. He would never remain\nthere to see the Weights and Measures become a hospital for incurables!'", "to see faults, if there should be faults, in those whom he himself had\nnurtured. Therefore, though he came with his colleagues to the Weights\nand Measures, he did not himself take part in the examination.", "would think when he heard of it; what all those clerks would say at\nthe Weights and Measures, among whom he had held his head so high; what", "But that it would be tedious we might describe the amazement with which\nthat news was received at the Weights and Measures. Though the great men", "Such is the character of the Weights and Measures at this present period\nof which we are now treating. The exoteric crowd of the Civil Service,", "Great changes had been going on at the Weights and Measures; or rather\nit might be more proper to say that great changes were now in progress.", "Alaric's committal had taken place very much in the manner in which it\nwas told at the Weights and Measures. He had received a note from one of" ], [ "She then endeavoured to persuade him to see Gertrude, or at any rate to\nsend his love to her. But in this also he was obdurate. 'It could,' he", "Alaric--there--there--now go.' And so he went, and Gertrude shutting\nherself into her room threw herself on to the bed, and wept aloud.", "He went in through the open drawing-room window, and found Gertrude\nalone. She was on the sofa with a book in her hand; and had he been able", "and Gertrude married. That Norman had often declared his love to her\neldest daughter she knew very well, and she knew also that Gertrude\nhad never rejected him. Having perfect confidence in her child, she had", "his hands, and answered the affection of his wife by saying that a man\ncould not always be cheerful, could not always laugh. Gertrude, though\nshe was very far indeed from guessing the truth, felt that something", "herself. But seeing that Norman was Gertrude's lover, was it not natural\nthat Alaric should be hers? And then, though Harry was the handsomer and", "Gertrude, and been rejected by her. All that he said and all that he\nthought was exactly what he might have said and thought had Alaric taken", "towards Gertrude. Her conduct during her husband's troubles had been\nso excellent, that he could not but forgive her the injuries which he\nfancied he owed to her.", "Gertrude there could now be no hope. What could she say? She knelt down\nand kissed his brow, and mingled her tears with his.", "a height. But in appearance, as in disposition, Gertrude carried by far\nthe greater air of command. She was the handsomer of the two, and the", "'I used to think so--but now I find there's nothing in it. I am sure\nGertrude wouldn't have him, and I think she's right. He hasn't gumption\nenough.'", "Gertrude had boasted to herself of the honour and honesty of her lord,\nand tossed her head with defiant scorn when a breath of suspicion had", "'Indeed, Gertrude is very, very beautiful,' said Linda, with the\nfaintest possible sigh, occasioned by the remembrance of her own\ninferior charms.", "'Alaric,' said he, 'I proposed to Gertrude last night, and she refused\nme.'", "married Gertrude, and Alaric Linda, he would have regarded either of\nthose matches with disfavour. But now he was quite satisfied--now he", "'I am very certain he will not,' said Gertrude. 'It is a laborious\nbusiness, and he will be glad enough to be rid of it. When he was", "patronizing her. Gertrude had borne with them all for her husband's\nsake; and was contented to do so yet for a while longer, but she thought", "On the next morning he received Gertrude's letter and Alaric's. The\nlatter he never read--he opened it, saw that it began as usual, 'My dear", "that as he had acquired the promotion it might be his destiny to win\nthe bride also. He had never told himself that he loved Gertrude; he had", "'So do I,' said he, bitterly; 'I hate them--but, Gertrude, don't talk\nabout them now; my head aches, and I am tired.'" ], [ "Alaric, when he heard these words, could hardly prevent himself from\nfalling in the middle of the hall. All his hopes were then over; he had", "But Alaric, at the moment, hardly felt it. 'You have brought me and mine\nto ruin,' said he; 'you have done it purposely, like a fiend. But, low", "There was much more in the letter, but enough has been given for our\npurpose. It will be seen that hope yet remained both for Alaric and his", "Such being the case, he had striven, not unsuccessfully, to draw Alaric\ninto the concern. Alaric had bought very cheaply a good many shares,", "Alaric, that thou, thou who knewest all this, that thou shouldest have\ndone this thing! They had forgiven his offence against them, but they", "Alaric, on the other hand, in his audacity, resolved that he would do\nso.", "reign had fallen to Alaric's lot. Mrs. Val liked to have about her\nsome confidential gentleman; and as she never thought of placing her\nconfidence in her husband, she was prone to select first one man and", "Such were the circumstances under which he came to Alaric with the\nview of raising such a sum of money as might enable him to overcome the", "Accordingly as Alaric was elated, Sir Gregory was depressed. He had\nrisen high, but now this young tyro whom he had fostered was about to\nclimb above his head. O the ingratitude of men!", "appointed to receive it, and will then produce all the property that has\nbeen entrusted to my keeping:' and so saying, Alaric got up and took his\nhat as though to depart.", "confided his love to Alaric, and Alaric had robbed him of his love, and\nwounded both his pride and his shame.", "Alaric, who of course contrived to see all that was to be seen, and\nlearn all that was to be learnt, in the dark passages of the tin", "Alaric was touched; but there was more triumph than sympathy in his\nheart. It was sweet, much too sweet, to him to hear his superiority thus", "But she bore it bravely. When Alaric first came down, which he did in\nthe middle of the week, she was, as she told her mother, too weak to", "Alaric's committal had taken place very much in the manner in which it\nwas told at the Weights and Measures. He had received a note from one of", "Alaric, however, showed no triumph. He was more submissive, more\ngracious than ever to his chief. It was only to himself that he muttered\n'Excelsior!", "Alaric, when he received the letter, crushed it in his hand, and cursed\nthe strictness of the man who had done so much for him. On the next day", "Alaric knew it very well himself also; but he did not say so.", "painful degree. Alaric, to give him his due, did everything in his power\nto persuade him to see the task out to the last. But the assurance and", "that he, Alaric, should move instead of driving Norman away. His final\nmovement would soon take place; that movement which would rob him of\nthe freedom of lodginghood, and invest him with all the ponderous" ], [ "Mrs. Woodward's family, for there was no Mr. Woodward in the case,\nconsisted of herself and three daughters. There was afterwards added", "'Why, he's a widower, and has three young children; and he's looking\nout for a mother for them; and he thinks Norah will suit. There, now you\nhave the truth, and the whole truth.'", "_The Three Clerks_, so becoming the friend, nay, the lover of Katie. Her\nsisters are not so attractive, simply because nature did not make them", "daughter Clem, now Madame Jaquêtanàpe, and the two Misses Neverbend. M.\nJaquêtanàpe had since his marriage made himself very agreeable to his", "daughters. Katie would fain have absented herself, but Mrs. Woodward\nknew that the first meeting could take place in no more favourable\nmanner.", "Mrs. Woodward was the widow of a clergyman who had held a living in\nLondon, and had resided there. He had, however, died when two of his", "and their three wives. Their three wives? Why, yes. It need hardly be\ntold in so many words to an habitual novel-reader that Charley did get\nhis bride at last.", "remainder would be but a poor support for her three daughters, if at the\ntime of her death it should so chance that she should leave them in\nwant of support. She had always regarded Captain Cuttwater as a probable", "children were very young, and while the third was still a baby. From\nthat time Mrs. Woodward had lived at the cottage at Hampton, and had\nthere maintained a good repute, paying her way from month to month", "and Measures. Charles Tudor, the third of the three clerks alluded to in\nour title-page, is the son of a clergyman, who has a moderate living on", "so; a very fine, faithful woman, Gertrude; a dear thing, Linda. All\nthree worthy of their mother, she who, as we are told in a delicious", "THE THREE CLERKS\n\nBY ANTHONY TROLLOPE\n\n\n\nWITH AN INTRODUCTION BY W. TEIGNMOUTH SHORE", "committee.' And so saying, Mrs. Woodward took the papers from her\ndaughters, and tying them up, deposited them safe in custody. 'We'll\nhave it out when the tea-things are gone.'", "'Nonsense,' said Mrs. Woodward; 'it's all affectation, and he ought to\ngo to church. Government clerks are not worked so hard as all that; are\nthey, Harry?'", "'Come, girls, there are four more chapters, I see. Let me finish it, and\nthen we can discuss it afterwards.'\n\n\"CHAPTER III\n\n\"Having thus described the Lady Crinoline----\"", "'Distance!' repeated Gertrude, with something of sorrow, but more of\nscorn in her tone. 'Distance, mamma! why you can get to her between\nbreakfast and dinner. Think where Melbourne is, mamma!'", "the three Seasons--to Mrs. Davis, Norah Geraghty, and that horrid Mr.\nPeppermint. He never once thought of Clementina Golightly, to whom at", "degrees. There are characters in _The Three Clerks_ that live; those\nwho have read the tale must now and again when passing Norfolk Street,", "But Mrs. Woodward's heart was not hard as the nether millstone. She drew\nher daughter to her, and as she pressed her to her bosom, she whispered\ninto her ears that she now hoped they might all be happy.", "'I don't see that _you_ need say that,' said she. 'We may, perhaps, be\nput out a little--that is, mamma and Linda and I; but I do not see that\nyou need suffer.'" ], [ "'Charley,' said Mrs. Woodward, when he had been some little time in the\nhouse, 'our dear Katie wants to see you; she is very ill, you know.'\n\nCharley said he knew she was ill.", "Charley did as he was bid, and Katie intended to do the same; but\nunfortunately she pulled the wrong hand. They were now very near the", "And at last he came to Katie. There was no getting over it. She\nalso stretched out her now thin hand, and Charley, as he touched it,", "'Come, Charley,' said she, 'now for the romance. Katie, come and sit\nby me.' But Katie had already taken her seat, a little behind Charley,\nquite in the shade, and she was not to be moved.", "Charley was clearly of opinion that they might, and should, and would;\nand so away they sallied back to the roses, and Katie began to enjoy", "In answer to this, Charley was not even able to mutter; so he went his\nway to the inn, and lay awake half the night thinking how Katie had", "Alaric and Charley encountered the head of the column first, it was only\nnatural that they should work their way through it gradually. Katie,\nhowever, never guessed--how could she?--that Charley had calculated that", "Charley had made no plan for any special interview with Katie; had,\nindeed, not specially thought about it at all; but he could not but feel", "After that Katie spoke no further of Charley. But it was evident to them\nall, that though she said nothing, she had not ceased to think of him.", "'Do they?' said Katie, looking over her shoulder to watch what Charley\nwas doing, and to see whether he was coming to notice her.", "But it must not be thought that Charley abused the friendship of Mrs.\nWoodward, and made love to Katie, as love is usually made--with warm", "At this moment Mrs. Woodward knocked at the door, and Charley rose from\nhis knees. 'Not quite yet, mamma,' said Katie, as Mrs. Woodward opened", "that it was part of the intended arrangement with Katie, that Charley\nshould be alone with her. 'I will come back in a quarter of an hour,'", "Charley declared that he would not willingly do anything to cause pain\nto any of them.\n\n'No--I am sure you will not. And therefore, Charley, you must not see\nKatie any more.'", "Katie, who wanted to begin the play at the beginning, kept her eye\nanxiously on Charley, who was still standing with Lactimel Neverbend", "Charley got up and took her hand; and as he did so, he saw that her\nnails were dirty. He put his arms round her waist and kissed her; and as", "Charley was at any rate as ignorant what he ought to say as Katie was.\nHe felt the pressure of her warm lips on his hand, and hardly knew", "'And therefore, Charley, you must not see Katie any more.' So much she\nsaid, and then she looked into his face with imploring eyes.", "Nevertheless she assented to Katie's proposal, and undertook the task of\nasking Charley down to Hampton.", "Mrs. Richards' story was soon told. It simply amounted to this--that\n'Mister Charley,' as she always called him, had been arrested for debt" ], [ "Charley to begin. She got up and pottered about the room, went to a\ncupboard, and wiped a couple of glasses, and then out into the bar and", "Charley, when he entered the door punctually at two o'clock, saw that it\nwas as usual nearly deserted. One long, lanky, middle-aged man, seedy as", "And Charley was there, acting as best man. It was just the place and\njust the work for Charley. He forgot all his difficulties, all his", "Charley was with him. Charley had been in court the whole day, except\nthat he had twice posted down to the West End in a cab to let Gertrude", "He shuffled into the room where Charley was standing with little\nshort quick steps, and putting out his hand, just touched that of his\ncustomer, by way of going through the usual process of greeting.", "than Charley. It had been produced by one of those far-stretching,\nworld-moving commotions which now and then occur, sometimes twice or", "Such was Mr. Jabesh M'Ruen's house-of-call in the city, and of many a\nmutton chop and many a pint of stout had Charley partaken there while", "Charley walked home with a sad heart. He had that day given a pledge\nthat he would on the morrow go to the 'Cat and Whistle,' and visit his", "Charley, who had already other hopes, contrived to keep up his spirits.\nThe men stood about talking in clusters, and old animosities were at an", "As none of the three men ever dined at home, Alaric and Norman having\nclubs which they frequented, and Charley eating his dinner at some", "Charley went to the Weights some time during the recess. In the process\nof the next session Mr. Nogo gave notice that he meant to ask the", "Alaric kept his appointment at Hampton, and took Charley with him. And\non the two following Saturdays he also went there, and on both occasions", "and Charley, dear Charley! she had not seen him since he went away that\nmorning, now four days since; and four days was a long time, considering", "ten minutes when Jabesh, more punctual than usual, entered the place.\nThis Charley regarded as a promising sign of forthcoming cash. It very\nfrequently happened that he waited there an hour, and that after all", "But this was too much for Charley. He had often before bought bill\nstamps in vain, and in vain had paid for mutton chops and beer for Mr.", "They all stood back when Charley entered; they had been accustomed to\nmake way for him in former days, and though he had latterly ceased to", "Latterly, indeed, Charley had utterly deserted the front parlour; for\nthere had come there a pestilent fellow, highly connected with the", "Charley was to return to town that night, and they had not therefore\nmuch time to lose; they went upstairs at once, and found Linda and", "properly settled in their new lodgings, and visited them at Christmas,\nand once again during their stay there. He then went down to fetch them\nhome, and when they all returned, informed Charley, with whom he was", "deceived. They well knew that such a young man as Charley would go\nwherever his inclination led him. Till lately it had been all but" ], [ "her whom he had once looked on as his own. How different were their lots\nnow! Harry was Mr. Norman of Normansgrove, immediately about to take his", "'Because, you know, Harry does not want it so much as you do. I am sure\nI wish you success with all my heart. Perhaps it's wicked to wish for", "'Well, Harry, I have another reason; and, though last, it is by no means\nthe least. You will be a candidate, and probably the successful one. To\ntell you the truth, I have no inclination to stand against you.'", "Harry,' and then crammed it into his pocket. By return of post it\nwent back under a blank cover, addressed to Alaric at the Weights and", "And now the time came for them to part. Harry was to say good-bye\nto her, and then to see her no more. Early on the following morning", "When, therefore, Harry had declared what had happened to him, and had\ndeclared also that he had no further hope, he did not at first find", "about it. He had no wish to triumph over Harry, but he had an object to\npursue, and he was not the man to allow himself to be diverted from it\nby any one's caprice.", "Harry's brow grew black. On the previous evening he had spoken of Alaric\nwithout bitterness, nay, almost with affection; of Gertrude he had", "'Then I would not be great,' said Harry.\n\n'But, surely, God intends that there shall be great men on the earth?'\n\n'He certainly wishes that there should be good men,' said Harry.", "prevailed, and giving up the point of Harry's prowess, she succeeded at\nlast in getting Katie into bed. 'You know mamma will be so angry if she", "'Yes, Harry, it will; it will do the greatest good; whom else can I\nget to see him? who else can find out and let us know what really is", "would not be agreeable to himself, and which must be much more\ndisagreeable to his companion; but for this there was no help. Harry\nhad, however, prepared himself for what he had to go through, and", "them. Harry would now be Mr. Norman of Normansgrove, and Linda would\nbecome Mrs. Norman of Normansgrove; Harry's mother had long been dead,", "'Take him, Harry, take him,' said she, handing over the child to his\nfather. And then gliding quick as thought through the furniture of the\ndrawing-room, she darted out upon the lawn, to save herself from the\ncoming storm.", "much without longing to be more. Look at Harry, how happy he is!'", "'Oh, Katie! Harry would in a moment.'\n\n'Not for me; perhaps he might for you--though I'm not quite sure that he\nwould.' It was thus that Katie took her revenge on her sister.", "'You must manage him,' said Harry.\n\n'That is much easier said than done,' replied Alaric. 'I wish you had\nthe task instead of me.'", "'Yes, Harry; and some care and trouble too. To you, you know, to a\nfriend such as you are, I must own that care and trouble do tell upon", "scrambling for the others' prey, and they will end at last by eating one\nanother. If Harry gets this situation, will not that unfortunate Jones,", "'You can get away in time for that, I suppose,' said Harry.\n\n'Well, I'll try and manage it,' said Charley, laughing." ], [ "appointed to receive it, and will then produce all the property that has\nbeen entrusted to my keeping:' and so saying, Alaric got up and took his\nhat as though to depart.", "Accordingly as Alaric was elated, Sir Gregory was depressed. He had\nrisen high, but now this young tyro whom he had fostered was about to\nclimb above his head. O the ingratitude of men!", "There was much more in the letter, but enough has been given for our\npurpose. It will be seen that hope yet remained both for Alaric and his", "Alaric was touched; but there was more triumph than sympathy in his\nheart. It was sweet, much too sweet, to him to hear his superiority thus", "But Alaric, at the moment, hardly felt it. 'You have brought me and mine\nto ruin,' said he; 'you have done it purposely, like a fiend. But, low", "Such being the case, he had striven, not unsuccessfully, to draw Alaric\ninto the concern. Alaric had bought very cheaply a good many shares,", "Alaric, that thou, thou who knewest all this, that thou shouldest have\ndone this thing! They had forgiven his offence against them, but they", "'Alaric will so understand it, I am quite sure; at any rate I will tell\nhim what you have said. Suspicion indeed! who has dared to suspect him\nof anything not honest or upright?'", "Alaric, who of course contrived to see all that was to be seen, and\nlearn all that was to be learnt, in the dark passages of the tin", "Alaric, of course, knew well what had been going on at the Board. He had\nbeen Sir Gregory's confidential man all through; had worked out cases", "Alaric, with his happy prospects, was soon dismissed; but Mrs. Woodward\ncontinued to sing the praises of him who, had she been potent with the", "And thus Alaric and Undy Scott had become fast friends; that is, as\nfast as such friends generally are. Alaric was no more blind to his own", "Alaric rose from his chair and made a faint attempt to smile. 'Well,\nGertrude,' said he, 'it has come at last.'", "Alaric, had consented to be a candidate.", "Alaric, when he heard these words, could hardly prevent himself from\nfalling in the middle of the hall. All his hopes were then over; he had", "that he, Alaric, should move instead of driving Norman away. His final\nmovement would soon take place; that movement which would rob him of\nthe freedom of lodginghood, and invest him with all the ponderous", "CHAPTER XXXVIII\n\nALARIC TUDOR TAKES A WALK", "Alaric, however, showed no triumph. He was more submissive, more\ngracious than ever to his chief. It was only to himself that he muttered\n'Excelsior!", "reign had fallen to Alaric's lot. Mrs. Val liked to have about her\nsome confidential gentleman; and as she never thought of placing her\nconfidence in her husband, she was prone to select first one man and", "to Alaric. This letter, though it expressed in the usual terms the\nsatisfaction which one friend has in another's welfare, was not written\nin the same warm affectionate tone as that to Norman. Alaric perceived" ], [ "And Charley was there, acting as best man. It was just the place and\njust the work for Charley. He forgot all his difficulties, all his", "than Charley. It had been produced by one of those far-stretching,\nworld-moving commotions which now and then occur, sometimes twice or", "Charley was with him. Charley had been in court the whole day, except\nthat he had twice posted down to the West End in a cab to let Gertrude", "Charley was rather a favourite with Mr. Oldeschole, having been\nappointed by himself at the instance of Mr. Oldeschole's great friend,", "Mrs. Richards' story was soon told. It simply amounted to this--that\n'Mister Charley,' as she always called him, had been arrested for debt", "'Charley,' said Mrs. Woodward, when he had been some little time in the\nhouse, 'our dear Katie wants to see you; she is very ill, you know.'\n\nCharley said he knew she was ill.", "Charley to begin. She got up and pottered about the room, went to a\ncupboard, and wiped a couple of glasses, and then out into the bar and", "and Charley, dear Charley! she had not seen him since he went away that\nmorning, now four days since; and four days was a long time, considering", "'Why, Charley, it seems to me that you are hitting at everything.'", "'It is very good of you to come and see me, Charley,' said she, as he\nmade his way up to her bedside.", "He sent for Charley, and when Charley came he made Gertrude explain to\nhim what had happened. He had confessed his own fault once, to his", "He shuffled into the room where Charley was standing with little\nshort quick steps, and putting out his hand, just touched that of his\ncustomer, by way of going through the usual process of greeting.", "Charley was not the fellow to allow himself to be put down, even by\nfeminine raillery; so he plucked up his spirit, sad as he was at heart,\nand replied to them all _en masse_.", "'We will make Charley go to him. He will tell everything to Charley, if\nhe will to anyone.'", "Charley got up and took her hand; and as he did so, he saw that her\nnails were dirty. He put his arms round her waist and kissed her; and as", "Charley? might not he be dead? Oh! better so than the other. She knew,\nand said as much to herself over and over again; but she did not the\nless feel that his death must involve her own also.", "Charley, when he entered the door punctually at two o'clock, saw that it\nwas as usual nearly deserted. One long, lanky, middle-aged man, seedy as", "Charley kept his appointment, and came away from Mr. M'Ruen's with a\nwell-contented mind. He had, it is true, left £5 behind him, and had", "Her mother knew what she meant. Charley had been there, Charley to whom\nshe had declared her love when lying, as she thought, on her bed of", "Charley looked a little better satisfied when he heard this declaration." ], [ "Harry,' and then crammed it into his pocket. By return of post it\nwent back under a blank cover, addressed to Alaric at the Weights and", "'Harry, said she, 'you must go and see Alaric.'", "never has any secrets. I should be as wrong to engage myself with Harry\nas you would be with Alaric. For though Harry has property of his own,", "friends, Alaric, Harry, and Mr. M'Ruen. Alaric was his cousin and his\nnatural resource in such a position, but he had lately rejected", "'Oh, Harry,' said Katie, 'we are so sorry--that is, not sorry about\nAlaric, but sorry about you. Why were there not two prizes?'", "'I interfere with Harry!' said Alaric, switching the heads off the bits\nof fern with the cane he carried. 'No, indeed. I have no wish at all to", "Harry's brow grew black. On the previous evening he had spoken of Alaric\nwithout bitterness, nay, almost with affection; of Gertrude he had", "younger guests to entertain the elder one. The elder one soon took the\nmatter in his own hand by going to sleep; and Harry and Alaric being", "Harry and Alaric, Gertrude and Linda.", "Alaric, Harry, and Charley, of course returned to town on the following\nday. Breakfast on Monday morning at Surbiton Cottage was an early affair", "'You must manage him,' said Harry.\n\n'That is much easier said than done,' replied Alaric. 'I wish you had\nthe task instead of me.'", "'Oh, Alaric!'\n\n'Harry would forgive me; but Harry's friends would never do so.'", "'Look at Harry,' said Alaric; 'I know from the motion of his shoulder\nthat he is at this moment saying something very tender.'\n\n'It is ten times more likely that they are quarrelling,' said Linda.", "'Interfere with Harry!' Alaric repeated again, and renewed his attack on\nthe ferns. 'Well, Linda, what an opinion you must have of me!'", "what we must feel about Alaric and Gertrude. Harry is still at\nNormansgrove. We shall all be glad to see you, and Katie, who never", "Harry of course assured her that if that was the worst of it there was\nnothing very bad in it. He could have a bed at the inn as well as Alaric", "'I think her by far the prettier of the two,' said Alaric.\n\n'That's nonsense,' said Harry, getting rather red in the face, and\nfeeling rather angry.", "Norman made his appearance at the office on the first Monday of the new\nyear. He had hitherto sat at the same desk with Alaric, each of them", "'Harry told him all,' continued Gertrude, 'and Alaric--Alaric said\nnothing of his own feelings. Alaric never said a word to me that he", "'I don't know what you mean, Alaric,' said Harry Norman, who was just at\npresent somewhat disposed to contradict his friend, and not ill-inclined" ], [ "'Oh, Alaric!'\n\n'Harry would forgive me; but Harry's friends would never do so.'", "Harry's brow grew black. On the previous evening he had spoken of Alaric\nwithout bitterness, nay, almost with affection; of Gertrude he had", "'Oh, Harry,' said Katie, 'we are so sorry--that is, not sorry about\nAlaric, but sorry about you. Why were there not two prizes?'", "'You must manage him,' said Harry.\n\n'That is much easier said than done,' replied Alaric. 'I wish you had\nthe task instead of me.'", "then that he was dead; was it not possible that Harry had named Alaric's\nname to deceive her? might not this misfortune, whatever it was, be with", "'I interfere with Harry!' said Alaric, switching the heads off the bits\nof fern with the cane he carried. 'No, indeed. I have no wish at all to", "never has any secrets. I should be as wrong to engage myself with Harry\nas you would be with Alaric. For though Harry has property of his own,", "'But of course you do mean to stand?' said Harry. Alaric made no answer.\n\n'Perhaps you would rather decline to discuss the matter with me also?'\nsaid Harry.", "Alaric's advice, and now felt a disinclination to call upon him in\nhis difficulty. Harry he knew would assist him, would at once pay Mr.", "Alaric, that thou, thou who knewest all this, that thou shouldest have\ndone this thing! They had forgiven his offence against them, but they", "'Harry, said she, 'you must go and see Alaric.'", "'I don't know what you mean, Alaric,' said Harry Norman, who was just at\npresent somewhat disposed to contradict his friend, and not ill-inclined", "Harry,' and then crammed it into his pocket. By return of post it\nwent back under a blank cover, addressed to Alaric at the Weights and", "'Harry told him all,' continued Gertrude, 'and Alaric--Alaric said\nnothing of his own feelings. Alaric never said a word to me that he", "him nothing; that he had never forgiven, never could forgive, the wrongs\nhe had received from him; but that he had forgiven Alaric's wife; and", "should prevent them all from being merry. Harry perfectly sympathized in\nthe feeling; and even Alaric, though depressed himself by no melancholy\nforebodings, was at any rate conscious that he should refrain from", "'Interfere with Harry!' Alaric repeated again, and renewed his attack on\nthe ferns. 'Well, Linda, what an opinion you must have of me!'", "'Look at Harry,' said Alaric; 'I know from the motion of his shoulder\nthat he is at this moment saying something very tender.'\n\n'It is ten times more likely that they are quarrelling,' said Linda.", "Normansgrove for the remainder of the winter. Both Alaric and Norman had\nshown a great distaste to meet each other. But Harry's heart softened", "angry with Alaric,' she went on to say, as soon as she had told her\ntale. Oh, must he not? Not be angry with Alaric! Not angry with the man" ], [ "Alaric, when he heard these words, could hardly prevent himself from\nfalling in the middle of the hall. All his hopes were then over; he had", "But Alaric, at the moment, hardly felt it. 'You have brought me and mine\nto ruin,' said he; 'you have done it purposely, like a fiend. But, low", "There was much more in the letter, but enough has been given for our\npurpose. It will be seen that hope yet remained both for Alaric and his", "Alaric, that thou, thou who knewest all this, that thou shouldest have\ndone this thing! They had forgiven his offence against them, but they", "Alaric, who of course contrived to see all that was to be seen, and\nlearn all that was to be learnt, in the dark passages of the tin", "Alaric, on the other hand, in his audacity, resolved that he would do\nso.", "reign had fallen to Alaric's lot. Mrs. Val liked to have about her\nsome confidential gentleman; and as she never thought of placing her\nconfidence in her husband, she was prone to select first one man and", "Such being the case, he had striven, not unsuccessfully, to draw Alaric\ninto the concern. Alaric had bought very cheaply a good many shares,", "Accordingly as Alaric was elated, Sir Gregory was depressed. He had\nrisen high, but now this young tyro whom he had fostered was about to\nclimb above his head. O the ingratitude of men!", "Alaric, however, showed no triumph. He was more submissive, more\ngracious than ever to his chief. It was only to himself that he muttered\n'Excelsior!", "But she bore it bravely. When Alaric first came down, which he did in\nthe middle of the week, she was, as she told her mother, too weak to", "confided his love to Alaric, and Alaric had robbed him of his love, and\nwounded both his pride and his shame.", "appointed to receive it, and will then produce all the property that has\nbeen entrusted to my keeping:' and so saying, Alaric got up and took his\nhat as though to depart.", "Such were the circumstances under which he came to Alaric with the\nview of raising such a sum of money as might enable him to overcome the", "Alaric was touched; but there was more triumph than sympathy in his\nheart. It was sweet, much too sweet, to him to hear his superiority thus", "painful degree. Alaric, to give him his due, did everything in his power\nto persuade him to see the task out to the last. But the assurance and", "'Alaric, that which is evil is evil. Lies are evil--'\n\n'And am I a liar?'", "Alaric, when he received the letter, crushed it in his hand, and cursed\nthe strictness of the man who had done so much for him. On the next day", "And thus Alaric and Undy Scott had become fast friends; that is, as\nfast as such friends generally are. Alaric was no more blind to his own", "We must now follow Alaric to his trial. He was, of course, much too soon\nat court. All people always are, who are brought to the court perforce," ], [ "And Undy Scott was there. He and Alaric had fraternized so greatly\nof late that the latter had, as a matter of course, asked him to his", "And thus Alaric and Undy Scott had become fast friends; that is, as\nfast as such friends generally are. Alaric was no more blind to his own", "Undy Scott, as he was generally now called, did not escape. Ill-natured\npersons whispered that he was not on all occasions true to his party;", "other, but with whom, for certain reasons, he thought he might in this\nparticular case be safe. Undy Scott was of course not among the number,", "Undy Scott, among his other good qualities, possessed an enormous\nquantity of that which schoolboys in these days call 'cheek.' He was not", "was, of course, none. Norman was gone, and Norman's place had been\nfilled by Undy Scott! What could be done with Undy Scott he had already", "Acting in accordance with his fixed and conscientious rule in this\nrespect, Undy Scott had struck up an acquaintance with Alaric Tudor. He", "To this Undy made no direct answer. 'What is your opinion, Mr. Scott?'\nsaid the judge; 'you can probably give an opinion by which the jury\nwould be much guided.'", "Mr. Vigil resolved to leave nothing again to the unassisted industry or\nhonesty of Undy Scott, and consequently that gentleman's claims on", "Was Undy mad, or was he in joke? What man in his senses would think of\nlending six or seven hundred pounds to Val Scott! 'I suppose you are in\njest,' said he, somewhat bitterly.", "But Undy Scott was not a man to be thus roughly handled with impunity;\nand in completing the education which he had received, the use of his", "Undy and Alaric Tudor. Mr. Scott intended, when the present session was\nover, to retire from the labours of parliamentary life. It may be that", "Mr. Chaffanbrass seemed not to have even heard what the judge said, so\nintently were his eyes fixed on poor Undy. 'Well, Mr. Scott,' he said at", "partner, his own intimate associate, Undy Scott himself, was positively\nworking out his ruin? Where were now his high hopes, where now his seat\nin Parliament, his authority at the board, his proud name, his soaring", "quickly in the opposite direction, and found himself face to face\nwith Undy Scott. How on earth should Undy Scott have come out there to", "I have ventured to introduce to my readers, as my devil, Mr. Undy Scott,\nM.P. for the Tillietudlem district burghs; and I also feel myself bound", "went down to Scotland, still with Undy Scott. He had at first much\nliked this man's society, for Scott was gay, lively, clever, and a good", "On the following morning Undy Scott set out for Scotland, properly\nfreighted, Mr. Whip Vigil having in due course moved for a new writ for", "him? Who else could have given information against him but Undy himself?\nWho else could have put up so heavily stupid a man as Captain Scott to\nmake such a demand? Was it not clear that his own colleague, his own", "Undy Scott unfortunately had not the power to do as he was asked.\nWhether he would have done so, had he had the power, may be doubtful. He" ], [ "while Harry and Charley were at Surbiton Cottage. The old gentleman was\nanything but pleased. In the first place he liked his money, though not", "And Charley was there, acting as best man. It was just the place and\njust the work for Charley. He forgot all his difficulties, all his", "Charley sat at his office on the Saturday afternoon, very meditative and\nunlike himself. What was he to do when his office hours were over? In", "Charley sat down and did the required work. On any other day he would\ngreatly have disliked such a summons, but now he did not care much about", "properly settled in their new lodgings, and visited them at Christmas,\nand once again during their stay there. He then went down to fetch them\nhome, and when they all returned, informed Charley, with whom he was", "Charley, when he entered the door punctually at two o'clock, saw that it\nwas as usual nearly deserted. One long, lanky, middle-aged man, seedy as", "of the _Daily Delight_ under your wings.' So Charley prepared himself\nfor solitary soaring.", "Charley puffed at his cigar and sipped his gin and water. It was now\ntwelve o'clock, and he thoroughly wished himself at home and in bed. The", "Charley was with him. Charley had been in court the whole day, except\nthat he had twice posted down to the West End in a cab to let Gertrude", "Charley was rather a favourite with Mr. Oldeschole, having been\nappointed by himself at the instance of Mr. Oldeschole's great friend,", "plenty of tobacco; and, fortified with these comforts, Charley betook\nhimself at last very lugubriously, to a filthy, uninviting bed.", "deceived. They well knew that such a young man as Charley would go\nwherever his inclination led him. Till lately it had been all but", "and Charley, dear Charley! she had not seen him since he went away that\nmorning, now four days since; and four days was a long time, considering", "'You seem pretty comfortable here,' said M'Ruen. Charley dissented to\nthis, and said that he was extremely uncomfortable.", "Charley to begin. She got up and pottered about the room, went to a\ncupboard, and wiped a couple of glasses, and then out into the bar and", "Then came the supper. There was a great rush to get downstairs, but\nCharley was so clever that even this did not put him out. Of course", "Latterly, indeed, Charley had utterly deserted the front parlour; for\nthere had come there a pestilent fellow, highly connected with the", "deserted. At this time Charley was true to her, and did for her all\nthose thousand nameless things which a woman cannot do for herself.\nHe came to her everyday after leaving his office, and on one excuse or", "He shuffled into the room where Charley was standing with little\nshort quick steps, and putting out his hand, just touched that of his\ncustomer, by way of going through the usual process of greeting.", "Charley was to return to town that night, and they had not therefore\nmuch time to lose; they went upstairs at once, and found Linda and" ], [ "'Gravesend!' said Charley, struck by the suddenness of his rescue, as\nthe gambler would have been had some stranger seized the razor at the\nmoment when it was lifted to his throat.", "She was soon again in comparative safety. Charley had her by one arm as\nhe held on with the other to the boat, and kept himself afloat with his", "had thrown himself into the Thames from the neighbouring boat-stairs;\nand though he had been hooked out uninjured by the man who always\nattends there with two wooden legs, the effect on his parents' minds had", "in her young mind she felt that an author would like to hear. Charley\nhad pulled her out of the river, and no one, as far as her efforts could\nprevent it, should be allowed to throw cold water on him.", "Another boat soon came to their assistance from the shore, and Mrs.\nWoodward and Katie were got safely into it. Charley returned to", "'Oh! Charley, you know I was under the water for a long time; and that\nif you had not come, just at that very moment, I should never have come\nup again.'", "Norman was so expert a Thames waterman, that he was quite able to manage\nthe boat without a steersman, and Charley was nearly his equal. But", "Charley had engaged to pull up to Avis's at Putney with Harry Norman,\nto dine there, take a country walk, and row back in the cool of the", "Norman and Charley, wet as the latter was, contrived to bring the\nshattered boat back to Hampton. When they reached the lawn at Surbiton", "escape. Charley was on the other side, standing up and holding on by\nthe piers of the bridge, keeping his eyes on the ladies, so as to be of\nassistance to them when assistance might be needed.", "Charley looked round, threw her the odd halfpence which he had in his\npocket, and then turned down towards the column. The woman picked up her\nprize, and, with a speedy blessing, took herself off in search of other\nprey.", "Charley did as he was bid, and Katie intended to do the same; but\nunfortunately she pulled the wrong hand. They were now very near the", "Charley got up and took her hand; and as he did so, he saw that her\nnails were dirty. He put his arms round her waist and kissed her; and as", "reach the courtyard, and there obtain the support of a pillar. Dreadful\nthoughts filled his mind; the Thames, the friendly Thames, was running", "the river after me, and very, very nearly drowned himself; and I don't\nthink any other man in the world would have done so much for me besides\nhim.'", "'I know he saved my life,' said Katie, as soon as she could trust\nherself to speak without betraying her emotion--'I know he jumped into", "Charley was with him. Charley had been in court the whole day, except\nthat he had twice posted down to the West End in a cab to let Gertrude", "than Charley. It had been produced by one of those far-stretching,\nworld-moving commotions which now and then occur, sometimes twice or", "when Charley got close to her, she had been carried up to the piers of\nthe bridge, and was panting with her head above water, and beating the\nstream with her little hands.", "The conclusion of Charley's novel brought them back to the boat. Norman,\nwhen he started, had intended to employ the evening in giving good" ], [ "Charley did as he was bid, and Katie intended to do the same; but\nunfortunately she pulled the wrong hand. They were now very near the", "'I know he saved my life,' said Katie, as soon as she could trust\nherself to speak without betraying her emotion--'I know he jumped into", "And at last he came to Katie. There was no getting over it. She\nalso stretched out her now thin hand, and Charley, as he touched it,", "Katie, still holding his hand, looked up into his face, and he saw that\nher eyes were suffused with tears. She then left his side, and, running", "Charley's story so as to enable Katie to go to bed after the accident,\nhad she been able to do so. But she was not able to do so without an", "moment. Katie made an attempt to laugh off her tears, but she failed,\nand her sobs then became hysterical, and she lay with her head on her", "O the misery of that next hour! For an hour they remained there talking,\nand Katie knew nothing of what they were talking; she knew only that", "Poor little Katie! This was her first day in public. With many imploring\ncaresses, with many half-formed tears in her bright eyes, with many", "Mrs. Woodward was at a loss how to receive him, or what to say to him.\nThough Katie was so positive that her own illness would be fatal--a", "As soon as Norman was gone, Katie went to bed: and in the morning she\nwas pronounced to be too unwell to get up. And, indeed, she was far from", "Katie did not faint. She never had fainted, and probably did not know\nthe way; but she clenched her hands still tighter, breathed harder than", "Katie and give her a farewell embrace, since Katie was still too weak to\ncome to her; she would say farewell to Uncle Bat, to whom she and Alaric", "her very unhappy. Her Katie was still ill; not ill indeed so that she\nwas forced to keep her bed and receive daily visits from pernicious\ndoctors, but, nevertheless, so ill as to make a mother very anxious.", "During these months Katie's health had greatly improved, and as she\nherself had gained in strength, she had gradually begun to think that", "had, therefore, been obliged to read it. But now that it was done, she\nhurried Katie off to bed, not without many admonitions.", "and Katie sank completely under it. When she first heard the result\nof the trial she swooned away, and remained for some time nearly\nunconscious. But returning consciousness brought with it no relief, and", "Katie's blood rushed back to her heart, and for a moment her own hand\nrelaxed the hold which she had on that of her mother. She had never", "When he entered the room, Katie felt her heart beat so strongly that she\nhardly knew how to thank him for saving her life. A year ago she", "patched-up manuscript, and as he did so, Katie almost threw out of her\narms the baby she was holding.", "Gertrude told her she might, and so Katie made good her escape,\nhiding herself from her enemy as well as she could behind her sister's" ], [ "And Charley was there, acting as best man. It was just the place and\njust the work for Charley. He forgot all his difficulties, all his", "than Charley. It had been produced by one of those far-stretching,\nworld-moving commotions which now and then occur, sometimes twice or", "Charley was with him. Charley had been in court the whole day, except\nthat he had twice posted down to the West End in a cab to let Gertrude", "Charley, when he entered the door punctually at two o'clock, saw that it\nwas as usual nearly deserted. One long, lanky, middle-aged man, seedy as", "Charley to begin. She got up and pottered about the room, went to a\ncupboard, and wiped a couple of glasses, and then out into the bar and", "Charley kept his appointment, and came away from Mr. M'Ruen's with a\nwell-contented mind. He had, it is true, left £5 behind him, and had", "He shuffled into the room where Charley was standing with little\nshort quick steps, and putting out his hand, just touched that of his\ncustomer, by way of going through the usual process of greeting.", "Charley was to return to town that night, and they had not therefore\nmuch time to lose; they went upstairs at once, and found Linda and", "and Charley, dear Charley! she had not seen him since he went away that\nmorning, now four days since; and four days was a long time, considering", "Charley was rather a favourite with Mr. Oldeschole, having been\nappointed by himself at the instance of Mr. Oldeschole's great friend,", "'You don't know the sort of place that office of mine is,' continued\nCharley. 'You don't know the sort of fellows the men are. I hate the", "Mrs. Val's dance had taken place in June, and it was now late in\nOctober. Four months had intervened, and during that period Charley had", "Charley sat down and did the required work. On any other day he would\ngreatly have disliked such a summons, but now he did not care much about", "But this was too much for Charley. He had often before bought bill\nstamps in vain, and in vain had paid for mutton chops and beer for Mr.", "Mrs. Richards' story was soon told. It simply amounted to this--that\n'Mister Charley,' as she always called him, had been arrested for debt", "Charley got up and took her hand; and as he did so, he saw that her\nnails were dirty. He put his arms round her waist and kissed her; and as", "Down the two women came, and Charley felt his heart beating against\nhis ribs. As the steps came nearer the door, he began to wish that Mr.", "Among those who were drafted into other offices was Charley, whom\npropitious fate took to the Weights and Measures. But it must not be", "while Harry and Charley were at Surbiton Cottage. The old gentleman was\nanything but pleased. In the first place he liked his money, though not", "Charley said that he thought he did rather like hard work. Hereupon\na senior clerk standing by, though a man not given to much laughter," ], [ "'And therefore, Charley, you must not see Katie any more.' So much she\nsaid, and then she looked into his face with imploring eyes.", "Charley declared that he would not willingly do anything to cause pain\nto any of them.\n\n'No--I am sure you will not. And therefore, Charley, you must not see\nKatie any more.'", "Charley did as he was bid, and Katie intended to do the same; but\nunfortunately she pulled the wrong hand. They were now very near the", "In answer to this, Charley was not even able to mutter; so he went his\nway to the inn, and lay awake half the night thinking how Katie had", "in wording her request. She hardly liked asking Charley to come because\nKatie was ill; nor did she like to ask him without mentioning Katie's", "At this moment Mrs. Woodward knocked at the door, and Charley rose from\nhis knees. 'Not quite yet, mamma,' said Katie, as Mrs. Woodward opened", "And at last he came to Katie. There was no getting over it. She\nalso stretched out her now thin hand, and Charley, as he touched it,", "But it must not be thought that Charley abused the friendship of Mrs.\nWoodward, and made love to Katie, as love is usually made--with warm", "Charley did not analyse his feelings, nor did Katie analyse hers. It\nwould have been impossible for her to do so. But could she have done it,", "'Come, Charley,' said she, 'now for the romance. Katie, come and sit\nby me.' But Katie had already taken her seat, a little behind Charley,\nquite in the shade, and she was not to be moved.", "After that Katie spoke no further of Charley. But it was evident to them\nall, that though she said nothing, she had not ceased to think of him.", "'Charley,' said Mrs. Woodward, when he had been some little time in the\nhouse, 'our dear Katie wants to see you; she is very ill, you know.'\n\nCharley said he knew she was ill.", "Katie, who wanted to begin the play at the beginning, kept her eye\nanxiously on Charley, who was still standing with Lactimel Neverbend", "Charley's story so as to enable Katie to go to bed after the accident,\nhad she been able to do so. But she was not able to do so without an", "There was a sort of compact, Katie knew, that there should be no other\nTudor marriage. Charley was not now the scamp he had been, but still--it", "Charley was at any rate as ignorant what he ought to say as Katie was.\nHe felt the pressure of her warm lips on his hand, and hardly knew", "impression that she was perhaps keeping back the true cause of Katie's\nillness. Charley had not been at Hampton since his arrest, and it was\nmanifest to all that Katie was therefore wretched.", "herself. It was not that she was ashamed of loving Charley, but that she\nfelt at once that such love would distress her mother's heart.", "any explanation. An attempt to bring about this would not cure Katie's\nlove. If this were done, would not Katie always think of Charley's\nwrong?", "'He begins with a lie,' said Charley, 'for I never called myself\nEsquire.'\n\n'Oh, that was a mistake,' said Katie, forgetting herself." ], [ "We have delayed the happiness of your marriage, Harry--you must forgive\nus that, as well as all our other trespasses. I fear Linda will never\nforgive that.'", "'Oh, Katie! Harry would in a moment.'\n\n'Not for me; perhaps he might for you--though I'm not quite sure that he\nwould.' It was thus that Katie took her revenge on her sister.", "them. Harry would now be Mr. Norman of Normansgrove, and Linda would\nbecome Mrs. Norman of Normansgrove; Harry's mother had long been dead,", "And now the time came for them to part. Harry was to say good-bye\nto her, and then to see her no more. Early on the following morning", "'Because, you know, Harry does not want it so much as you do. I am sure\nI wish you success with all my heart. Perhaps it's wicked to wish for", "had not been dying for love during the period of Harry's unsuccessful\ncourtship. He might, she thought, have waited a little longer before he\nchose for his wife the girl whom his friend had loved, seeing that he", "'Harry, said she, 'you must go and see Alaric.'", "'Harry, my dear Harry,' said Mrs. Woodward, rushing to him, throwing\nher arms round him, and kissing him; 'we know it all, we understand it\nall--my fine, dear, good Harry.'", "Harry,' and then crammed it into his pocket. By return of post it\nwent back under a blank cover, addressed to Alaric at the Weights and", "Harry was melted in a moment, and in the softness of his mood kissed\nKatie too, and Linda also. Katie he had often kissed, but never Linda,", "Harry said he did find her altered. It was her dress, he said, and the\ncap on her head.", "misery of meeting those who might know him. And now Harry came with Mrs.\nWoodward to bid farewell, probably for ever on this side the grave, to", "poor Harry's hopes have been all in vain; he has lost his promotion,\nand now he has lost his bride--poor Harry!'--and then it occurred to him", "Harry's brow grew black. On the previous evening he had spoken of Alaric\nwithout bitterness, nay, almost with affection; of Gertrude he had", "'Harry Norman is no fool.'\n\n'I dare say not,' said the captain; 'but take my word, she'll never have\nhim--Lord bless you, Norman knows that as well as I do.'", "But still there was happiness--quiet, staid happiness--at the Cottage.\nMrs. Woodward could not but be happy to see Linda married to Harry", "'Oh, Harry,' said Katie, 'we are so sorry--that is, not sorry about\nAlaric, but sorry about you. Why were there not two prizes?'", "Mrs. Woodward's heart melted within her when she heard that Harry was\nreally ill. She had gone on waiting day after day for an answer to her", "'Harry told him all,' continued Gertrude, 'and Alaric--Alaric said\nnothing of his own feelings. Alaric never said a word to me that he", "'Take him, Harry, take him,' said she, handing over the child to his\nfather. And then gliding quick as thought through the furniture of the\ndrawing-room, she darted out upon the lawn, to save herself from the\ncoming storm." ] ]

[ "What is Alaric's cousins name?", "Where does Charlie work?", "Who does Alaric marry?", "Why does Alaric marrying Gertrude make Harry mad?", "Who does Harry marry?", "Where does Charley spend most of his time?", "How did Katie fall in love with Charley?", "Who is Charley already engaged to?", "What does Katie's mother ban Charley from doing?", "Who are the two friends who work at the Weights and Measures office?", "Who wanted Gertrude's hand, and who eventually won it?", "What leads to Alaric's downfall?", "What are the three names of all the daughters a clergyman's widow?", "How did Charley meet Katie?", "Where does Charley hang out?", "What does Harry eventually become?", "What is Alaric's title?", "Who is Charley?", "Where do Harry and Alaric work at the beginning of the story?", "Why can Harry not forgive Alaric?", "Who leads to Alaric's downfall?", "What is Undy Scott's employment?", "Where does Charlie like to spend his time?", "Who does Charlie rescue in the Thames?", "How does Katie almost die?", "Where does Charley work?", "What hinders Charley and Katie's relationship?", "Who does Harry marry?" ]

[ [ "Charley", "Charley." ], [ "Internal Navigation", "Internal Navigation" ], [ "Gertrude.", "Linda." ], [ "Harry loved Gertrude first.", "because she does rejects his proposal" ], [ "Linda", "Linda" ], [ "The local pubs and bars.", "Public Houses and Gin Palaces" ], [ "He saved her from drowning in the river, Thames.", "He rescued her from drownng" ], [ "An Irish barmaid.", "He's engaged to an Irish barmaid." ], [ "Talking to Katie ever again.", "Makes him swear he will never be able to speak to Katie again" ], [ "The two friends are Harry Norman and Alaric Tudor.", "harry norman and alaric tudor" ], [ "Harry wanted Gertrude, but takes Alaric's.", "Harry, Alaric" ], [ "His influence from Undy Scott who talks him into schemes of dubious legality and morality.", "He is talked into legally and morally questionable schemes." ], [ "Their names are Gertrude, Linda and Katie.", "Gertrude, Linda and Katie" ], [ "She was drowing in the Thames and he rescued her.", "He saved her from drowning" ], [ "London's public houses and gin palaces.", "He goes to public houses and gin palaces." ], [ "He becomes a squire.", "county squire" ], [ "He is Commissioner.", "A Commissioner" ], [ "Charley is Alaric's cousin.", "Charley Tudor seems to be a partier who is in love with Katie but is engaged to someone else." ], [ "The Weights and Measures Office", "Harry and Alaric work at the Weights and Measures Office." ], [ "Gertrude agreed to marry Alaric but not Harry.", "Because Alaric goes after Harry's first love Gertrude Woodward." ], [ "Undy Scott", "undy scott" ], [ "He is a member of Parliament.", "Member of Parliament" ], [ "In public houses and gin palaces", "gin palaces and public houses" ], [ "Katie", "Katie" ], [ "She almost drowned.", "She almost drowns" ], [ "In Internal Navigation", "He works at Internal Navigation." ], [ "Charley is already engaged and Katie's mother forbids him from speaking to Katie.", "Katie's mother " ], [ "Linda", "Linda" ] ]

[ [ "As Mr. Thomerson drones on, Rick shifts uncomfortably in his \n chair, focusing his attention on Debbie, her mother and her", "RICK\n No.\n\n They are now standing near Father Falwell. Debbie is \n approaching them with Mr. Thomerson. Mr. T. shoots Cole a \n signal to up the ante.", "One of the young MALE CUSTOMERS approaches an attractive \n salesgirl. This is DEBBIE THOMERSON, Rick's intended. She", "The Thomersons, Rick, Debbie and Ilene are just finishing \n lunch. The DOORBELL RINGS. Mr. Thomerson gets up to answer \n it. Standing there is Cole, wearing his tennis shorts.", "MR. THOMERSON\n I know you're as unhappy as I am \n about Debbie's marriage to Rick.\n\n COLE\n Yes, sir, I am.", "Debbie and Rick and her MOM and DAD are having a frustrating \n game of tennis behind her parents' plush home. Mr. Thomerson", "Mrs. Thomerson are standing with Father Falwell. They are \n watching Rick holding Debbie.", "He jumps on top of her and starts mauling her passionately. \n Debbie snaps on the lights. She throws off her wig and she \n and Rick come face to face.", "Mr. Thomerson serves the ball to Debbie, who hits it over \n the net to her mother, who hits it to Rick, who slams it", "RICK\n (continuing)\n Thank you.\n\n All the guests go back to partying. Rick drops off the sofa \n and faces Debbie.", "DEBBIE\n (holding back tears)\n Rick, you're lying!\n\n As Rick protests, she throws on her blouse and runs out of \n the room. Rick charges after her.", "Debbie picks up on this immediately.\n\n DEBBIE\n (shocked)\n Daddy?", "Suddenly a Porsche pulls up between Rick and Debbie. It's \n Cole. He reaches over and pulls Debbie into the car with \n him. She screams.", "Mr. Thomerson goes nose to nose with Rick.", "Rick is shaken by this. He shakes his head and wipes at his \n eyes. Debbie's face is gone. He moves toward Tracey again.\n\n TRACEY", "RICK\n Oh... I got something for that.\n\n He groggily reaches into the nightstand, pulls out a hammer. \n He raises it as if to hit Debbie over the head.", "MR. THOMERSON\n This is it. You're through. When \n Debbie hears about this she'll never", "INT. SUITE - MAIN ROOM\n\n Thomerson is trying to free himself from Rick's grasp as \n Rick continues with his \"hard luck\" story.", "Debbie and Mr. T. have joined Rick.\n\n DEBBIE\n Cole, what are you doing here?", "FATHER FALWELL\n Flower Girls... Now Rick...\n (he gestures for him \n to start down the \n aisle)\n Good... Debbie and Mr. Thomerson." ], [ "RICK\n (continuing)\n Thank you.\n\n All the guests go back to partying. Rick drops off the sofa \n and faces Debbie.", "RICK\n Oh... I got something for that.\n\n He groggily reaches into the nightstand, pulls out a hammer. \n He raises it as if to hit Debbie over the head.", "He jumps on top of her and starts mauling her passionately. \n Debbie snaps on the lights. She throws off her wig and she \n and Rick come face to face.", "The girls all start to scream and carry on all over again.\n\n INT. RICK AND DEBBIE'S APARTMENT - NIGHT", "As Mr. Thomerson drones on, Rick shifts uncomfortably in his \n chair, focusing his attention on Debbie, her mother and her", "They kiss, and the guys whistle in the background. Then Debbie \n starts toward the house and Rick hops back into the bus. He", "Rick exits the theater with Cole. He tosses Cole to Chulo. \n Debbie comes running behind Rick.\n\n RICK\n (to Debbie)\n Are you okay?", "DEBBIE\n (holding back tears)\n Rick, you're lying!\n\n As Rick protests, she throws on her blouse and runs out of \n the room. Rick charges after her.", "Debbie and Rick and her MOM and DAD are having a frustrating \n game of tennis behind her parents' plush home. Mr. Thomerson", "RICK\n (continuing)\n Debbie... you're a hooker! I can't \n believe it!\n\n She all but jumps out of bed.", "arguing. Cole and Debbie enter the theater. They run down to \n the front of the screen, heading for an exit. Rick enters. \n He gives chase and catches up with Cole.", "GARY\n That's more like it.\n\n The girls walk over to Gary and proceed to beat the crap out \n of him.", "Rick is driving the bus with Debbie sitting next to him in \n the driver's seat. The guys sit in the row of seats behind \n them.", "Suddenly a Porsche pulls up between Rick and Debbie. It's \n Cole. He reaches over and pulls Debbie into the car with \n him. She screams.", "Rick stops dead in his tracks. He can't believe it. Debbie's \n face is now on Tracey's body.", "DEBBIE\n Ilene, are you crazy?\n\n ILENE\n I know what I'm doing... Go!\n\n The girls run out the door.", "RICK\n No.\n\n They are now standing near Father Falwell. Debbie is \n approaching them with Mr. Thomerson. Mr. T. shoots Cole a \n signal to up the ante.", "Rick opens the door from the bathroom. The lights are turned \n off and from the flashing illumination of a neon sign outside \n the window we can MAKE OUT the outline of Debbie's body on \n the bed.", "Rick climbs over several rows and continues to pummel Cole. \n Cole grabs a woman's purse and begins to hit Rick with it.", "DEBBIE\n I don't believe you.\n\n RICK\n You don't believe me? Okay, fine." ], [ "Rick's bus pulls out in front, accompanied by the cheering \n of his passengers. Suddenly a stop light looms ahead. Rick \n puts on his brakes. Both buses stop just in time.", "The kids are screaming at Rick to go faster. One of the little \n boys looks nauseous as he clutches the seat in front of him.\n\n EXT. THE STREET - LOW ANGLE", "INT. RICK'S BUS\n\n Rick, is plowing into the cones and knocking them all over.\n\n MAINTENANCE TRUCK", "RICK\n Thank you. We'll all keep that in \n mind. 'Bye now.\n\n Cole turns red with anger.", "loses Rick for a second. Rick jams on the brakes and doubles \n back into the parking lot.", "Rick pushes them away from Gary like a referee separating \n two fighters.\n\n RICK\n Give the guy air. Everyone to a \n neutral corner.", "RICK\n Cole, what the hell are you doing?\n\n COLE\n She's mine!\n\n He drives off.", "Larry gets up and exits the room. PUSH IN ON Rick. He looks \n after Larry, concerned.\n\n RICK\n (to himself)\n He ain't all right.", "RICK\n (continuing)\n Close your eyes... that's it... \n There's nothing to worry about... I", "As Mr. Thomerson drones on, Rick shifts uncomfortably in his \n chair, focusing his attention on Debbie, her mother and her", "RICK\n Oh... I got something for that.\n\n He groggily reaches into the nightstand, pulls out a hammer. \n He raises it as if to hit Debbie over the head.", "Rick crosses to the stove. A small fire is coming out of one \n of the frying pans. He douses it with water.", "RICK\n (continuing)\n Say no more.\n\n The Manager crosses to them.", "RICK\n Mr. Thomerson!\n\n Thomerson stops and turns to Rick.", "Rick starts to undress. While undressing, he takes on the \n persona of Mr. Rodgers. He sings Rodgers' opening theme in \n that same sappy, child-like manner of his.", "RICK\n (continuing)\n What a decision here.\n\n He walks over to the window. Cole follows closely. He's trying \n to convince Rick to take the car.", "As the movie ends, Rick has Cole by the collar and is dragging \n him out of the theater.\n\n INT. MALL OUTSIDE THEATER", "The two buses come zooming down the street.\n\n INT. RICK'S BUS", "Rick climbs over several rows and continues to pummel Cole. \n Cole grabs a woman's purse and begins to hit Rick with it.", "RICK\n So how's your wife?\n\n Larry stops walking and immediately breaks down." ], [ "The party is going full blast. Some other girls and a couple \n of guys (hotel guests) enter the room and are quickly swept \n up in the spirit of the party. O'Neill approaches Rick.", "COLE\n (nearly hysterical)\n The bachelor party's upstairs. They", "The party is taking off. The all-girl band is going ape shit. \n The guys are dancing with the hookers. They're all moving in", "We SEE the police have collared Bobbie, Phoebe, Mrs. Thomerson \n and the other ladies of the shower as hooker suspects. Our \n bachelor party mob now charges down the stairs and out the \n hotel doors.", "has been decorated with balloons. A sign reads: \"Happy \n Bachelor Party!\" It looks far from professionally decorated. \n Chulo frantically checks out the rooms.", "ILENE\n Look, you heard what those hookers \n said. They were supposed to go to a \n bachelor party.", "They give each other a big hug. The hookers watch closely. \n Debbie leads Tina to the other women.", "Everyone cheers Stan's good fortune. Kelley takes Stan by \n the hand and leads him into the bedroom. Gary turns on a", "RICK\n Not as much fun as the bachelor party \n the guys are throwing for me.\n\n DEBBIE\n You're going to have a bachelor party?", "The girls cross inside.\n\n STAN\n My God. Fresh meat. Let's hurry back.\n\n INT. BATHROOM - TIGHT ON LARRY", "Everyone starts to whoop it up again.\n\n INT. JAPANESE SUITE\n\n It's still a standoff between the girls and the horny \n Japanese.", "As Debbie opens the door, her father walks by with Desiree \n on his arm. Neither sees the other. Debbie enters the room. \n She is surprised by the masses of humanity rubbing shoulders \n with one another in the room.", "Mr. Thomerson can't believe the goings-on. People are making \n out, drinking and dancing. He hides in a corner to watch \n undercover.\n\n ANGLE IN CORRIDOR", "heavy duty metal kind hunters use). He looks up menacingly \n at the hotel and spots the room where the party is going on. \n He sees another hotel across the way. He gets an idea and", "The guys all but dive into the room. It is a two-room suite \n with living room/kitcheonette and separate bedroom. The room", "Everyone jumps out from their hiding places. With our guys \n is Gary and his team of FIVE PROSTITUTES.", "The party has reached fever pitch. Suddenly police SIRENS \n pierce through the party sounds. Everyone freezes. We HEAR \n the Hotel Manager BEATING on the DOOR with his fists.", "RICK\n Well... twenty-four more hours to go \n and tonight we'll share with our \n friends and loved ones the joys of \n those last moments of singleness.", "He exits. As he does, our guys crowd around and peek through \n the kitchen door.\n\n NICK\n\n We FOLLOW him as he approaches the girls' table.", "He jumps on top of her and starts mauling her passionately. \n Debbie snaps on the lights. She throws off her wig and she \n and Rick come face to face." ], [ "RICK\n (continuing)\n Thank you.\n\n All the guests go back to partying. Rick drops off the sofa \n and faces Debbie.", "The girls all start to scream and carry on all over again.\n\n INT. RICK AND DEBBIE'S APARTMENT - NIGHT", "The party has reached fever pitch. Suddenly police SIRENS \n pierce through the party sounds. Everyone freezes. We HEAR \n the Hotel Manager BEATING on the DOOR with his fists.", "As Debbie opens the door, her father walks by with Desiree \n on his arm. Neither sees the other. Debbie enters the room. \n She is surprised by the masses of humanity rubbing shoulders \n with one another in the room.", "DEBBIE\n Ilene, are you crazy?\n\n ILENE\n I know what I'm doing... Go!\n\n The girls run out the door.", "DEBBIE\n (holding back tears)\n Rick, you're lying!\n\n As Rick protests, she throws on her blouse and runs out of \n the room. Rick charges after her.", "He jumps on top of her and starts mauling her passionately. \n Debbie snaps on the lights. She throws off her wig and she \n and Rick come face to face.", "INT. CORRIDOR\n\n Debbie and the ladies run to an elevator. Debbie presses the \n \"down\" button.", "and scream. They run down the hall to the stairway. On the \n way Debbie notices she's passing Room 1002. She HEARS the \n party SOUNDS inside.", "Cole stops what he is doing for a beat and just stares at \n Debbie intensely. Then he returns to his work with a renewed \n enthusiasm, chopping, slashing and slicing.", "PUSH IN ON Debbie. She's pissed.\n\n DEBBIE\n No, not yet. Where is he?\n\n INT. BEDROOM", "They kiss, and the guys whistle in the background. Then Debbie \n starts toward the house and Rick hops back into the bus. He", "O'NEILL\n You got it.\n\n O'Neill crosses to Debbie.", "DEBBIE\n (continuing)\n You know everyone here, don't you?\n\n TINA\n Yes.", "Suddenly a Porsche pulls up between Rick and Debbie. It's \n Cole. He reaches over and pulls Debbie into the car with \n him. She screams.", "As Debbie approaches him we SEE that he is butchering some \n unfortunate friend of the forest on the table in front of", "Rick opens the door from the bathroom. The lights are turned \n off and from the flashing illumination of a neon sign outside \n the window we can MAKE OUT the outline of Debbie's body on \n the bed.", "Debbie exits and we PUSH IN ON Cole. Something on his face \n says, \"Hi! I'm really out of my mind.\"\n\n INT. DR. STAN STAHL'S OFFICE - DAY", "Debbie and the shower guests are all in a state of undress. \n We WATCH as they put on dresses and heavy makeup. Mrs. \n Thomerson is still freaked out over her meeting with Nick \n the Dick.", "We SEE the police have collared Bobbie, Phoebe, Mrs. Thomerson \n and the other ladies of the shower as hooker suspects. Our \n bachelor party mob now charges down the stairs and out the \n hotel doors." ], [ "Cole runs out of the aisle as Rick climbs over people and \n dives onto Cole, knocking him to the aisle.", "Rick climbs over several rows and continues to pummel Cole. \n Cole grabs a woman's purse and begins to hit Rick with it.", "As the movie ends, Rick has Cole by the collar and is dragging \n him out of the theater.\n\n INT. MALL OUTSIDE THEATER", "COLE\n (screaming)\n Rick... Rick... Goddamn it.\n\n INT. HOTEL SUITE - ANGLE - RICK", "RICK\n\n He begins to walk toward the priest. Suddenly, out of nowhere, \n Cole appears at his side.", "RICK\n Cole, what the hell are you doing?\n\n COLE\n She's mine!\n\n He drives off.", "COLE\n (pissed)\n Rick, me and you aren't through yet.\n\n He runs off.", "A fight starts in the movie, also. The patrons sit calmly \n watching the action. Miraculously, Rick's fight with Cole is", "He takes a swing at Cole and Cole swings back. Behind them \n on the screen a man has come to the rescue of the woman.", "Everyone pelts Rick and O'Neill with more junk.\n\n Suddenly the door bursts open. The guys look up and are \n surprised to see Cole enter.", "arguing. Cole and Debbie enter the theater. They run down to \n the front of the screen, heading for an exit. Rick enters. \n He gives chase and catches up with Cole.", "Rick exits the theater with Cole. He tosses Cole to Chulo. \n Debbie comes running behind Rick.\n\n RICK\n (to Debbie)\n Are you okay?", "RICK\n (continuing)\n What a decision here.\n\n He walks over to the window. Cole follows closely. He's trying \n to convince Rick to take the car.", "Rick and Cole are at the window. The guys are still trying \n to convince Rick on his decision.\n\n COLE\n I got the car only two months ago -- \n it's got --", "Cole's Porsche parked in the hotel parking lot.\n\n RICK (O.S.)\n Very nice...\n\n BACK TO SCENE", "COLE\n I don't want any trouble.\n\n RICK\n Oh, come on, just a little.", "COLE'S POV\n\n He's looking down his sights. Rick is the target... and an \n easy one at that, for at this very moment Rick is crossing \n past the window.", "COLE'S POV\n\n He has Rick right where he wants him.\n\n CROSSBOW TRIGGER\n\n Cole's finger squeezes off a shot.", "RICK\n Thank you. We'll all keep that in \n mind. 'Bye now.\n\n Cole turns red with anger.", "Suddenly a Porsche pulls up between Rick and Debbie. It's \n Cole. He reaches over and pulls Debbie into the car with \n him. She screams." ], [ "Suddenly a Porsche pulls up between Rick and Debbie. It's \n Cole. He reaches over and pulls Debbie into the car with \n him. She screams.", "Rick is driving the bus with Debbie sitting next to him in \n the driver's seat. The guys sit in the row of seats behind \n them.", "He looks to the rear and sees Rick's bus not far behind them. \n Suddenly he spots something O.S. He grabs Debbie and runs \n OUT OF FRAME.", "They kiss, and the guys whistle in the background. Then Debbie \n starts toward the house and Rick hops back into the bus. He", "RICK\n (continuing)\n Thank you.\n\n All the guests go back to partying. Rick drops off the sofa \n and faces Debbie.", "Rick exits the theater with Cole. He tosses Cole to Chulo. \n Debbie comes running behind Rick.\n\n RICK\n (to Debbie)\n Are you okay?", "THE SCENE\n\n CREDITS ROLL as Rick continues to sing in the driving rain. \n Debbie joins in on the chorus. She loves her man.", "The guys exit the Baggage Area. Rick is pushing Larry who is \n sprawled out on top of his bags in a luggage cart.", "As Mr. Thomerson drones on, Rick shifts uncomfortably in his \n chair, focusing his attention on Debbie, her mother and her", "EXT. HOTEL - MORNING\n\n Our people pile out of the hotel. Rick, Debbie and all Rick's \n friends run down the street.", "O'Neill, the best man, sees the car. He pokes Rick. He \n indicates to Rick someone has arrived.", "RICK\n Cole, what the hell are you doing?\n\n COLE\n She's mine!\n\n He drives off.", "The kids are screaming at Rick to go faster. One of the little \n boys looks nauseous as he clutches the seat in front of him.\n\n EXT. THE STREET - LOW ANGLE", "open and RICK STAHL, the driver, hops out. Rick is the life \n of the party, even when there isn't any party going on.", "DEBBIE\n (holding back tears)\n Rick, you're lying!\n\n As Rick protests, she throws on her blouse and runs out of \n the room. Rick charges after her.", "RICK\n Right... Think it over.\n\n He hops on the bus, closes the door and gently backs the bus \n out of the parking lot.", "The girls all start to scream and carry on all over again.\n\n INT. RICK AND DEBBIE'S APARTMENT - NIGHT", "RICK\n Oh... I got something for that.\n\n He groggily reaches into the nightstand, pulls out a hammer. \n He raises it as if to hit Debbie over the head.", "Debbie and Mr. T. have joined Rick.\n\n DEBBIE\n Cole, what are you doing here?", "He looks out the window and sees Cole standing next to his \n transformed Porsche.\n\n COLE\n Rick... Debbie is mine. She'll always \n be." ], [ "RICK\n What the hell are you doing?\n\n LARRY\n I'm trying to slash my wrists.", "He heaves another deep sigh and brings an electric razor \n INTO FRAME. He turns it on and runs it over his wrist. Of \n course, nothing happens. Just then Rick enters.", "Tim exits. Gary feels filthy. He rips open the cabinet, takes \n out tooth paste and toothbrush and vigorously brushes his", "He's scared to death.\n\n INT. COLE'S ROOM\n\n We SEE that Cole's weight is pulling the bed to the window.\n\n COLE", "Larry comes out of the water. He gasps for breath and speaks.\n\n LARRY\n I'm killing myself.", "He's panicked.\n\n INT. COLE'S ROOM\n\n The knot unties.\n\n COLE", "RICK\n You're trying to kill yourself with \n an electric razor?\n\n LARRY\n I couldn't find any razor blades.", "forgets all about dialing. He jams the receiver against his \n nose and takes deep drag after deep drag.", "As Debbie approaches him we SEE that he is butchering some \n unfortunate friend of the forest on the table in front of", "goes limp from the concussion. His body drapes into the tub, \n head first.", "The guys have tied the sheets and blankets together and made \n a rope. The other end is tied around Cole's chest. And that's \n all Cole is wearing; he's nude.", "There is a pained, tragic and extremely stoned out look on \n his face as he sighs deeply and then summons up his courage. \n WIDEN as he looks down at his right wrist.", "Cole comes bursting out into the street. We can tell by his \n shocked expression he doesn't like what he sees.\n\n COLE\n Shit, shit, shit, shit, shit.", "INT. COLE'S ROOM\n\n The bed moves right up against the wall under the window. We \n SEE the end tied to the bed post is beginning to untie.\n\n COLE", "He starts to react from inhaling the powder. He puts the \n receiver to his ear. He takes a deep breath and tries to", "He opens the blinds, revealing Cole's ass pressed up against \n the window.\n\n WOMAN\n\n She screams, horrified.", "He takes a deep breath and submerges his head again. Rick \n unplugs the tub and it begins to drain.", "He goes to hit the bell and to his surprise, his hand comes \n down on something soft and mushy. The look on his face tells \n us what it is. It's the \"gift\" Rick left behind.", "He's slowly lowering down the side of the building.\n\n INT. ANOTHER HOTEL ROOM", "Cole stops what he is doing for a beat and just stares at \n Debbie intensely. Then he returns to his work with a renewed \n enthusiasm, chopping, slashing and slicing." ], [ "WOMAN\n Absolutely amazing.\n\n A Man who has taken a punch and has had his jacket ripped to \n shreds doesn't seem pleased.", "in perfect sync with the actors in the movie. Rick hits Cole \n with a punch that sends him backwards into several movie \n patrons. The patrons are impressed by the realism of the", "Cole pulls up with a SCREECH in front of the theater. He \n grabs Debbie and jumps out of the truck. He drags her into \n the theater entrance.", "still frozen in a state of shock. The girls try to pry her \n hands off.\n\n EXT. STREET CORNER\n\n Several HOOKERS are standing around. Gary approaches them.", "She and Margot start to embrace and fondle one another. The \n girls watch in stony silence. Dumbfounded at what they see.", "Debbie into one of the theaters. The \n gang runs up to the theaters.", "arguing. Cole and Debbie enter the theater. They run down to \n the front of the screen, heading for an exit. Rick enters. \n He gives chase and catches up with Cole.", "The girls screech and jump around, hugging each other in \n sheer joy. A MALE CUSTOMER, moved by this outpouring of", "Gary, beaten up, his clothes ripped, stands amidst the guys.\n\n RICK\n Hookers beat you up?\n\n GARY\n Yes.", "Rick climbs over several rows and continues to pummel Cole. \n Cole grabs a woman's purse and begins to hit Rick with it.", "He takes a swing at Cole and Cole swings back. Behind them \n on the screen a man has come to the rescue of the woman.", "As Rick and O'Neill continue mugging like two 12-year-olds \n in a photo booth, the Woman takes her child and exits. A few \n beats pass and the guys notice they're alone.", "GARY\n That's more like it.\n\n The girls walk over to Gary and proceed to beat the crap out \n of him.", "and park it on an end table. Now OUT OF SIGHT, the girls \n watch for a beat. Then we hear the WHIRRING of Darlene's", "then lifts up the toilet seat, lifts up her dress and proceeds \n to pee. She is a man. Gary is stunned. His jaw drops open.", "A fight starts in the movie, also. The patrons sit calmly \n watching the action. Miraculously, Rick's fight with Cole is", "The girls cross inside.\n\n STAN\n My God. Fresh meat. Let's hurry back.\n\n INT. BATHROOM - TIGHT ON LARRY", "As the movie ends, Rick has Cole by the collar and is dragging \n him out of the theater.\n\n INT. MALL OUTSIDE THEATER", "Everyone starts to whoop it up again.\n\n INT. JAPANESE SUITE\n\n It's still a standoff between the girls and the horny \n Japanese.", "There is a beat, and then Robert falls INTO FRAME, still \n holding the cigarette lighter, and the car Raul is driving \n enters the lot and smashes into the side of the garage." ], [ "Rick is cooking dinner in the cramped combination kitchen / \n living room. He has about five dishes going at once as he", "The two buses come zooming down the street.\n\n INT. RICK'S BUS", "open and RICK STAHL, the driver, hops out. Rick is the life \n of the party, even when there isn't any party going on.", "Gary, beaten up, his clothes ripped, stands amidst the guys.\n\n RICK\n Hookers beat you up?\n\n GARY\n Yes.", "INT. RICK'S BUS\n\n Rick, is plowing into the cones and knocking them all over.\n\n MAINTENANCE TRUCK", "RICK\n (continuing)\n See? And these are not just ordinary \n party-goers -- there are professionals", "RICK\n (continuing; \n philosophically)\n Ah... youth.\n\n EXT. THE BUS", "RICK\n Right... Think it over.\n\n He hops on the bus, closes the door and gently backs the bus \n out of the parking lot.", "RICK\n Gary, you're quite an animal.\n\n GARY\n Screw you...\n\n The PHONE RINGS.", "We see their waiter, RYKO, a blond, tanned, muscular beach \n bum who has definitely stayed out in the sun too long.", "RICK\n (continuing)\n Say no more.\n\n The Manager crosses to them.", "unaware that the water is gone. He gasps for air as Rick \n holds him up.", "RICK\n Isn't he incredible, gets along with \n everybody.\n\n CHULO\n Yeah, he's really got his thing \n together.", "Rick chooses a theater and goes inside.\n\n INT. MOVIE THEATER", "The guys holler and whoop it up as Rick puts the bus in gear \n and takes off down the street.\n\n DISSOLVE TO:", "GARY\n Let's have a toast.\n\n The guys all raise their glasses.\n\n O'NEILL\n To Rick.", "The kids are screaming at Rick to go faster. One of the little \n boys looks nauseous as he clutches the seat in front of him.\n\n EXT. THE STREET - LOW ANGLE", "loses Rick for a second. Rick jams on the brakes and doubles \n back into the parking lot.", "RICK\n Because I love her. What can I tell \n you?\n\n RYKO\n You sure? This means no more partying.", "Rick brings his bus to a stop and he and the gang pour out \n of the bus." ], [ "RICK\n I'm marrying Debbie.\n\n COLE\n Michelin tires... brand new. A set \n of Sears Best metric tools...", "RICK\n Cole, what the hell are you doing?\n\n COLE\n She's mine!\n\n He drives off.", "has a clear sense of herself. She can also take a joke, thus \n her engagement to Rick.", "RICK\n Sounds swell... I'm really touched. \n And my getting married's not gonna", "RICK\n Because I love her. What can I tell \n you?\n\n RYKO\n You sure? This means no more partying.", "Rick joins the craziness. After several beats, the Woman \n gets bored and EXITS the FRAME.\n\n THE WOMAN", "DEBBIE\n And I want to be with someone who \n understands the meaning of the word \n commitment.\n\n RICK\n I am committed. I love you.", "Rick grabs her; starts kissing her passionately on the neck.", "DEBBIE\n Cole, I'm marrying Rick.", "STAN\n Rick, marriage will be good for you. \n It's done wonders for me.", "RICK\n Now, I want you to lie down and drift \n off to slumberland.\n\n He slowly lowers her to her pillow and tucks the covers in \n around her.", "RICK\n (continuing)\n Thank you.\n\n All the guests go back to partying. Rick drops off the sofa \n and faces Debbie.", "RICK\n Deb, you is my woman now. I is yo \n man. No painted lady ever gonna come \n between us.\n\n DEB\n I need you to promise.", "DEBBIE\n (holding back tears)\n Rick, you're lying!\n\n As Rick protests, she throws on her blouse and runs out of \n the room. Rick charges after her.", "RICK\n So how's your wife?\n\n Larry stops walking and immediately breaks down.", "Rick's bus pulls out in front, accompanied by the cheering \n of his passengers. Suddenly a stop light looms ahead. Rick \n puts on his brakes. Both buses stop just in time.", "PHOEBE\n What's happening?\n\n BOBBIE\n Debbie's marrying Rick.", "FATHER FALWELL\n So, Rick, soon you will be a married \n man. How does it feel?\n\n RICK\n Innnnnn-credible!", "INT. RICK'S BUS - DUSK\n\n RICK\n This is it, lady. Last stop.", "They kiss, and the guys whistle in the background. Then Debbie \n starts toward the house and Rick hops back into the bus. He" ], [ "As Mr. Thomerson drones on, Rick shifts uncomfortably in his \n chair, focusing his attention on Debbie, her mother and her", "RICK\n Oh... I got something for that.\n\n He groggily reaches into the nightstand, pulls out a hammer. \n He raises it as if to hit Debbie over the head.", "RICK\n I can't do it. I love Debbie.\n\n He runs out of the room, leaving a very confused Tracey in \n his wake.", "DEBBIE\n (holding back tears)\n Rick, you're lying!\n\n As Rick protests, she throws on her blouse and runs out of \n the room. Rick charges after her.", "RICK\n (continuing)\n Thank you.\n\n All the guests go back to partying. Rick drops off the sofa \n and faces Debbie.", "He jumps on top of her and starts mauling her passionately. \n Debbie snaps on the lights. She throws off her wig and she \n and Rick come face to face.", "Rick is shaken by this. He shakes his head and wipes at his \n eyes. Debbie's face is gone. He moves toward Tracey again.\n\n TRACEY", "Debbie picks up on this immediately.\n\n DEBBIE\n (shocked)\n Daddy?", "Suddenly a Porsche pulls up between Rick and Debbie. It's \n Cole. He reaches over and pulls Debbie into the car with \n him. She screams.", "RICK\n (continuing)\n Debbie... you're a hooker! I can't \n believe it!\n\n She all but jumps out of bed.", "DEBBIE\n I don't believe you.\n\n RICK\n You don't believe me? Okay, fine.", "RICK\n No.\n\n They are now standing near Father Falwell. Debbie is \n approaching them with Mr. Thomerson. Mr. T. shoots Cole a \n signal to up the ante.", "Rick is snuggled cozily on his side of the bed, fast asleep. \n Debbie is staring anxiously at the ceiling. After a couple \n of beats, she tugs at Rick's shoulder.", "Rick opens the door from the bathroom. The lights are turned \n off and from the flashing illumination of a neon sign outside \n the window we can MAKE OUT the outline of Debbie's body on \n the bed.", "RICK\n (defeated)\n What can I do? I'm dead. Debbie's \n going to go crazy and end the whole \n thing.", "They kiss, and the guys whistle in the background. Then Debbie \n starts toward the house and Rick hops back into the bus. He", "He looks to the rear and sees Rick's bus not far behind them. \n Suddenly he spots something O.S. He grabs Debbie and runs \n OUT OF FRAME.", "Debbie and Rick and her MOM and DAD are having a frustrating \n game of tennis behind her parents' plush home. Mr. Thomerson", "DEBBIE\n Stop fooling around... I need to \n talk.\n\n RICK\n What's the matter?", "DEBBIE\n Your mother's not dead.\n\n RICK\n Well, if I go back on my word, I'll \n kill her." ], [ "DEBBIE\n (holding back tears)\n Rick, you're lying!\n\n As Rick protests, she throws on her blouse and runs out of \n the room. Rick charges after her.", "RICK\n (continuing)\n Debbie... you're a hooker! I can't \n believe it!\n\n She all but jumps out of bed.", "RICK\n (continuing)\n Thank you.\n\n All the guests go back to partying. Rick drops off the sofa \n and faces Debbie.", "DEBBIE\n I don't believe you.\n\n RICK\n You don't believe me? Okay, fine.", "RICK\n Oh... I got something for that.\n\n He groggily reaches into the nightstand, pulls out a hammer. \n He raises it as if to hit Debbie over the head.", "He jumps on top of her and starts mauling her passionately. \n Debbie snaps on the lights. She throws off her wig and she \n and Rick come face to face.", "As Mr. Thomerson drones on, Rick shifts uncomfortably in his \n chair, focusing his attention on Debbie, her mother and her", "Rick is shaken by this. He shakes his head and wipes at his \n eyes. Debbie's face is gone. He moves toward Tracey again.\n\n TRACEY", "RICK\n (yelling back)\n Debbie, I'm telling you, I didn't do \n anything, hardly.", "DEBBIE\n I can't trust you!\n\n RICK\n C'mon, I knew it was you.", "RICK\n I can't do it. I love Debbie.\n\n He runs out of the room, leaving a very confused Tracey in \n his wake.", "RICK\n Did I promise that? I don't remember \n that...\n\n DEBBIE\n You're really pissing me off.", "DEBBIE\n Stop fooling around... I need to \n talk.\n\n RICK\n What's the matter?", "Rick stops dead in his tracks. He can't believe it. Debbie's \n face is now on Tracey's body.", "Rick is snuggled cozily on his side of the bed, fast asleep. \n Debbie is staring anxiously at the ceiling. After a couple \n of beats, she tugs at Rick's shoulder.", "TRACEY/DEBBIE\n (pleading)\n Don't Rick.\n\n Debbie's face disappears. Rick can't take it anymore.", "The girls all start to scream and carry on all over again.\n\n INT. RICK AND DEBBIE'S APARTMENT - NIGHT", "Rick opens the door from the bathroom. The lights are turned \n off and from the flashing illumination of a neon sign outside \n the window we can MAKE OUT the outline of Debbie's body on \n the bed.", "DEBBIE\n Your mother's not dead.\n\n RICK\n Well, if I go back on my word, I'll \n kill her.", "RICK\n (to O'Neill)\n You think the gods are telling me \n something?\n\n INT. RICK AND DEBBIE'S BEDROOM - NIGHT" ], [ "The party is going full blast. Some other girls and a couple \n of guys (hotel guests) enter the room and are quickly swept \n up in the spirit of the party. O'Neill approaches Rick.", "The party is taking off. The all-girl band is going ape shit. \n The guys are dancing with the hookers. They're all moving in", "The party has reached fever pitch. Suddenly police SIRENS \n pierce through the party sounds. Everyone freezes. We HEAR \n the Hotel Manager BEATING on the DOOR with his fists.", "record and everyone starts dancing. Larry is laying out drugs \n on a table. They consist of lines of coke and various happy \n time pills of all colors and shapes. Rick takes a look at", "Everyone cheers Stan's good fortune. Kelley takes Stan by \n the hand and leads him into the bedroom. Gary turns on a", "from experience. What do you think \n they do at these parties, have tea \n and play scrabble?", "Everyone jumps out from their hiding places. With our guys \n is Gary and his team of FIVE PROSTITUTES.", "ANGLE - THE PARTY GUESTS\n\n They all scream and holler approval.\n\n ANGLE - DESIREE", "He drops to his knees and hugs Thomerson's legs. The party \n stops and everyone watches.", "O'NEILL\n So, what do you guys think of the \n party so far?\n\n The guys toss sandwiches and empty beer cans at him.", "ILENE\n Look, you heard what those hookers \n said. They were supposed to go to a \n bachelor party.", "Gary, beaten up, his clothes ripped, stands amidst the guys.\n\n RICK\n Hookers beat you up?\n\n GARY\n Yes.", "She and Margot start to embrace and fondle one another. The \n girls watch in stony silence. Dumbfounded at what they see.", "RICK\n Thanks, Stan, you've been a lot of \n help.\n\n Stan pats Rick on the back and dives into the festivities.", "heavy duty metal kind hunters use). He looks up menacingly \n at the hotel and spots the room where the party is going on. \n He sees another hotel across the way. He gets an idea and", "LARRY\n Yeah. I see you're right. C'mon, \n let's party.", "O'NEILL\n Reach out and snort someone.\n\n RICK\n I'm saved. Let's party!", "Margot and Darlene start to sink to the floor, OUT OF OUR \n SIGHT. Before they disappear, we see Margot take out her gum", "Jumbo has had enough. He backs Gary against a wall and pulls \n a knife on him.", "RICK\n (continuing)\n Thank you.\n\n All the guests go back to partying. Rick drops off the sofa \n and faces Debbie." ], [ "He heaves another deep sigh and brings an electric razor \n INTO FRAME. He turns it on and runs it over his wrist. Of \n course, nothing happens. Just then Rick enters.", "had a lot of problems. Personal \n things, you know. Made some bad \n investments. At least now he's \n peaceful...", "Larry comes out of the water. He gasps for breath and speaks.\n\n LARRY\n I'm killing myself.", "RICK\n What the hell are you doing?\n\n LARRY\n I'm trying to slash my wrists.", "There is a pained, tragic and extremely stoned out look on \n his face as he sighs deeply and then summons up his courage. \n WIDEN as he looks down at his right wrist.", "Milt casually takes off his hat and immediately sticks his \n face through a nearby window, smashing it to pieces. He pulls \n his head out, smiles and puts his hat back on.", "RICK\n You're absolutely right. I should \n never have stopped to save that \n drowning infant. I'm just weak, \n Sister; I'm so weak.", "Behind them we can SEE Roberto fiddling with the lighter. \n Suddenly flames leap out of the car, blowing Roberto ten \n feet into the air.\n\n ANGLE", "forgets all about dialing. He jams the receiver against his \n nose and takes deep drag after deep drag.", "Sure enough, Mr. Thomerson looks up and grimaces, knowing \n he's been caught with his bondage down. He tries to say \n something, but the boot in his mouth prevents anything \n intelligent from coming out.", "There is a beat, and then Robert falls INTO FRAME, still \n holding the cigarette lighter, and the car Raul is driving \n enters the lot and smashes into the side of the garage.", "He's wearing gravity boots, hanging upside down, entwined \n around one of the hookers. They're hanging there, making out \n like crazy. Gary passes by.", "RICK\n You're trying to kill yourself with \n an electric razor?\n\n LARRY\n I couldn't find any razor blades.", "hotel manager, he'd be a mortician. He has a constant \n expression on his face that suggests he's constantly sucking \n lemons.", "Gary turns, almost collides with a garbage can, and starts \n walking down the street. He passes a parked Porsche. After a", "Tim exits. Gary feels filthy. He rips open the cabinet, takes \n out tooth paste and toothbrush and vigorously brushes his", "COLE\n Shit, shit, shit, shit, shit.", "The water has drained from the tub, leaving Larry high and \n dry. He lifts his head out of the tub. In his state, he's", "He goes to hit the bell and to his surprise, his hand comes \n down on something soft and mushy. The look on his face tells \n us what it is. It's the \"gift\" Rick left behind.", "He takes a prophylactic out of a Trojan carton. He blows it \n up. On closer examination, we SEE all the balloons are \n inflated prophylactics." ], [ "He heaves another deep sigh and brings an electric razor \n INTO FRAME. He turns it on and runs it over his wrist. Of \n course, nothing happens. Just then Rick enters.", "RICK\n What the hell are you doing?\n\n LARRY\n I'm trying to slash my wrists.", "Larry comes out of the water. He gasps for breath and speaks.\n\n LARRY\n I'm killing myself.", "RICK\n You're trying to kill yourself with \n an electric razor?\n\n LARRY\n I couldn't find any razor blades.", "Tim exits. Gary feels filthy. He rips open the cabinet, takes \n out tooth paste and toothbrush and vigorously brushes his", "had a lot of problems. Personal \n things, you know. Made some bad \n investments. At least now he's \n peaceful...", "forgets all about dialing. He jams the receiver against his \n nose and takes deep drag after deep drag.", "Milt casually takes off his hat and immediately sticks his \n face through a nearby window, smashing it to pieces. He pulls \n his head out, smiles and puts his hat back on.", "There is a pained, tragic and extremely stoned out look on \n his face as he sighs deeply and then summons up his courage. \n WIDEN as he looks down at his right wrist.", "He's scared to death.\n\n INT. COLE'S ROOM\n\n We SEE that Cole's weight is pulling the bed to the window.\n\n COLE", "Cole comes bursting out into the street. We can tell by his \n shocked expression he doesn't like what he sees.\n\n COLE\n Shit, shit, shit, shit, shit.", "Gary turns, almost collides with a garbage can, and starts \n walking down the street. He passes a parked Porsche. After a", "teeth. He rips off his clothes and jumps in the shower and \n scrubs as if he's scraping barnacles off a hull of a tugboat.", "There is a beat, and then Robert falls INTO FRAME, still \n holding the cigarette lighter, and the car Raul is driving \n enters the lot and smashes into the side of the garage.", "goes limp from the concussion. His body drapes into the tub, \n head first.", "STAN\n Afraid so. I did everything I could.\n\n LARRY\n It's my fault. He's dead because... \n I left those drugs...", "Behind them we can SEE Roberto fiddling with the lighter. \n Suddenly flames leap out of the car, blowing Roberto ten \n feet into the air.\n\n ANGLE", "of Andy Granitelli. The nauseous kid is now turning a pale \n shade of green. He moves to an open window, straining to \n control the inevitable.", "record and everyone starts dancing. Larry is laying out drugs \n on a table. They consist of lines of coke and various happy \n time pills of all colors and shapes. Rick takes a look at", "LARRY\n I don't want to talk about it. I \n love you guys. I love my friends.\n\n Larry reaches into his pocket, takes out a Quaalude." ], [ "RICK\n (continuing)\n Thank you.\n\n All the guests go back to partying. Rick drops off the sofa \n and faces Debbie.", "DEBBIE\n (holding back tears)\n Rick, you're lying!\n\n As Rick protests, she throws on her blouse and runs out of \n the room. Rick charges after her.", "He looks to the rear and sees Rick's bus not far behind them. \n Suddenly he spots something O.S. He grabs Debbie and runs \n OUT OF FRAME.", "As Mr. Thomerson drones on, Rick shifts uncomfortably in his \n chair, focusing his attention on Debbie, her mother and her", "Rick is shaken by this. He shakes his head and wipes at his \n eyes. Debbie's face is gone. He moves toward Tracey again.\n\n TRACEY", "He jumps on top of her and starts mauling her passionately. \n Debbie snaps on the lights. She throws off her wig and she \n and Rick come face to face.", "The girls all start to scream and carry on all over again.\n\n INT. RICK AND DEBBIE'S APARTMENT - NIGHT", "He turns to Debbie. He waits a beat and begins.\n\n RICK\n Cheese. I love you more than cheese. \n And I love cheese a lot.", "Rick opens the door from the bathroom. The lights are turned \n off and from the flashing illumination of a neon sign outside \n the window we can MAKE OUT the outline of Debbie's body on \n the bed.", "They kiss, and the guys whistle in the background. Then Debbie \n starts toward the house and Rick hops back into the bus. He", "RICK\n Oh... I got something for that.\n\n He groggily reaches into the nightstand, pulls out a hammer. \n He raises it as if to hit Debbie over the head.", "Suddenly a Porsche pulls up between Rick and Debbie. It's \n Cole. He reaches over and pulls Debbie into the car with \n him. She screams.", "THE SCENE\n\n CREDITS ROLL as Rick continues to sing in the driving rain. \n Debbie joins in on the chorus. She loves her man.", "DEBBIE\n And I want to be with someone who \n understands the meaning of the word \n commitment.\n\n RICK\n I am committed. I love you.", "Rick is snuggled cozily on his side of the bed, fast asleep. \n Debbie is staring anxiously at the ceiling. After a couple \n of beats, she tugs at Rick's shoulder.", "DEBBIE\n I don't believe you.\n\n RICK\n You don't believe me? Okay, fine.", "Rick exits the theater with Cole. He tosses Cole to Chulo. \n Debbie comes running behind Rick.\n\n RICK\n (to Debbie)\n Are you okay?", "RICK\n I can't do it. I love Debbie.\n\n He runs out of the room, leaving a very confused Tracey in \n his wake.", "RICK\n (continuing)\n Debbie... you're a hooker! I can't \n believe it!\n\n She all but jumps out of bed.", "arguing. Cole and Debbie enter the theater. They run down to \n the front of the screen, heading for an exit. Rick enters. \n He gives chase and catches up with Cole." ], [ "Cole runs out of the aisle as Rick climbs over people and \n dives onto Cole, knocking him to the aisle.", "As the movie ends, Rick has Cole by the collar and is dragging \n him out of the theater.\n\n INT. MALL OUTSIDE THEATER", "Rick climbs over several rows and continues to pummel Cole. \n Cole grabs a woman's purse and begins to hit Rick with it.", "COLE\n (pissed)\n Rick, me and you aren't through yet.\n\n He runs off.", "arguing. Cole and Debbie enter the theater. They run down to \n the front of the screen, heading for an exit. Rick enters. \n He gives chase and catches up with Cole.", "RICK\n Cole, what the hell are you doing?\n\n COLE\n She's mine!\n\n He drives off.", "Rick exits the theater with Cole. He tosses Cole to Chulo. \n Debbie comes running behind Rick.\n\n RICK\n (to Debbie)\n Are you okay?", "RICK\n (continuing)\n What a decision here.\n\n He walks over to the window. Cole follows closely. He's trying \n to convince Rick to take the car.", "COLE\n (screaming)\n Rick... Rick... Goddamn it.\n\n INT. HOTEL SUITE - ANGLE - RICK", "Cole's Porsche parked in the hotel parking lot.\n\n RICK (O.S.)\n Very nice...\n\n BACK TO SCENE", "Suddenly a Porsche pulls up between Rick and Debbie. It's \n Cole. He reaches over and pulls Debbie into the car with \n him. She screams.", "CHULO\n Out front.\n\n The elevator doors slam shut. Cole races out into the street.\n\n EXT. HOTEL", "As Cole rounds a corner, a tire comes loose and rolls off \n the car -- thanks to Chulo's shoddy workmanship.\n\n INT. PORSCHE", "RICK\n\n He begins to walk toward the priest. Suddenly, out of nowhere, \n Cole appears at his side.", "The girls run around the room in a panic with the Japanese \n chasing them in very hot pursuit.\n\n EXT. COLE'S ROOM", "Our man with the cones is almost completely exhausted.\n\n EXT. HIGHWAY\n\n Rick is in pursuit, knocking over cones. He's almost caught \n up with Cole.", "The vehicles reach the top of the hill. Cole grabs a sharp \n left and pulls into a movie theater parking lot. The maneuver", "The kids are screaming at Rick to go faster. One of the little \n boys looks nauseous as he clutches the seat in front of him.\n\n EXT. THE STREET - LOW ANGLE", "The sun roof opens. Suddenly Cole's ass sticks through it. \n The Woman freaks out again.\n\n EXT. SPORTSCAR", "The two buses come zooming down the street.\n\n INT. RICK'S BUS" ], [ "in perfect sync with the actors in the movie. Rick hits Cole \n with a punch that sends him backwards into several movie \n patrons. The patrons are impressed by the realism of the", "WOMAN\n Absolutely amazing.\n\n A Man who has taken a punch and has had his jacket ripped to \n shreds doesn't seem pleased.", "film's special effects. Cole throws a punch. Rick ducks. The \n punch hits a MAN in the front row in the mouth.", "Gary, beaten up, his clothes ripped, stands amidst the guys.\n\n RICK\n Hookers beat you up?\n\n GARY\n Yes.", "A fight starts in the movie, also. The patrons sit calmly \n watching the action. Miraculously, Rick's fight with Cole is", "He takes a swing at Cole and Cole swings back. Behind them \n on the screen a man has come to the rescue of the woman.", "The crowd moves out of his way as the animal goes berserk \n for a few seconds, then without warning collapses in a heap \n on the floor.", "There is a beat, and then Robert falls INTO FRAME, still \n holding the cigarette lighter, and the car Raul is driving \n enters the lot and smashes into the side of the garage.", "She points O.S. to Chulo, Chulo, with tears in his eyes, \n comes out on stage and, in a surge of emotion, picks Laverne \n up off her feet and hugs her passionately.", "As he gestures for them to make their walk to him, a gust of \n wind lifts up Father's cassock, exposing his bare ass. He \n quickly grabs his cassock and covers himself.", "Mr. Thomerson can't believe the goings-on. People are making \n out, drinking and dancing. He hides in a corner to watch \n undercover.\n\n ANGLE IN CORRIDOR", "have been hung too high, so as he takes off his pants, his \n underwear is exposed to the world. We PULL BACK, REVEALING", "arguing. Cole and Debbie enter the theater. They run down to \n the front of the screen, heading for an exit. Rick enters. \n He gives chase and catches up with Cole.", "Milt casually takes off his hat and immediately sticks his \n face through a nearby window, smashing it to pieces. He pulls \n his head out, smiles and puts his hat back on.", "Father Falwell looks on rather perplexed. Rick sees Falwell's \n puzzled look.\n\n RICK\n (continuing)\n I was just saying grace.", "then lifts up the toilet seat, lifts up her dress and proceeds \n to pee. She is a man. Gary is stunned. His jaw drops open.", "He heaves another deep sigh and brings an electric razor \n INTO FRAME. He turns it on and runs it over his wrist. Of \n course, nothing happens. Just then Rick enters.", "Their eyes start to widen like a child in a Keene painting.\n\n GUYS\n Yes, go, go, yes, go...\n\n ON THE SCREEN", "ANGLE - THE CROWD\n\n They break into spontaneous applause.\n\n ANGLE - CHULO\n\n He is totally blown away.", "Behind them we can SEE Roberto fiddling with the lighter. \n Suddenly flames leap out of the car, blowing Roberto ten \n feet into the air.\n\n ANGLE" ], [ "The two buses come zooming down the street.\n\n INT. RICK'S BUS", "Rick is cooking dinner in the cramped combination kitchen / \n living room. He has about five dishes going at once as he", "INT. RICK'S BUS\n\n Rick, is plowing into the cones and knocking them all over.\n\n MAINTENANCE TRUCK", "Rick's school bus pulls into the yard of the auto shop. \n Several Chicanos are working on various cars. Rick and O'Neill \n hop out.", "RICK\n (continuing; \n philosophically)\n Ah... youth.\n\n EXT. THE BUS", "open and RICK STAHL, the driver, hops out. Rick is the life \n of the party, even when there isn't any party going on.", "He grabs Rick by the arm and leads him out of the room.\n\n INT. HOTEL RESTAURANT", "RICK\n Right... Think it over.\n\n He hops on the bus, closes the door and gently backs the bus \n out of the parking lot.", "Rick chooses a theater and goes inside.\n\n INT. MOVIE THEATER", "Gary, beaten up, his clothes ripped, stands amidst the guys.\n\n RICK\n Hookers beat you up?\n\n GARY\n Yes.", "The kids are screaming at Rick to go faster. One of the little \n boys looks nauseous as he clutches the seat in front of him.\n\n EXT. THE STREET - LOW ANGLE", "RICK\n (continuing)\n Say no more.\n\n The Manager crosses to them.", "INT. RICK'S BUS", "The guys holler and whoop it up as Rick puts the bus in gear \n and takes off down the street.\n\n DISSOLVE TO:", "RICK\n Fan out and look for them.\n\n They all go running into various theaters.\n\n ANGLE - RYKO", "We see their waiter, RYKO, a blond, tanned, muscular beach \n bum who has definitely stayed out in the sun too long.", "Rick and the guys appear in the bar.\n\n RICK\n Ryko. Come on!\n\n They all disappear into the bar area.", "RICK\n Gary, you're quite an animal.\n\n GARY\n Screw you...\n\n The PHONE RINGS.", "loses Rick for a second. Rick jams on the brakes and doubles \n back into the parking lot.", "He flings open the door and everyone but he and Rick burst \n into the room.\n\n INT. HOTEL SUITE - NIGHT" ], [ "RICK\n (continuing)\n Thank you.\n\n All the guests go back to partying. Rick drops off the sofa \n and faces Debbie.", "As Mr. Thomerson drones on, Rick shifts uncomfortably in his \n chair, focusing his attention on Debbie, her mother and her", "Debbie picks up on this immediately.\n\n DEBBIE\n (shocked)\n Daddy?", "Rick is shaken by this. He shakes his head and wipes at his \n eyes. Debbie's face is gone. He moves toward Tracey again.\n\n TRACEY", "DEBBIE\n (holding back tears)\n Rick, you're lying!\n\n As Rick protests, she throws on her blouse and runs out of \n the room. Rick charges after her.", "RICK\n No.\n\n They are now standing near Father Falwell. Debbie is \n approaching them with Mr. Thomerson. Mr. T. shoots Cole a \n signal to up the ante.", "DEBBIE\n Stop fooling around... I need to \n talk.\n\n RICK\n What's the matter?", "RICK\n I can't do it. I love Debbie.\n\n He runs out of the room, leaving a very confused Tracey in \n his wake.", "He jumps on top of her and starts mauling her passionately. \n Debbie snaps on the lights. She throws off her wig and she \n and Rick come face to face.", "RICK\n (to O'Neill)\n You think the gods are telling me \n something?\n\n INT. RICK AND DEBBIE'S BEDROOM - NIGHT", "RICK\n Oh... I got something for that.\n\n He groggily reaches into the nightstand, pulls out a hammer. \n He raises it as if to hit Debbie over the head.", "As Debbie opens the door, her father walks by with Desiree \n on his arm. Neither sees the other. Debbie enters the room. \n She is surprised by the masses of humanity rubbing shoulders \n with one another in the room.", "DEBBIE\n I don't believe you.\n\n RICK\n You don't believe me? Okay, fine.", "Suddenly a Porsche pulls up between Rick and Debbie. It's \n Cole. He reaches over and pulls Debbie into the car with \n him. She screams.", "RICK\n Cole. Don't you know it's bad luck \n to see the groom before the wedding?\n\n COLE\n I want Debbie.", "RICK\n (continuing)\n Debbie... you're a hooker! I can't \n believe it!\n\n She all but jumps out of bed.", "DEBBIE\n Your mother's not dead.\n\n RICK\n Well, if I go back on my word, I'll \n kill her.", "DEBBIE\n Ilene, Rick promised...\n\n ILENE\n Debbie, don't be naive. Men are pigs.", "RICK\n (yelling back)\n Debbie, I'm telling you, I didn't do \n anything, hardly.", "He looks to the rear and sees Rick's bus not far behind them. \n Suddenly he spots something O.S. He grabs Debbie and runs \n OUT OF FRAME." ], [ "Cole runs out of the aisle as Rick climbs over people and \n dives onto Cole, knocking him to the aisle.", "Rick climbs over several rows and continues to pummel Cole. \n Cole grabs a woman's purse and begins to hit Rick with it.", "As the movie ends, Rick has Cole by the collar and is dragging \n him out of the theater.\n\n INT. MALL OUTSIDE THEATER", "COLE\n (screaming)\n Rick... Rick... Goddamn it.\n\n INT. HOTEL SUITE - ANGLE - RICK", "RICK\n\n He begins to walk toward the priest. Suddenly, out of nowhere, \n Cole appears at his side.", "RICK\n Cole, what the hell are you doing?\n\n COLE\n She's mine!\n\n He drives off.", "COLE\n (pissed)\n Rick, me and you aren't through yet.\n\n He runs off.", "A fight starts in the movie, also. The patrons sit calmly \n watching the action. Miraculously, Rick's fight with Cole is", "He takes a swing at Cole and Cole swings back. Behind them \n on the screen a man has come to the rescue of the woman.", "Everyone pelts Rick and O'Neill with more junk.\n\n Suddenly the door bursts open. The guys look up and are \n surprised to see Cole enter.", "arguing. Cole and Debbie enter the theater. They run down to \n the front of the screen, heading for an exit. Rick enters. \n He gives chase and catches up with Cole.", "Rick exits the theater with Cole. He tosses Cole to Chulo. \n Debbie comes running behind Rick.\n\n RICK\n (to Debbie)\n Are you okay?", "RICK\n (continuing)\n What a decision here.\n\n He walks over to the window. Cole follows closely. He's trying \n to convince Rick to take the car.", "Rick and Cole are at the window. The guys are still trying \n to convince Rick on his decision.\n\n COLE\n I got the car only two months ago -- \n it's got --", "Cole's Porsche parked in the hotel parking lot.\n\n RICK (O.S.)\n Very nice...\n\n BACK TO SCENE", "COLE\n I don't want any trouble.\n\n RICK\n Oh, come on, just a little.", "COLE'S POV\n\n He's looking down his sights. Rick is the target... and an \n easy one at that, for at this very moment Rick is crossing \n past the window.", "COLE'S POV\n\n He has Rick right where he wants him.\n\n CROSSBOW TRIGGER\n\n Cole's finger squeezes off a shot.", "RICK\n Thank you. We'll all keep that in \n mind. 'Bye now.\n\n Cole turns red with anger.", "Suddenly a Porsche pulls up between Rick and Debbie. It's \n Cole. He reaches over and pulls Debbie into the car with \n him. She screams." ], [ "RICK\n What the hell are you doing?\n\n LARRY\n I'm trying to slash my wrists.", "He heaves another deep sigh and brings an electric razor \n INTO FRAME. He turns it on and runs it over his wrist. Of \n course, nothing happens. Just then Rick enters.", "He's scared to death.\n\n INT. COLE'S ROOM\n\n We SEE that Cole's weight is pulling the bed to the window.\n\n COLE", "Larry comes out of the water. He gasps for breath and speaks.\n\n LARRY\n I'm killing myself.", "Tim exits. Gary feels filthy. He rips open the cabinet, takes \n out tooth paste and toothbrush and vigorously brushes his", "He's panicked.\n\n INT. COLE'S ROOM\n\n The knot unties.\n\n COLE", "goes limp from the concussion. His body drapes into the tub, \n head first.", "There is a pained, tragic and extremely stoned out look on \n his face as he sighs deeply and then summons up his courage. \n WIDEN as he looks down at his right wrist.", "As Debbie approaches him we SEE that he is butchering some \n unfortunate friend of the forest on the table in front of", "RICK\n You're trying to kill yourself with \n an electric razor?\n\n LARRY\n I couldn't find any razor blades.", "INT. COLE'S ROOM\n\n The bed moves right up against the wall under the window. We \n SEE the end tied to the bed post is beginning to untie.\n\n COLE", "He takes a deep breath and submerges his head again. Rick \n unplugs the tub and it begins to drain.", "forgets all about dialing. He jams the receiver against his \n nose and takes deep drag after deep drag.", "He's slowly lowering down the side of the building.\n\n INT. ANOTHER HOTEL ROOM", "Cole comes bursting out into the street. We can tell by his \n shocked expression he doesn't like what he sees.\n\n COLE\n Shit, shit, shit, shit, shit.", "The water has drained from the tub, leaving Larry high and \n dry. He lifts his head out of the tub. In his state, he's", "Rick crosses to the bathroom door, opens it and goes in.\n\n RICK'S POV", "The guys have tied the sheets and blankets together and made \n a rope. The other end is tied around Cole's chest. And that's \n all Cole is wearing; he's nude.", "He opens the blinds, revealing Cole's ass pressed up against \n the window.\n\n WOMAN\n\n She screams, horrified.", "We SEE Cole being lowered from the window.\n\n CLOSER ON COLE\n\n He's struggling, but can do nothing about his predicament. \n He looks down." ], [ "Suddenly a Porsche pulls up between Rick and Debbie. It's \n Cole. He reaches over and pulls Debbie into the car with \n him. She screams.", "They kiss, and the guys whistle in the background. Then Debbie \n starts toward the house and Rick hops back into the bus. He", "He looks to the rear and sees Rick's bus not far behind them. \n Suddenly he spots something O.S. He grabs Debbie and runs \n OUT OF FRAME.", "RICK\n (continuing)\n Thank you.\n\n All the guests go back to partying. Rick drops off the sofa \n and faces Debbie.", "Rick is driving the bus with Debbie sitting next to him in \n the driver's seat. The guys sit in the row of seats behind \n them.", "The guys exit the Baggage Area. Rick is pushing Larry who is \n sprawled out on top of his bags in a luggage cart.", "DEBBIE\n (holding back tears)\n Rick, you're lying!\n\n As Rick protests, she throws on her blouse and runs out of \n the room. Rick charges after her.", "Rick exits the theater with Cole. He tosses Cole to Chulo. \n Debbie comes running behind Rick.\n\n RICK\n (to Debbie)\n Are you okay?", "He jumps on top of her and starts mauling her passionately. \n Debbie snaps on the lights. She throws off her wig and she \n and Rick come face to face.", "The girls all start to scream and carry on all over again.\n\n INT. RICK AND DEBBIE'S APARTMENT - NIGHT", "As Mr. Thomerson drones on, Rick shifts uncomfortably in his \n chair, focusing his attention on Debbie, her mother and her", "The kids are screaming at Rick to go faster. One of the little \n boys looks nauseous as he clutches the seat in front of him.\n\n EXT. THE STREET - LOW ANGLE", "Rick opens the door from the bathroom. The lights are turned \n off and from the flashing illumination of a neon sign outside \n the window we can MAKE OUT the outline of Debbie's body on \n the bed.", "RICK\n Oh... I got something for that.\n\n He groggily reaches into the nightstand, pulls out a hammer. \n He raises it as if to hit Debbie over the head.", "THE SCENE\n\n CREDITS ROLL as Rick continues to sing in the driving rain. \n Debbie joins in on the chorus. She loves her man.", "RICK\n (his interest peaked)\n What do you mean, it changes?\n\n Before Larry can answer they reach the bus where Debbie is \n waiting for them.", "O'Neill points and Rick sees Debbie. She doesn't see them.", "EXT. HOTEL - MORNING\n\n Our people pile out of the hotel. Rick, Debbie and all Rick's \n friends run down the street.", "arguing. Cole and Debbie enter the theater. They run down to \n the front of the screen, heading for an exit. Rick enters. \n He gives chase and catches up with Cole.", "The two buses come zooming down the street.\n\n INT. RICK'S BUS" ], [ "COLE\n (nearly hysterical)\n The bachelor party's upstairs. They", "has been decorated with balloons. A sign reads: \"Happy \n Bachelor Party!\" It looks far from professionally decorated. \n Chulo frantically checks out the rooms.", "ILENE\n Look, you heard what those hookers \n said. They were supposed to go to a \n bachelor party.", "The party is going full blast. Some other girls and a couple \n of guys (hotel guests) enter the room and are quickly swept \n up in the spirit of the party. O'Neill approaches Rick.", "The party is taking off. The all-girl band is going ape shit. \n The guys are dancing with the hookers. They're all moving in", "RICK\n Not as much fun as the bachelor party \n the guys are throwing for me.\n\n DEBBIE\n You're going to have a bachelor party?", "\"BACHELOR PARTY\"\n\n\n\n Screenplay by\n\n Neal Israel & Pat Proft", "RAJAH\n Big problem now. Soon they go to \n customers.\n\n GARY\n I need them for a bachelor party at \n the Park View Hotel.", "COLE\n Hi. I must have just missed my friend. \n He hired you for a bachelor party.", "COLE\n Mr. Thomerson.\n\n MR. T\n Yes, son, did you find out where the \n bachelor party is?", "We SEE the police have collared Bobbie, Phoebe, Mrs. Thomerson \n and the other ladies of the shower as hooker suspects. Our \n bachelor party mob now charges down the stairs and out the \n hotel doors.", "RICK\n Well... twenty-four more hours to go \n and tonight we'll share with our \n friends and loved ones the joys of \n those last moments of singleness.", "Everyone cheers Stan's good fortune. Kelley takes Stan by \n the hand and leads him into the bedroom. Gary turns on a", "O'NEILL\n This is your bachelor party. You \n haven't had sex with anyone yet.", "The party has reached fever pitch. Suddenly police SIRENS \n pierce through the party sounds. Everyone freezes. We HEAR \n the Hotel Manager BEATING on the DOOR with his fists.", "He is at the window, holding his crossbow. He is frantically \n searching the bachelor party across the way for any sign of \n Rick.\n\n COLE\n Where the hell is he?", "CHULO\n (warming to this)\n Yeah, man. Let's throw a bachelor \n party with drugs, booze and broads.", "MR. THOMERSON\n No?\n (he points off)\n That's his best man peeing on a tree.\n\n ANOTHER ANGLE", "ILENE\n If I were you, I'd worry less about \n the shower and more about Rick's \n bachelor party.", "Mr. Thomerson can't believe the goings-on. People are making \n out, drinking and dancing. He hides in a corner to watch \n undercover.\n\n ANGLE IN CORRIDOR" ], [ "RICK\n So how's your wife?\n\n Larry stops walking and immediately breaks down.", "People begin to scurry for cover. In the b.g., under a tree, \n we SEE Larry and his wife huddled in each other's arms. From \n the way they look, they have worked things out.", "They pass an open examining room. Stan's wife, TINA, is also \n a doctor and is examining an old man. She's not as tiny as", "LARRY\n I hate her. I hate her guts, the \n bitch.\n\n O'NEILL\n Larry, you and your wife got problems?", "FATHER FALWELL\n (rapid fire)\n I now pronounce you man and wife. \n Goodbye.\n\n He blesses them lightning fast and springs for his car.", "Ilene shoves socks in her bra to enhance her cleavage and \n defiantly slaps on her new dress.\n\n ILENE\n Brett, are you with us?", "Rick is shaken by this. He shakes his head and wipes at his \n eyes. Debbie's face is gone. He moves toward Tracey again.\n\n TRACEY", "LARRY\n She hates me. It's over. You'll see, \n as soon as you get married, everything", "Rick joins the craziness. After several beats, the Woman \n gets bored and EXITS the FRAME.\n\n THE WOMAN", "Gary's \"woman\" enters and closes the door. Their eyes meet. \n Gary takes her hand and kisses it gently. She turns away,", "RICK\n Cole, what the hell are you doing?\n\n COLE\n She's mine!\n\n He drives off.", "DEBBIE\n (holding back tears)\n Rick, you're lying!\n\n As Rick protests, she throws on her blouse and runs out of \n the room. Rick charges after her.", "As Mr. Thomerson drones on, Rick shifts uncomfortably in his \n chair, focusing his attention on Debbie, her mother and her", "STAN\n Afraid so. I did everything I could.\n\n LARRY\n It's my fault. He's dead because... \n I left those drugs...", "As Rick and O'Neill continue mugging like two 12-year-olds \n in a photo booth, the Woman takes her child and exits. A few \n beats pass and the guys notice they're alone.", "He opens the blinds, revealing Cole's ass pressed up against \n the window.\n\n WOMAN\n\n She screams, horrified.", "still frozen in a state of shock. The girls try to pry her \n hands off.\n\n EXT. STREET CORNER\n\n Several HOOKERS are standing around. Gary approaches them.", "The sun roof opens. Suddenly Cole's ass sticks through it. \n The Woman freaks out again.\n\n EXT. SPORTSCAR", "He jumps on top of her and starts mauling her passionately. \n Debbie snaps on the lights. She throws off her wig and she \n and Rick come face to face.", "THOMERSONS\n They fear the worst.\n\n MR. THOMERSON\n Oh, God Almighty.\n\n RICK" ], [ "The party is going full blast. Some other girls and a couple \n of guys (hotel guests) enter the room and are quickly swept \n up in the spirit of the party. O'Neill approaches Rick.", "The party has reached fever pitch. Suddenly police SIRENS \n pierce through the party sounds. Everyone freezes. We HEAR \n the Hotel Manager BEATING on the DOOR with his fists.", "RICK\n (to everyone in the \n room)\n Your attention, please. May I be the \n first to say, It's a raid!", "The party is taking off. The all-girl band is going ape shit. \n The guys are dancing with the hookers. They're all moving in", "heavy duty metal kind hunters use). He looks up menacingly \n at the hotel and spots the room where the party is going on. \n He sees another hotel across the way. He gets an idea and", "Everyone jumps out from their hiding places. With our guys \n is Gary and his team of FIVE PROSTITUTES.", "ANGLE - THE PARTY GUESTS\n\n They all scream and holler approval.\n\n ANGLE - DESIREE", "COLE\n (nearly hysterical)\n The bachelor party's upstairs. They", "There is a beat, and then Robert falls INTO FRAME, still \n holding the cigarette lighter, and the car Raul is driving \n enters the lot and smashes into the side of the garage.", "record and everyone starts dancing. Larry is laying out drugs \n on a table. They consist of lines of coke and various happy \n time pills of all colors and shapes. Rick takes a look at", "His window is right opposite the window in the hotel of Rick's \n party.\n\n COLE\n\n He's pleased. Very pleased. He places an arrow into his \n crossbow.", "Rajah is standing by the door. The arrow zips through the \n room, misses everyone and lodges in the wall inches from \n Rajah's head. He looks at the arrow and realizes he almost \n was killed.", "STAN\n (keeping it a surprise)\n Oh... it's... er... the guys from \n the beer convention. We're bringing \n them to the party.", "MILT joins them. Milt is a massive hulk. A bearded exbiker. \n He could have come out of an MX silo. A menacing mountain of \n a man decked out in a cowboy hat.", "The guys all but dive into the room. It is a two-room suite \n with living room/kitcheonette and separate bedroom. The room", "He exits. As he does, our guys crowd around and peek through \n the kitchen door.\n\n NICK\n\n We FOLLOW him as he approaches the girls' table.", "He drops to his knees and hugs Thomerson's legs. The party \n stops and everyone watches.", "RAJAH\n (frightened)\n Holy Dung is this thing! I sic Milt \n on you. He get back bitches. Me? I \n haul ass.", "RAJAH\n Big problem now. Soon they go to \n customers.\n\n GARY\n I need them for a bachelor party at \n the Park View Hotel.", "Everyone pelts Rick and O'Neill with more junk.\n\n Suddenly the door bursts open. The guys look up and are \n surprised to see Cole enter." ], [ "WOMAN\n Absolutely amazing.\n\n A Man who has taken a punch and has had his jacket ripped to \n shreds doesn't seem pleased.", "He takes a swing at Cole and Cole swings back. Behind them \n on the screen a man has come to the rescue of the woman.", "Gary, beaten up, his clothes ripped, stands amidst the guys.\n\n RICK\n Hookers beat you up?\n\n GARY\n Yes.", "Rick climbs over several rows and continues to pummel Cole. \n Cole grabs a woman's purse and begins to hit Rick with it.", "There is a beat, and then Robert falls INTO FRAME, still \n holding the cigarette lighter, and the car Raul is driving \n enters the lot and smashes into the side of the garage.", "Jumbo has had enough. He backs Gary against a wall and pulls \n a knife on him.", "in perfect sync with the actors in the movie. Rick hits Cole \n with a punch that sends him backwards into several movie \n patrons. The patrons are impressed by the realism of the", "Milt casually takes off his hat and immediately sticks his \n face through a nearby window, smashing it to pieces. He pulls \n his head out, smiles and puts his hat back on.", "Rick pushes them away from Gary like a referee separating \n two fighters.\n\n RICK\n Give the guy air. Everyone to a \n neutral corner.", "GARY\n That's more like it.\n\n The girls walk over to Gary and proceed to beat the crap out \n of him.", "Gary turns, almost collides with a garbage can, and starts \n walking down the street. He passes a parked Porsche. After a", "The cops grab Mr. Thomerson as he tries to get out, and they \n throw him in line with the others. Unfortunately for him, \n he's standing next to Mrs. Thomerson.", "Cole runs out of the aisle as Rick climbs over people and \n dives onto Cole, knocking him to the aisle.", "Mr. T. drills a wicked forehand shot straight at Cole, who \n swings at it and misses.", "and hits the guy squarely on the top of the head. PULL OUT \n to REVEAL that they're surrounded by dozens of tennis balls.", "The cops rear back for a run at the door. At that moment the \n hotel door opens up and the cops and the Manager are trampled", "O'Neill, the best man, sees the car. He pokes Rick. He \n indicates to Rick someone has arrived.", "marguerita, hitting Phoebe in the face.", "GARY\n Your whores never showed up.\n\n JUMBO\n They left an hour ago, pink nuts.\n\n GARY\n Screw you!", "A fight starts in the movie, also. The patrons sit calmly \n watching the action. Miraculously, Rick's fight with Cole is" ], [ "Rick climbs over several rows and continues to pummel Cole. \n Cole grabs a woman's purse and begins to hit Rick with it.", "RICK\n Cole, what the hell are you doing?\n\n COLE\n She's mine!\n\n He drives off.", "Cole runs out of the aisle as Rick climbs over people and \n dives onto Cole, knocking him to the aisle.", "COLE'S POV\n\n He has Rick right where he wants him.\n\n CROSSBOW TRIGGER\n\n Cole's finger squeezes off a shot.", "As the movie ends, Rick has Cole by the collar and is dragging \n him out of the theater.\n\n INT. MALL OUTSIDE THEATER", "COLE\n (pissed)\n Rick, me and you aren't through yet.\n\n He runs off.", "RICK\n Thank you. We'll all keep that in \n mind. 'Bye now.\n\n Cole turns red with anger.", "RICK\n\n He begins to walk toward the priest. Suddenly, out of nowhere, \n Cole appears at his side.", "Rick exits the theater with Cole. He tosses Cole to Chulo. \n Debbie comes running behind Rick.\n\n RICK\n (to Debbie)\n Are you okay?", "COLE'S POV\n\n He's looking down his sights. Rick is the target... and an \n easy one at that, for at this very moment Rick is crossing \n past the window.", "Everyone pelts Rick and O'Neill with more junk.\n\n Suddenly the door bursts open. The guys look up and are \n surprised to see Cole enter.", "RICK\n (continuing)\n What a decision here.\n\n He walks over to the window. Cole follows closely. He's trying \n to convince Rick to take the car.", "A fight starts in the movie, also. The patrons sit calmly \n watching the action. Miraculously, Rick's fight with Cole is", "Suddenly a Porsche pulls up between Rick and Debbie. It's \n Cole. He reaches over and pulls Debbie into the car with \n him. She screams.", "RICK\n Thanks, Dad.\n (to Cole)\n Cole, go away.", "COLE\n You guys are never going to get away \n with this.\n\n Rick stuffs Cole's underwear in his mouth to gag him.", "He takes a swing at Cole and Cole swings back. Behind them \n on the screen a man has come to the rescue of the woman.", "COLE\n I don't want any trouble.\n\n RICK\n Oh, come on, just a little.", "COLE\n (screaming)\n Rick... Rick... Goddamn it.\n\n INT. HOTEL SUITE - ANGLE - RICK", "He looks out the window and sees Cole standing next to his \n transformed Porsche.\n\n COLE\n Rick... Debbie is mine. She'll always \n be." ] ]

[ "Who does Debbie Thompson's father enlist to break her and Rick up?", "How does Debbie and her friends get even with Rick and his friends?", "What does Rick have to keep stopping Brad from doing?", "What happens when the bachelor party and bachelorette party meet?", "What happens to Debbie when the police raid the party?", "Where do Rick and Cole fight?", "Who drives Rick and Debbie to the airport?", "What does Brad use to try to slit his own wrists?", "What happens when the girl gets punched at the theater?", "What does Rick Gassko do for a living?", "Who did Rick end up marrying?", "What did Debbie's dad decide to do to try and break up Rick and Debbie?", "What did Debbie accuse Rick of?", "What did the parties end up becoming?", "Who botched his suicide attempts every time?", "What was one example of Brad's suicide attempts?", "What was happening while Rick was convincing Debbie of his love?", "Where was one location where a chase between Rick and Cole took place?", "To what did a theater watcher mistakenly attribute being punched to?", "Where does Rick Gassko work?", "Who does Debbie's father ask to break up Debbie and Rick?", "Where do Rick and Cole fight?", "What does Brad try to slit his wrists with?", "How do Debbie and Rick get to the airport?", "What happens to the bachelor party?", "What happened to Brad's wife?", "Who raids the party?", "Who gets punched?", "Who wins the fight between Rick and Cole?" ]

[ [ "Debbie's ex-boyfriend Cole Whittier", "Her ex-boyfriend Cole Whittier." ], [ "They have a party of their own", "They have their own party." ], [ "Committing suicide", "Attempting suicide." ], [ "The go to a hotel to have one big drunken orgy", "Debbie accuses Rick of being unfaithful." ], [ "Cole kidnaps her", "Cole kidnaps Debbie" ], [ "In a movie theater", "Theater" ], [ "Brad", "Brad." ], [ "An electric razor", "An electric razor." ], [ "That it was an effect from the 3d movie", "She thinks it is just a special effect." ], [ "He is a school bus driver.", "He drives a school bus." ], [ "His girlfriend Debbie Thompson.", "Debbie Thompson." ], [ "He solicited the help of Cole Whittier, Debbie's ex-boyfriend to try and win Debbie back.", "He gets Debbie's ex-boyfriend Cole to break them up." ], [ "Infidelity.", "Cheating on her at his bachelor party." ], [ "One giant drunken orgy.", "An orgy." ], [ "Brad, Rick's friend.", "Ricks friend Brad." ], [ "Slitting his wrists with and electric razor.", "To try to use an electric razor to slit his wrists." ], [ "The party was being raided by the police.", "The bachelor party is raided by the police." ], [ "A 36-screen movie theater.", "Movie theater" ], [ "The ongoing film's 3D effect.", "The 3D movie effects." ], [ "As a bus driver", "As a schoolbus driver." ], [ "Her ex boyfriend", "Cole Whittier" ], [ "In the movie theater", "Below movie screen in the theater" ], [ "An electric razer", "An electric razor." ], [ "In a bus", "In a school bus." ], [ "It goes crazy and becomes an orgy", "It becomes combined with the bridal shower and both parties deteriorate." ], [ "She left him", "She divorced him." ], [ "The police", "The police." ], [ "A girl watching the movie", "A woman in the movie theatre." ], [ "Rick", "Rick." ] ]

[ [ "Quail looks around him, half-convinced.\n\n MELINA\n (looking toward\n space shuttles\n on video screens)\n Charles - for Mars's sake....", "Quail's obsession. For twelve\n years you've been talking about\n Mars.", "Quail and Melina, masks on, stare out as Bennie claws\n desperately at his severed air line. The Martian vacuum\n pulls the oxygen from Bennie's lungs, he chokes, staggers --", "Everyone ignores the broadcast -- except Quail, who perks\n instantly at the word \"Mars.\"\n\n The NEWSCASTER is a young black man.", "Long pause.\n\n QUAIL\n Are you trying to tell me that\n this is all part of some...\n artificially injected fantasy?\n That I never really left Earth?", "The news conference ends and a bright looking young man\n comes on the screen. Quail continues to watch, though\n not as interested, initially, as he was by the Mars story.\n Few of the other passengers bother looking at the screen.", "Quail lunges across the pillows to Kuato's unbreathing\n form. Quail shakes the ancient mystic, trying to find a\n last flicker of life.", "BENNIE\n It's a tough planet, boss.\n\n QUAIL\n Yeah, right.", "Kirsten is watching another pornographic video when Quail\n bursts in. He is still disoriented.\n\n QUAIL\n Did you know I've been to\n Mars?", "QUAIL\n To combine elements in the\n Martian core and release\n them as oxygen, hydrogen\n and nitrogen.\n\n BENNIE\n That's air!", "KUATO\n The turbulence you hear\n outside is but a reflection\n of the turmoil within you.\n You have brought it to Mars\n in your search for yourself.", "The Guards laugh and signal him on.\n\n Once through the second door of the air lock (i.e. to the\n area outside the city), Quail and Melina emerge and sit\n up on the rear seats.", "Kirsten pulls on her robe, lights a cigarette, sits fishing\n for her slippers.\n\n QUAIL\n I dreamed about Mars again... it\n was bizarre, yet is was so real...", "Quail goes to a viewport and PEERS, transfixed. He is\n seeing... at last... the object of his obsession.", "QUAIL\n People do go to Mars, you know.\n\n KIRSTEN\n That's right, Douglas. But not\n you. Not us.", "QUAIL\n (wistfully)\n Well... I'd like to see the\n Martian Sphinx...", "QUAIL\n Don't you see?! From being\n a pile of red dirt with\n minerals, Mars is going to\n change into a chunk of\n priceless real estate.", "Quail enters, turns on the lights, locks the door. He\n checks all the rooms. Then he crosses to the dresser,\n studies himself in the mirror. He looks haggard.", "Quail spots a large WINDOWED AIR LOCK at the end of the\n corridor. He and Melina race to it. Quail starts to open\n the inner door of the air lock.", "The hands belong to breather-masked MINERS, dismounting\n rapidly from an overloaded transport vehicle which was\n taking them to the Space Port. Quail looks from them to\n Melina, who is walking towards the group." ], [ "All the miners are puzzled, apprehensive. Quail reaches\n toward the one who spoke to him before and pulls off his", "The First Guard points to the edge of the main shaft --\n right where Quail and Melina are hiding. The Guards\n cock their weapons, start cautiously forward. Just as", "BENNIE\n Sorta. Bunch of miners out\n here got their own claims, from", "Quail and Melina are forty feet below the upper end of\n the main downshaft. They can look up the shaft and\n see the first interior level of the Sphinx itself.", "93 INT. OLD MINE - NIGHT", "COHAAGEN\n With him...\n (gestures toward\n the mine)", "MELINA\n It's happening.\n\n MINER\n What is it?", "THIS LABYRINTH of TUNNELS. The GROUND TREMBLES under him,\n as if in an earthquake. We cannot clearly make out his face,", "All the miners watch in amazement. They all remove their\n breathing masks.", "The miners' desert garb, shield goggles and breathers add\n to the surreal nightmare quality of Quail's tortured\n perspective --\n\n\n BACK TO QUAIL", "HEAVES BENEATH HIM ... HUGE STONE BLOCKS CRASH DONW ON\n ALL SIDES! We hear an EXPLOSION and ANOTHER and ANOTHER,", "Because of this, the RED GLOW, the air of FEAR to the man,\n and the GROUND HEAVING and BUCKLING, there is almost a", "The joint is a combination saloon/cathouse/casino. There\n are slot machines, HOOKERS, MINERS and HOMESTEADERS; it is", "They walk as they talk - into a room off the main tunnel.\n It is adorned with \"FREE MARS\" and \"MARTIAN LIBERATION", "to the mine out at Apidalia\n Planitia. Got them people\n you're lookin' for in the\n back as well.", "The Mole bores through a sand wall, emerges into a cramped\n horizontal tunnel. Quail and Melina leap out. The poor", "if in an earthquake. EXPLOSIONS rumble deep in the ground\n below him. Suddenly we realize -- the man is Quail", "Far in the distance, a dusty red structure squats amid\n barren dunes. We see vehicles, scaffolding, a fortified\n perimeter.", "mine. The bigger car follows him, but won't fit. The\n roof is smashed to pieces as the vehicle is wedged into\n the narrow opening.", "MINER #4\n (alarmed)\n ...well, that killed twelve\n thousand...\n\n QUAIL\n What is this, Bennie...\n Tombstone?" ], [ "He is a good-looking but conventional man in his early\n thirties. He seems rather in awe of his wife, who is\n attractive and rather off-hand towards him.", "He leaves. Kirsten smiles secretively. She goes to a\n drawer, opens it and removes a tiny instrument that looks", "QUAIL\n (outraged)\n How could you do it? After\n eight years!\n\n KIRSTEN\n I'm not your wife, Quail.", "Lull and Ernie look up as he enters. Quail lies on the\n couch, breathing slowly and regularly, his eyes closed.\n McClane looks queryingly at Lull, who motions him to\n silence.", "His voice drops off; his eyes close. Lull studies him,\n adjusts some instruments, then turns to Ernie, glancing\n briefly at a typed sheet in front of her.", "Kirsten is taken aback at his use of language. He strides\n into the bathroom and slams the door. She turns on one\n lamp, goes to a telephone and dials.", "PULL BACK to reveal they are Quail's hands. The hotel\n room he's now in is obviously a different one than the", "back. A pistol lies on the floor. Quail is totally stunned.\n He releases her arm, shoving her away from him, at the same\n time scooping up the pistol.", "Quail is sitting, distracted, in an uncomfortable modern\n chair. Kirsten is watching a near-pornographic film on\n TV. She casually lights a cigarette.", "Now, Lull extends a long rubber tube, a hypodermic needle\n attached to it. Quail eyes it warily. She swabs the back\n of his hand in preparation, notices his apprehension.", "KIRSTEN\n What men? Doug, you're crazy.\n\n She starts to mix a drink from a well-stocked cabinet.", "LULL\n (bends over\n Quail)\n Quail? Dougie, can you hear me?\n\n QUAIL\n Yes.", "Quail stay. Plainly he wants to, but he can't. They kiss\n lingeringly; then Quail, as if \"called to duty,\" exits.", "KIRSTEN\n (shrugging)\n We had to watchdog you...make\n sure the erasure took. A wife\n seemed like a good idea.", "KIRSTEN\n Oh my God...\n\n QUAIL\n But something went wrong...\n something about a real\n memory... and then those\n men... tried to kill me.", "Melina bursts into tears. Quail rather tentatively puts\n his arms around her. She welcomes this at first, but then\n pushes him away.", "LULL\n Dougie? This Sophie Lull.\n Can ya hear me?\n\n QUAIL\n ...Sophie....", "Suddenly, she slaps him hard across the face.\n\n MELINA\n (quietly)\n You bastard...\n\n He rubs his painful cheek.", "She lowers the mask. Her face is now that of QUAIL.\n He tears up a passport and drops it down a chute.\n\n He reaches inside his dress, starts to REMOVE his \"FALSIES.\"", "QUAIL\n I don't have a wife. Well,\n I do - but not a real wife.\n (getting" ], [ "Quail watches the commercial through to the end, but doesn't\n seem to take it very seriously. He glances away as a card\n comes on the screen with REKALL's numbers.", "McCLANE\n (continuing)\n You can have a new identity\n for the duration of the trip.\n Pick one.\n\n Quail's eyes linger on \"Intelligence Agent.\"", "Although the driver's voice is a little mechanical (flat\n in tone) he is filmed from Quail's POV, and it isn't\n obvious he is anything other than an ordinary cab driver.", "The news conference ends and a bright looking young man\n comes on the screen. Quail continues to watch, though\n not as interested, initially, as he was by the Mars story.\n Few of the other passengers bother looking at the screen.", "PULL BACK to reveal they are Quail's hands. The hotel\n room he's now in is obviously a different one than the", "The doors open and the crowd surges on. Quail grabs a\n seat. At intervals throughout the car are VIDEO MONITORS\n on which a NEWS BROADCAST is showing.", "QUAIL\n Who is it?\n\n VOICE (O.S.)\n Mr. Hauser, I want to talk to\n you... about Douglas Quail.", "These items apparently are objects Rekall, Inc. intends\n to \"plant\" for some client of theirs to find (perhaps\n even Quail) -- as part of his fantasy.", "Everyone ignores the broadcast -- except Quail, who perks\n instantly at the word \"Mars.\"\n\n The NEWSCASTER is a young black man.", "Quail looks around him, half-convinced.\n\n MELINA\n (looking toward\n space shuttles\n on video screens)\n Charles - for Mars's sake....", "Kirsten is watching another pornographic video when Quail\n bursts in. He is still disoriented.\n\n QUAIL\n Did you know I've been to\n Mars?", "Quail tugs the envelope from his pocket, tears it open.\n Inside is a single slip of paper, on which is written\n in longhand:", "Quail enters, turns on the lights, locks the door. He\n checks all the rooms. Then he crosses to the dresser,\n studies himself in the mirror. He looks haggard.", "VOICE (O.S.)\n My name is George Edgemar.\n I work for Rekall, Incorporated.", "Filmed from the elevator end of the area, we see the cab\n pull up and Quail alight and enter the building. He nods", "She lowers the mask. Her face is now that of QUAIL.\n He tears up a passport and drops it down a chute.\n\n He reaches inside his dress, starts to REMOVE his \"FALSIES.\"", "CASSETTE VOICE (V.O.)\n (Quail's voice)\n \"Hauser, this is Hauser -- or", "The man telephoning Quail is calling from a bar. Occasion-\n ally people pass him on their way to the toilets. He is\n youngish and conservatively dressed. He speaks rapidly\n and urgently.", "Quail sits in the subway car as it barrels through the\n night, not knowing exactly where he will go. He is\n confused, distraught. A commercial comes onto the video.", "the screens. Quail pauses in his typing, thoughtful. He\n then types in a little more information, then pauses again.\n On the screen, a sentence types itself..." ], [ "Quail is anxious to get rid of the transmitter. He looks\n around and notices a rat trap near a rat hole in the\n skirting board.", "Holding the wet towel against his neck, Quail slowly\n withdraws the wire. On the end of it is a tiny, metal\n bead, the Transmitter.", "Quail gives Bennie that same eerie look, then turns to\n Kuato, who is sprawled motionless across the pillows, a\n curl of smoke rising from two entry wounds in his spine.", "Cohaagen orders the doctors to attach electrodes to PROBES\n already inserted into Quail's brain. As they turn up the\n power, Quail's face contorts in a grimace of agony --", "QUAIL\n But I remember it! All of\n it!... Us!\n\n KIRSTEN\n All implanted.", "These items apparently are objects Rekall, Inc. intends\n to \"plant\" for some client of theirs to find (perhaps\n even Quail) -- as part of his fantasy.", "36 INT. HOTEL BATHROOM - NIGHT\n\n The sound of the tape continues as Quail follows\n instructions - pushing the wire up into a bloody portion\n of his neck, just below the ear.", "It is an explosive device of some sort. Quail and Melina\n press themselves against the wall just around a corner from\n the elevator. There is a tremendous explosion.", "A MUFFLED CHOCKED SOUND comes from behind Kuato's neck.\n It's the Oracle Head! Quail instantly rolls Kuato's body\n over. The Head is still alive!", "QUAIL\n (continuing)\n Killing you... killing you...\n killing you....\n\n His voice trails off, his eyes close.", "Quail steps back. He stares at the two bodies, incredulous;\n then stares at his own deadly HANDS. It is as though they\n belong to someone else.", "QUAIL\n Yes... there's a vital\n connection missing...\n\n He approaches even closer. He begins to raise his arm\n towards a blank area a little above his head.", "Quail opens a drawer, takes out his \"emergency case,\" sets\n it on top and opens it. He removes a shoulder holster and\n pistol, sets them aside. He takes out a tape recorder.", "Quail ditches the recorder and the \"emergency case\" into\n the drawer -- everything except the PISTOL.\n\n Quail approaches the door very cautiously (from the side --\n out of the line of fire).", "Quail lunges across the pillows to Kuato's unbreathing\n form. Quail shakes the ancient mystic, trying to find a\n last flicker of life.", "PULL BACK to reveal they are Quail's hands. The hotel\n room he's now in is obviously a different one than the", "back. A pistol lies on the floor. Quail is totally stunned.\n He releases her arm, shoving her away from him, at the same\n time scooping up the pistol.", "cold and steely. In fact, Quail's entire personality\n seems to have changed -- his face has acquired a flint-\n edged hardness. He is chillingly menacing.", "Quail enters, turns on the lights, locks the door. He\n checks all the rooms. Then he crosses to the dresser,\n studies himself in the mirror. He looks haggard.", "Quail tugs the envelope from his pocket, tears it open.\n Inside is a single slip of paper, on which is written\n in longhand:" ], [ "Now no one can breathe. They all claw for their masks,\n [still] in place. Bennie is first; he recovers, lunges", "way back. Cohaagen's buyin' em\n all up, says he's gonna cut off\n the air an' water if they won't", "BENNIE\n Some guy really screwed her -\n screwed her up real good.\n Some Earthman. Just hopped\n on a space shuttle.", "It is an explosive device of some sort. Quail and Melina\n press themselves against the wall just around a corner from\n the elevator. There is a tremendous explosion.", "twelve hours, all residents\n will be departing on shuttles\n within twenty-four hours. Air\n and water supplies will be cut", "BENNIE\n Nothin', boss. Just old\n smokies. Only place they\n can come for a puff. It's\n all banned topside.", "The solar car proceeds along the tunnel. It enters an area\n full of smoke. Dozens of men are sitting around smoking\n cigarettes, pipes and cigars. Quail looks at them in\n amazement.", "MELINA\n So what can we do?\n\n QUAIL\n Ruin his little scheme by\n terriforming ahead of\n schedule - while the\n inhabitants are still here.", "The streets are crowded and there is a \"frontier-town\"\n atmosphere. Stalls sell fruit and vegetables, also water\n and air containers.", "Because of this, the RED GLOW, the air of FEAR to the man,\n and the GROUND HEAVING and BUCKLING, there is almost a", "veys the scene. The four men in the wrecked car clamber\n their way backwards out of the wreckage. They are covered\n in blood and their clothes are in shreds.", "shreds, scattering refuse everywhere. The rat is killed.\n They all stare in disbelief.", "The hands belong to breather-masked MINERS, dismounting\n rapidly from an overloaded transport vehicle which was\n taking them to the Space Port. Quail looks from them to\n Melina, who is walking towards the group.", "Cohaagen and a number of his associates, plus scientists\n and heavily arms troops are present.\n\n COHAAGEN\n The air supply is off under\n the domes?", "The fight begins. Bennie attacks Quail with his buzz-saw\n arm; Quail dodges. Bennie's arm shreds various articles", "Simultaneously, the air in the vehicle starts rushing out!\n All three parties begin choking. As Bennie's mechanical", "in for the quick kill. Melina clutches the terrifying\n appendage with both hands, desperately keeping it at bay.\n But her strength is no match for Bennie; the whirring", "Quail delivers a roundhouse punch to Bennie, knocking him\n clear across the bus.\n\n Melina seals the vent, REPRESSURIZES THE CABIN.", "Quail and Melina, masks on, stare out as Bennie claws\n desperately at his severed air line. The Martian vacuum\n pulls the oxygen from Bennie's lungs, he chokes, staggers --", "The Guards laugh and signal him on.\n\n Once through the second door of the air lock (i.e. to the\n area outside the city), Quail and Melina emerge and sit\n up on the rear seats." ], [ "The Guards laugh and signal him on.\n\n Once through the second door of the air lock (i.e. to the\n area outside the city), Quail and Melina emerge and sit\n up on the rear seats.", "Quail strides back in, icy-furious. He seizes Melina by\n the wrist and drags her after him into the corridor.\n\n\n84A INT. CORRIDOR - NIGHT", "85 EXT. ALLEY BEHIND HILTON - NIGHT\n\n Quail and Melina run from a basement door into an alley.", "Two more E.I.O. men appear but Quail shoots them while\n dragging Melina down the hall in the opposite direction.\n He pushes open the door leading to the staircase.", "ALARMS go off everywhere. Quail -- carrying a gun and all\n the grenades and ammo belts -- and Melina (just carrying a\n gun) bolt down a corridor past a sign: \"LEVEL ONE\".", "Quail and Melina, wearing breather masks, bursts in onto\n an overhead catwalk. They OPEN FIRE on the Guards, who are\n choking, struggling with their masks.", "Melina and Quail can be seen on the security monitor from\n a high angle. Quail looks up, spots the monitor, and\n shoots is to pieces. The image on the screen goes black.", "The First Guard points to the edge of the main shaft --\n right where Quail and Melina are hiding. The Guards\n cock their weapons, start cautiously forward. Just as", "There's a lighted area at the end of the tunnel. Quail\n and Melina hurry toward it, moving silently, close to\n the wall.\n\n\n126B INT. MAIN DOWNSHAFT", "Bennie is nervous. Melina and Quail are in the back, but\n cannot be seen. Guards are checking all vehicles exiting,\n looking for Quail and Melina.", "Quail snatches both Guards' weapons, grenades and ammo\n belts. Melina climbs out of the shaft. Quail tosses her\n one of the Guard's guns.", "The searchlight approaches Bennie, Quail and Melina. Bennie\n ducks into a doorway, while Quail grabs Melina and kisses", "Melina opens fire, nails two. Quail heaves a grenade; as\n it EXPLODES, he and Melina bolt down a side corridor --", "It is an explosive device of some sort. Quail and Melina\n press themselves against the wall just around a corner from\n the elevator. There is a tremendous explosion.", "The entire control room begins to rumble and shudder. As\n Quail reaches for Melina, Cohaagen suddenly dives on him.", "Quail spots a large WINDOWED AIR LOCK at the end of the\n corridor. He and Melina race to it. Quail starts to open\n the inner door of the air lock.", "Quail gives up; goes through the doors and leaves. Melina\n slumps her shoulder against the table and cries.\n\n\n77 INT. LAST CHANCE AIR STATION GARAGE - NIGHT", "Quail, followed by Melina, rounds a corner. The elevator\n is in ruins; bodies are scattered everywhere.\n\n MELINA\n Great stuff, but how do we\n get up?", "ALARMS continue as Quail and Melina dash down the side\n passageway. MORE GUARDS cut them off; Melina's machine\n gun sends them scattering --", "(NOTE: As Quail and Melina speak, the activity in the\n outside bar can be seen above the swinging doors.)" ], [ "It is an explosive device of some sort. Quail and Melina\n press themselves against the wall just around a corner from\n the elevator. There is a tremendous explosion.", "MELINA\n (whispering)\n There's an explosive in the\n clipboard! He has a dead-man\n switch in his hand!", "Simultaneously, the air in the vehicle starts rushing out!\n All three parties begin choking. As Bennie's mechanical", "Melina and Quail can be seen on the security monitor from\n a high angle. Quail looks up, spots the monitor, and\n shoots is to pieces. The image on the screen goes black.", "of Mars. When we trigger\n the mechanism, fusion\n reactors will detonate down\n there -- four hundred miles\n deep.", "ALARMS go off everywhere. Quail -- carrying a gun and all\n the grenades and ammo belts -- and Melina (just carrying a\n gun) bolt down a corridor past a sign: \"LEVEL ONE\".", "Quail and Melina, wearing breather masks, bursts in onto\n an overhead catwalk. They OPEN FIRE on the Guards, who are\n choking, struggling with their masks.", "Quail steps back. He stares at the two bodies, incredulous;\n then stares at his own deadly HANDS. It is as though they\n belong to someone else.", "At that instant, Melina lunges, PUNCHES A RED EMERGENCY\n BUTTON. The VENT beside Bennie's hand BLOWS OPEN, [causing]", "Now no one can breathe. They all claw for their masks,\n [still] in place. Bennie is first; he recovers, lunges", "The entire control room begins to rumble and shudder. As\n Quail reaches for Melina, Cohaagen suddenly dives on him.", "shreds, scattering refuse everywhere. The rat is killed.\n They all stare in disbelief.", "The First Guard points to the edge of the main shaft --\n right where Quail and Melina are hiding. The Guards\n cock their weapons, start cautiously forward. Just as", "Quail throws a backward glance fearfully over his shoulder.\n The EXPLOSIONS are closer. Suddenly --", "returns the fire. He staggers back out into the corridor\n and slams against the wall, dead.", "riddling him with bullets. He collapses in an undignified\n heap, his head in the water at the base of the trough.", "ERNIE\n With spontaneous breakthrough.\n\n McCLANE\n Holy shit.\n\n They stare at Quail as if he's a ticking bomb.", "Quail spins toward the door just as it BURSTS OPEN. A man\n enters, firing, but Quail has fallen to the floor and", "Before either Guard can react, the real Quail appears --\n one foot behind them. With two LIGHTNING BLOWS, he", "He leaves. Kirsten smiles secretively. She goes to a\n drawer, opens it and removes a tiny instrument that looks" ], [ "of Mars. When we trigger\n the mechanism, fusion\n reactors will detonate down\n there -- four hundred miles\n deep.", "A MUFFLED EXPLOSION (due to the thin Martian atmosphere)\n detonates overhead. THE SPHINX'S RIGHT EYE BLOWS IN a\n storm of shards and shrapnell.", "QUAIL\n To combine elements in the\n Martian core and release\n them as oxygen, hydrogen\n and nitrogen.\n\n BENNIE\n That's air!", "Instantly, the room turns into a hurricane as the Martian\n vacuum sucks out all air! Everyone panics, grabbing their\n\n COHAAGEN\n Seal the breach! Repressurize!", "It is now sunset on Mars and it's literally of inearthly\n beauty. The sun is bold and blood red; the foggy, drip-\n ping glass of the Dome tints the light into strange colors.", "The atmosphere of Mars is\n almost a vacuum. Thank you\n for flying with Interstellar\n and we hope your stay will be", "The SPACELINER -- which we have deliberately not seen before\n this moment for dramatic effect -- banks and turns, suddenly\n bringing into view -- MARS.", "for Mars. No more pressurized\n cities, no more containers in\n the desert. There'll be\n rivers, vegetation - life -", "Quail and Melina, masks on, stare out as Bennie claws\n desperately at his severed air line. The Martian vacuum\n pulls the oxygen from Bennie's lungs, he chokes, staggers --", "As the sky becomes more and more blue, more of the Miners\n descend from the bus. Softly at first, then with more and\n more confidence, they begin singing the Martian National\n Anthem.", "49 EXT. MARTIAN DESERT - DAY\n\n An endless expanse of boulder-studded red sand, under\n a red-orange sky.", "She gestures toward the TV screen where Martian police\n are keeping protesters behind a barrier. Some have signs\n reading \"A FREE MARS\", \"DOWN WITH COHAAGEN\", \"EARTH - OUT\"\n etc.", "really took.\n (pause)\n Someone at Earth Intelligence\n Operations erased his memory.\n All he know was going to Mars", "(he nods)\n Good. Now, what's the first\n thing you think of when you're\n thinkin' about Mars?", "a powerful suction caused by Mars's vacuum atmosphere.\n Bennie's gun hand is PLANTED AGAINST THE VENT [OPENING.]", "The liner drops toward the surface of Mars. Below: a\n NETWORK OF INTERSECTING LINES crisscross the planet.", "He unzips his jacket to reveal a T-shirt with \"MARTIAN\n LIBERATION FRONT\" (and an appropriate symbol) emblazoned\n on it.", "KUATO\n The turbulence you hear\n outside is but a reflection\n of the turmoil within you.\n You have brought it to Mars\n in your search for yourself.", "145 EXT. MARTIAN DESERT - DAY", "CAPTAIN'S VOICE (V.O.)\n Those long gorges you see,\n clearly are the legendary\n canals of Mars...." ], [ "QUAIL\n (outraged)\n How could you do it? After\n eight years!\n\n KIRSTEN\n I'm not your wife, Quail.", "Quail looks at her as if seeing her for the first time.\n\n QUAIL\n No wonder you got the role as\n my bitchy wife -- type casting.", "KIRSTEN\n (continuing)\n It's all a fabrication, Quail.\n Everything you know.", "She lowers the mask. Her face is now that of QUAIL.\n He tears up a passport and drops it down a chute.\n\n He reaches inside his dress, starts to REMOVE his \"FALSIES.\"", "Quail is sitting, distracted, in an uncomfortable modern\n chair. Kirsten is watching a near-pornographic film on\n TV. She casually lights a cigarette.", "QUAIL\n I don't have a wife. Well,\n I do - but not a real wife.\n (getting", "McCLANE\n (continuing)\n You can have a new identity\n for the duration of the trip.\n Pick one.\n\n Quail's eyes linger on \"Intelligence Agent.\"", "He is a good-looking but conventional man in his early\n thirties. He seems rather in awe of his wife, who is\n attractive and rather off-hand towards him.", "KIRSTEN\n (indifferent;\n nursing her\n arm)\n It's a false memory implant.\n I never saw you before six\n weeks ago.", "EDGEMAR\n If we can't get you out now...\n you may never come out of it.\n Your wife calls every day --\n\n\n CLOSE - QUAIL", "McCLANE\n Wait a minute. Quail --\n\n QUAIL\n My name isn't Quail.", "KIRSTEN\n (shrugging)\n We had to watchdog you...make\n sure the erasure took. A wife\n seemed like a good idea.", "These items apparently are objects Rekall, Inc. intends\n to \"plant\" for some client of theirs to find (perhaps\n even Quail) -- as part of his fantasy.", "QUAIL\n You loved me once, you must\n have --\n\n MELINA\n That you was a liar. Who you\n are now I don't even know.", "QUAIL\n Who is it?\n\n VOICE (O.S.)\n Mr. Hauser, I want to talk to\n you... about Douglas Quail.", "3 INT. BEDROOM IN SMALL APARTMENT - MORNING\n\n DOUGLAS QUAIL and his wife KRISTEN, are asleep in bed.", "Lull and Ernie look up as he enters. Quail lies on the\n couch, breathing slowly and regularly, his eyes closed.\n McClane looks queryingly at Lull, who motions him to\n silence.", "An attractive RECEPTIONIST, her bare breasts visible\n through a clear plastic blouse, watches him; she then\n looks toward McClane who has half-opened the door to view\n Quail's progress.", "His nod indicates an area behind Quail. He turns to see\n an attractive waitress placing drinks on tables. She\n doesn't notice Quail. He walks toward her through the", "He leaves. Kirsten smiles secretively. She goes to a\n drawer, opens it and removes a tiny instrument that looks" ], [ "Quail examines the contents of the case: there are CREDIT\n CARDS and also MONEY, several stacks of bills, neatly\n tied -- some of it the conventional green, but most of\n it red.", "Quail opens a drawer, takes out his \"emergency case,\" sets\n it on top and opens it. He removes a shoulder holster and\n pistol, sets them aside. He takes out a tape recorder.", "These items apparently are objects Rekall, Inc. intends\n to \"plant\" for some client of theirs to find (perhaps\n even Quail) -- as part of his fantasy.", "The Clerk turns to the safe, retrieves an envelope. He\n hands it -- and an ELECTRONIC ROOM KEY -- to Quail.", "Quail tugs the envelope from his pocket, tears it open.\n Inside is a single slip of paper, on which is written\n in longhand:", "Quail ditches the recorder and the \"emergency case\" into\n the drawer -- everything except the PISTOL.\n\n Quail approaches the door very cautiously (from the side --\n out of the line of fire).", "5 INT. SUBWAY STATION - EARLY MORNING\n\n Quail enters the station. Everybody must pass through a\n weapons check before proceeding to the platforms.", "59 INT. QUAIL'S HOTEL ROOM - DAY\n\n Quail stands at the window, looking through binoculars.\n He lowers them irritably, tosses them on the bed.", "It is an explosive device of some sort. Quail and Melina\n press themselves against the wall just around a corner from\n the elevator. There is a tremendous explosion.", "Also in the case are: TWO PASSPORTS; a small CASSETTE\n RECORDER; a rolled-up LEATHER POUCH and a spray can of", "Quail enters, turns on the lights, locks the door. He\n checks all the rooms. Then he crosses to the dresser,\n studies himself in the mirror. He looks haggard.", "PULL BACK to reveal they are Quail's hands. The hotel\n room he's now in is obviously a different one than the", "McCLANE\n (continuing)\n You can have a new identity\n for the duration of the trip.\n Pick one.\n\n Quail's eyes linger on \"Intelligence Agent.\"", "Quail emerges from the hotel, properly attired now in a\n white tropical suit, and starts for the taxi stand.", "She lowers the mask. Her face is now that of QUAIL.\n He tears up a passport and drops it down a chute.\n\n He reaches inside his dress, starts to REMOVE his \"FALSIES.\"", "The man telephoning Quail is calling from a bar. Occasion-\n ally people pass him on their way to the toilets. He is\n youngish and conservatively dressed. He speaks rapidly\n and urgently.", "The Pawnbroker puts the case on the counter. Quail looks\n at the case with curiosity.\n\n QUAIL\n (continuing)\n I wonder if you could tell\n me...", "Quail does keep his gun trained on the man. The man enters,\n holding in his outstretched hand -- a business card.\n\n EDGEMAR\n My card, Mr. Quail.", "ALARMS go off everywhere. Quail -- carrying a gun and all\n the grenades and ammo belts -- and Melina (just carrying a\n gun) bolt down a corridor past a sign: \"LEVEL ONE\".", "QUAIL\n Catch!\n He hurls something toward the armed men in the elevator.\n Instinctively one of them reaches for the thrown object." ], [ "He is a good-looking but conventional man in his early\n thirties. He seems rather in awe of his wife, who is\n attractive and rather off-hand towards him.", "He leaves. Kirsten smiles secretively. She goes to a\n drawer, opens it and removes a tiny instrument that looks", "QUAIL\n (outraged)\n How could you do it? After\n eight years!\n\n KIRSTEN\n I'm not your wife, Quail.", "Lull and Ernie look up as he enters. Quail lies on the\n couch, breathing slowly and regularly, his eyes closed.\n McClane looks queryingly at Lull, who motions him to\n silence.", "His voice drops off; his eyes close. Lull studies him,\n adjusts some instruments, then turns to Ernie, glancing\n briefly at a typed sheet in front of her.", "Kirsten is taken aback at his use of language. He strides\n into the bathroom and slams the door. She turns on one\n lamp, goes to a telephone and dials.", "PULL BACK to reveal they are Quail's hands. The hotel\n room he's now in is obviously a different one than the", "back. A pistol lies on the floor. Quail is totally stunned.\n He releases her arm, shoving her away from him, at the same\n time scooping up the pistol.", "Quail is sitting, distracted, in an uncomfortable modern\n chair. Kirsten is watching a near-pornographic film on\n TV. She casually lights a cigarette.", "Now, Lull extends a long rubber tube, a hypodermic needle\n attached to it. Quail eyes it warily. She swabs the back\n of his hand in preparation, notices his apprehension.", "KIRSTEN\n What men? Doug, you're crazy.\n\n She starts to mix a drink from a well-stocked cabinet.", "LULL\n (bends over\n Quail)\n Quail? Dougie, can you hear me?\n\n QUAIL\n Yes.", "Quail stay. Plainly he wants to, but he can't. They kiss\n lingeringly; then Quail, as if \"called to duty,\" exits.", "KIRSTEN\n (shrugging)\n We had to watchdog you...make\n sure the erasure took. A wife\n seemed like a good idea.", "KIRSTEN\n Oh my God...\n\n QUAIL\n But something went wrong...\n something about a real\n memory... and then those\n men... tried to kill me.", "Melina bursts into tears. Quail rather tentatively puts\n his arms around her. She welcomes this at first, but then\n pushes him away.", "LULL\n Dougie? This Sophie Lull.\n Can ya hear me?\n\n QUAIL\n ...Sophie....", "Suddenly, she slaps him hard across the face.\n\n MELINA\n (quietly)\n You bastard...\n\n He rubs his painful cheek.", "She lowers the mask. Her face is now that of QUAIL.\n He tears up a passport and drops it down a chute.\n\n He reaches inside his dress, starts to REMOVE his \"FALSIES.\"", "QUAIL\n I don't have a wife. Well,\n I do - but not a real wife.\n (getting" ], [ "Quail opens a drawer, takes out his \"emergency case,\" sets\n it on top and opens it. He removes a shoulder holster and\n pistol, sets them aside. He takes out a tape recorder.", "Melina and Quail can be seen on the security monitor from\n a high angle. Quail looks up, spots the monitor, and\n shoots is to pieces. The image on the screen goes black.", "36 INT. HOTEL BATHROOM - NIGHT\n\n The sound of the tape continues as Quail follows\n instructions - pushing the wire up into a bloody portion\n of his neck, just below the ear.", "It is an explosive device of some sort. Quail and Melina\n press themselves against the wall just around a corner from\n the elevator. There is a tremendous explosion.", "Quail is sitting, distracted, in an uncomfortable modern\n chair. Kirsten is watching a near-pornographic film on\n TV. She casually lights a cigarette.", "The doors open and the crowd surges on. Quail grabs a\n seat. At intervals throughout the car are VIDEO MONITORS\n on which a NEWS BROADCAST is showing.", "Quail ditches the recorder and the \"emergency case\" into\n the drawer -- everything except the PISTOL.\n\n Quail approaches the door very cautiously (from the side --\n out of the line of fire).", "Filmed from the elevator end of the area, we see the cab\n pull up and Quail alight and enter the building. He nods", "PULL BACK to reveal they are Quail's hands. The hotel\n room he's now in is obviously a different one than the", "Quail tugs the envelope from his pocket, tears it open.\n Inside is a single slip of paper, on which is written\n in longhand:", "CASSETTE VOICE (V.O.)\n (Quail's voice)\n \"Hauser, this is Hauser -- or", "The man telephoning Quail is calling from a bar. Occasion-\n ally people pass him on their way to the toilets. He is\n youngish and conservatively dressed. He speaks rapidly\n and urgently.", "Quail watches the commercial through to the end, but doesn't\n seem to take it very seriously. He glances away as a card\n comes on the screen with REKALL's numbers.", "He looks at the video screen again. An image has flashed\n onto it of an attractive Eurasian girl.\n\n COHAAGEN\n (continuing)\n Hold it there.", "Kirsten is watching another pornographic video when Quail\n bursts in. He is still disoriented.\n\n QUAIL\n Did you know I've been to\n Mars?", "The Clerk turns to the safe, retrieves an envelope. He\n hands it -- and an ELECTRONIC ROOM KEY -- to Quail.", "Although the driver's voice is a little mechanical (flat\n in tone) he is filmed from Quail's POV, and it isn't\n obvious he is anything other than an ordinary cab driver.", "The news conference ends and a bright looking young man\n comes on the screen. Quail continues to watch, though\n not as interested, initially, as he was by the Mars story.\n Few of the other passengers bother looking at the screen.", "Quail gives Bennie that same eerie look, then turns to\n Kuato, who is sprawled motionless across the pillows, a\n curl of smoke rising from two entry wounds in his spine.", "She lowers the mask. Her face is now that of QUAIL.\n He tears up a passport and drops it down a chute.\n\n He reaches inside his dress, starts to REMOVE his \"FALSIES.\"" ], [ "QUAIL\n Who is it?\n\n VOICE (O.S.)\n Mr. Hauser, I want to talk to\n you... about Douglas Quail.", "McCLANE\n Wait a minute. Quail --\n\n QUAIL\n My name isn't Quail.", "McCLANE\n (continuing)\n You can have a new identity\n for the duration of the trip.\n Pick one.\n\n Quail's eyes linger on \"Intelligence Agent.\"", "QUAIL\n Sure. Douglas Quail.", "Quail tugs the envelope from his pocket, tears it open.\n Inside is a single slip of paper, on which is written\n in longhand:", "QUAIL\n Okay -- so you're Doctor\n George Edgemar of 'Rekall,\n Inc.' So?", "Quail enters, turns on the lights, locks the door. He\n checks all the rooms. Then he crosses to the dresser,\n studies himself in the mirror. He looks haggard.", "Quail gives Bennie that same eerie look, then turns to\n Kuato, who is sprawled motionless across the pillows, a\n curl of smoke rising from two entry wounds in his spine.", "KIRSTEN\n Oh my God...\n\n QUAIL\n But something went wrong...\n something about a real\n memory... and then those\n men... tried to kill me.", "KIRSTEN\n (continuing)\n It's all a fabrication, Quail.\n Everything you know.", "QUAIL\n (even his voice\n has changed)\n I'm fine... only I'm not\n Doug -- I'm Charles Hauser...\n and I know everything Hauser\n knew.", "Quail's jaw with his real hand. Quail sprawls, dazed.", "QUAIL\n (continuing)\n Killing you... killing you...\n killing you....\n\n His voice trails off, his eyes close.", "PULL BACK to reveal they are Quail's hands. The hotel\n room he's now in is obviously a different one than the", "QUAIL\n People do go to Mars, you know.\n\n KIRSTEN\n That's right, Douglas. But not\n you. Not us.", "Quail watches the commercial through to the end, but doesn't\n seem to take it very seriously. He glances away as a card\n comes on the screen with REKALL's numbers.", "STRANGE MAN\n (nodding to\n Quail)\n Your servant, Fahreem Kuato.", "QUAIL\n (mutters)\n Martian money....\n\n Quail thumbs through the money, and whistles softly to\n himself as he sees how much there is.", "She lowers the mask. Her face is now that of QUAIL.\n He tears up a passport and drops it down a chute.\n\n He reaches inside his dress, starts to REMOVE his \"FALSIES.\"", "Lull and Ernie look up as he enters. Quail lies on the\n couch, breathing slowly and regularly, his eyes closed.\n McClane looks queryingly at Lull, who motions him to\n silence." ], [ "Now no one can breathe. They all claw for their masks,\n [still] in place. Bennie is first; he recovers, lunges", "MELINA\n So what can we do?\n\n QUAIL\n Ruin his little scheme by\n terriforming ahead of\n schedule - while the\n inhabitants are still here.", "twelve hours, all residents\n will be departing on shuttles\n within twenty-four hours. Air\n and water supplies will be cut", "The hands belong to breather-masked MINERS, dismounting\n rapidly from an overloaded transport vehicle which was\n taking them to the Space Port. Quail looks from them to\n Melina, who is walking towards the group.", "way back. Cohaagen's buyin' em\n all up, says he's gonna cut off\n the air an' water if they won't", "Quail and Melina, masks on, stare out as Bennie claws\n desperately at his severed air line. The Martian vacuum\n pulls the oxygen from Bennie's lungs, he chokes, staggers --", "BENNIE\n Some guy really screwed her -\n screwed her up real good.\n Some Earthman. Just hopped\n on a space shuttle.", "BENNIE\n Nothin', boss. Just old\n smokies. Only place they\n can come for a puff. It's\n all banned topside.", "of Mars. When we trigger\n the mechanism, fusion\n reactors will detonate down\n there -- four hundred miles\n deep.", "It is now sunset on Mars and it's literally of inearthly\n beauty. The sun is bold and blood red; the foggy, drip-\n ping glass of the Dome tints the light into strange colors.", "The solar car proceeds along the tunnel. It enters an area\n full of smoke. Dozens of men are sitting around smoking\n cigarettes, pipes and cigars. Quail looks at them in\n amazement.", "Cohaagen and a number of his associates, plus scientists\n and heavily arms troops are present.\n\n COHAAGEN\n The air supply is off under\n the domes?", "in for the quick kill. Melina clutches the terrifying\n appendage with both hands, desperately keeping it at bay.\n But her strength is no match for Bennie; the whirring", "It is an explosive device of some sort. Quail and Melina\n press themselves against the wall just around a corner from\n the elevator. There is a tremendous explosion.", "veys the scene. The four men in the wrecked car clamber\n their way backwards out of the wreckage. They are covered\n in blood and their clothes are in shreds.", "Because of this, the RED GLOW, the air of FEAR to the man,\n and the GROUND HEAVING and BUCKLING, there is almost a", "KIRSTEN\n Rape men in the park?\n\n QUAIL\n No. Go to Mars.", "The streets are crowded and there is a \"frontier-town\"\n atmosphere. Stalls sell fruit and vegetables, also water\n and air containers.", "The Guards laugh and signal him on.\n\n Once through the second door of the air lock (i.e. to the\n area outside the city), Quail and Melina emerge and sit\n up on the rear seats.", "QUAIL\n People do go to Mars, you know.\n\n KIRSTEN\n That's right, Douglas. But not\n you. Not us." ], [ "Melina bursts into tears. Quail rather tentatively puts\n his arms around her. She welcomes this at first, but then\n pushes him away.", "MELINA turns to return to the bar and runs straight into\n Quail. She stops, obviously astonished to see him.\n\n MELINA\n You bastard!", "Melina is still fighting back tears. Quail stops in front\n of her, unsure about what to do. He has no recollection\n of how well he might have known this woman.", "The hands belong to breather-masked MINERS, dismounting\n rapidly from an overloaded transport vehicle which was\n taking them to the Space Port. Quail looks from them to\n Melina, who is walking towards the group.", "MELINA\n What are you here for?!\n\n QUAIL\n For you! I don't even know\n why --", "QUAIL\n (continuing)\n Rekall could never have come\n up with anything like this.\n\n Melina looks oddly at him, smiling, mysterious.", "Quail strides back in, icy-furious. He seizes Melina by\n the wrist and drags her after him into the corridor.\n\n\n84A INT. CORRIDOR - NIGHT", "The entire control room begins to rumble and shudder. As\n Quail reaches for Melina, Cohaagen suddenly dives on him.", "Quail looks around him, half-convinced.\n\n MELINA\n (looking toward\n space shuttles\n on video screens)\n Charles - for Mars's sake....", "Quail gives up; goes through the doors and leaves. Melina\n slumps her shoulder against the table and cries.\n\n\n77 INT. LAST CHANCE AIR STATION GARAGE - NIGHT", "Melina watches from the bed as Quail dresses. She rises,\n with only the sheet around her, tries desperately to make", "The Guards laugh and signal him on.\n\n Once through the second door of the air lock (i.e. to the\n area outside the city), Quail and Melina emerge and sit\n up on the rear seats.", "MELINA\n Yes, Mr. Quail, I'm afraid\n it's all true.\n\n Quail is staggered.", "Melina backs off. Quail grows more desperate.", "The searchlight approaches Bennie, Quail and Melina. Bennie\n ducks into a doorway, while Quail grabs Melina and kisses", "Quail hesitates. He looks from Melina to Cohaagen.", "The door starts to open. Quail pivots and points his\n gun at the opening door.\n\n MELINA walks in, carrying a CLIPBOARD. She looks at Quail\n with professional detachment.", "Quail and Melina, masks on, stare out as Bennie claws\n desperately at his severed air line. The Martian vacuum\n pulls the oxygen from Bennie's lungs, he chokes, staggers --", "Suddenly, she slaps him hard across the face.\n\n MELINA\n (quietly)\n You bastard...\n\n He rubs his painful cheek.", "ALARMS go off everywhere. Quail -- carrying a gun and all\n the grenades and ammo belts -- and Melina (just carrying a\n gun) bolt down a corridor past a sign: \"LEVEL ONE\"." ], [ "QUAIL\n To combine elements in the\n Martian core and release\n them as oxygen, hydrogen\n and nitrogen.\n\n BENNIE\n That's air!", "of Mars. When we trigger\n the mechanism, fusion\n reactors will detonate down\n there -- four hundred miles\n deep.", "Quail and Melina, masks on, stare out as Bennie claws\n desperately at his severed air line. The Martian vacuum\n pulls the oxygen from Bennie's lungs, he chokes, staggers --", "Quail and Melina, wearing breather masks, bursts in onto\n an overhead catwalk. They OPEN FIRE on the Guards, who are\n choking, struggling with their masks.", "A MUFFLED EXPLOSION (due to the thin Martian atmosphere)\n detonates overhead. THE SPHINX'S RIGHT EYE BLOWS IN a\n storm of shards and shrapnell.", "Everyone ignores the broadcast -- except Quail, who perks\n instantly at the word \"Mars.\"\n\n The NEWSCASTER is a young black man.", "It is an explosive device of some sort. Quail and Melina\n press themselves against the wall just around a corner from\n the elevator. There is a tremendous explosion.", "KUATO\n The turbulence you hear\n outside is but a reflection\n of the turmoil within you.\n You have brought it to Mars\n in your search for yourself.", "QUAIL\n That's right. Air and water.\n Terriforming will create a\n permanent livable environment", "Quail delivers a roundhouse punch to Bennie, knocking him\n clear across the bus.\n\n Melina seals the vent, REPRESSURIZES THE CABIN.", "The atmosphere of Mars is\n almost a vacuum. Thank you\n for flying with Interstellar\n and we hope your stay will be", "Instantly, the room turns into a hurricane as the Martian\n vacuum sucks out all air! Everyone panics, grabbing their\n\n COHAAGEN\n Seal the breach! Repressurize!", "The SPACELINER -- which we have deliberately not seen before\n this moment for dramatic effect -- banks and turns, suddenly\n bringing into view -- MARS.", "The entire control room begins to rumble and shudder. As\n Quail reaches for Melina, Cohaagen suddenly dives on him.", "The Guards laugh and signal him on.\n\n Once through the second door of the air lock (i.e. to the\n area outside the city), Quail and Melina emerge and sit\n up on the rear seats.", "It is now sunset on Mars and it's literally of inearthly\n beauty. The sun is bold and blood red; the foggy, drip-\n ping glass of the Dome tints the light into strange colors.", "He unzips his jacket to reveal a T-shirt with \"MARTIAN\n LIBERATION FRONT\" (and an appropriate symbol) emblazoned\n on it.", "Quail spots a large WINDOWED AIR LOCK at the end of the\n corridor. He and Melina race to it. Quail starts to open\n the inner door of the air lock.", "really took.\n (pause)\n Someone at Earth Intelligence\n Operations erased his memory.\n All he know was going to Mars", "The hands belong to breather-masked MINERS, dismounting\n rapidly from an overloaded transport vehicle which was\n taking them to the Space Port. Quail looks from them to\n Melina, who is walking towards the group." ], [ "Quail gives Bennie that same eerie look, then turns to\n Kuato, who is sprawled motionless across the pillows, a\n curl of smoke rising from two entry wounds in his spine.", "Quail and Melina, wearing breather masks, bursts in onto\n an overhead catwalk. They OPEN FIRE on the Guards, who are\n choking, struggling with their masks.", "Kuato smiles. He extinguishes all the lights save one\n small blue one, which illuminates the room eerily, like\n a seance.", "Kauto turns around and sits down with back toward Quail.\n He reaches up and lowers his cowl, REVEALING:", "Kuato's body is dead white. Quail releases his grip;\n he about to give up when --", "The fight begins. Bennie attacks Quail with his buzz-saw\n arm; Quail dodges. Bennie's arm shreds various articles", "She lowers the mask. Her face is now that of QUAIL.\n He tears up a passport and drops it down a chute.\n\n He reaches inside his dress, starts to REMOVE his \"FALSIES.\"", "STRANGE MAN\n (nodding to\n Quail)\n Your servant, Fahreem Kuato.", "Now no one can breathe. They all claw for their masks,\n [still] in place. Bennie is first; he recovers, lunges", "The First Guard points to the edge of the main shaft --\n right where Quail and Melina are hiding. The Guards\n cock their weapons, start cautiously forward. Just as", "The second official car pulls up behind. A chauffeur jumps\n out and opens the rear door. Cohaagen steps out. He sur-", "Quail lunges across the pillows to Kuato's unbreathing\n form. Quail shakes the ancient mystic, trying to find a\n last flicker of life.", "Before either Guard can react, the real Quail appears --\n one foot behind them. With two LIGHTNING BLOWS, he", "A MUFFLED CHOCKED SOUND comes from behind Kuato's neck.\n It's the Oracle Head! Quail instantly rolls Kuato's body\n over. The Head is still alive!", "around. Two EIO men are standing there aiming lethal-looking\n high-velocity weapons at him. One of them is the red-headed\n man we've already seen.", "Holding the wet towel against his neck, Quail slowly\n withdraws the wire. On the end of it is a tiny, metal\n bead, the Transmitter.", "All the miners are puzzled, apprehensive. Quail reaches\n toward the one who spoke to him before and pulls off his", "He unzips his jacket to reveal a T-shirt with \"MARTIAN\n LIBERATION FRONT\" (and an appropriate symbol) emblazoned\n on it.", "KUATO\n (continuing)\n This way, my dear man. We\n have much to accomplish --\n (ominously)\n -- and very little time.", "The entire control room begins to rumble and shudder. As\n Quail reaches for Melina, Cohaagen suddenly dives on him." ], [ "QUAIL\n (outraged)\n How could you do it? After\n eight years!\n\n KIRSTEN\n I'm not your wife, Quail.", "QUAIL\n (continuing)\n Rekall could never have come\n up with anything like this.\n\n Melina looks oddly at him, smiling, mysterious.", "McCLANE\n We're all dreamers, Douglas.\n But here at Rekall, dreams\n are our business.", "LULL\n Dougie? This Sophie Lull.\n Can ya hear me?\n\n QUAIL\n ...Sophie....", "VOICE (O.S.)\n My name is George Edgemar.\n I work for Rekall, Incorporated.", "KIRSTEN\n (continuing)\n Doug! It's something they\n put into your mind at the\n memory place. Fantasies.\n That's their business.", "3 INT. BEDROOM IN SMALL APARTMENT - MORNING\n\n DOUGLAS QUAIL and his wife KRISTEN, are asleep in bed.", "QUAIL\n (interrupting)\n I think I've been. I vaguely\n recall...\n\n KIRSTEN\n Doug, you've got to forget...", "QUAIL\n People do go to Mars, you know.\n\n KIRSTEN\n That's right, Douglas. But not\n you. Not us.", "LULL\n (bends over\n Quail)\n Quail? Dougie, can you hear me?\n\n QUAIL\n Yes.", "LULL\n Tell McClane what you told us.\n\n McClane glances sharply at Lull, then turns to Quail.", "QUAIL\n I believe you, but that won't\n stop E.T.O. from killing you.\n\n The Rekall people stare at each other in quiet horror.", "KIRSTEN\n (shrugging)\n We had to watchdog you...make\n sure the erasure took. A wife\n seemed like a good idea.", "Lull and Ernie look up as he enters. Quail lies on the\n couch, breathing slowly and regularly, his eyes closed.\n McClane looks queryingly at Lull, who motions him to\n silence.", "KIRSTEN\n Oh my God...\n\n QUAIL\n But something went wrong...\n something about a real\n memory... and then those\n men... tried to kill me.", "Her gesture suggests their liaison.\n\n QUAIL\n Yeah. And I can't even\n remember it. We'll have to\n arrange a return bout.", "McCLANE\n (continuing)\n Think about it, Douglas.\n Think, too, what a terrible", "KIRSTEN\n (indifferent;\n nursing her\n arm)\n It's a false memory implant.\n I never saw you before six\n weeks ago.", "EDGEMAR\n If we can't get you out now...\n you may never come out of it.\n Your wife calls every day --\n\n\n CLOSE - QUAIL", "Quail stay. Plainly he wants to, but he can't. They kiss\n lingeringly; then Quail, as if \"called to duty,\" exits." ], [ "TOUR ORGANISER\n Richard Toltz.\n (they shake hands)\n Well, Doug, I hope we'll see\n a lot more of each other.", "His voice drops off; his eyes close. Lull studies him,\n adjusts some instruments, then turns to Ernie, glancing\n briefly at a typed sheet in front of her.", "He leaves. Kirsten smiles secretively. She goes to a\n drawer, opens it and removes a tiny instrument that looks", "his nervousness. He passes. The guard smiles at him,\n pleased to see he has remembered his gun.", "Quail is just entering; an old-fashioned BELL overhead,\n tripped by the door opening, announces his entrance.\n\n At once, an immense FAT MAN emerges from the back room.", "Quail steps back. He stares at the two bodies, incredulous;\n then stares at his own deadly HANDS. It is as though they\n belong to someone else.", "Quail looks toward the doorman, who is paying little\n attention to the events. As the two men edge Quail towards\n the door, he call out...", "All the miners are puzzled, apprehensive. Quail reaches\n toward the one who spoke to him before and pulls off his", "Quail tugs the envelope from his pocket, tears it open.\n Inside is a single slip of paper, on which is written\n in longhand:", "The man telephoning Quail is calling from a bar. Occasion-\n ally people pass him on their way to the toilets. He is\n youngish and conservatively dressed. He speaks rapidly\n and urgently.", "The Fat Man studies him warily for a long moment; then\n he disappears through the curtain.", "Now, Lull extends a long rubber tube, a hypodermic needle\n attached to it. Quail eyes it warily. She swabs the back\n of his hand in preparation, notices his apprehension.", "riddling him with bullets. He collapses in an undignified\n heap, his head in the water at the base of the trough.", "Kauto turns around and sits down with back toward Quail.\n He reaches up and lowers his cowl, REVEALING:", "Kirsten is taken aback at his use of language. He strides\n into the bathroom and slams the door. She turns on one\n lamp, goes to a telephone and dials.", "The fight begins. Bennie attacks Quail with his buzz-saw\n arm; Quail dodges. Bennie's arm shreds various articles", "Quail enters, turns on the lights, locks the door. He\n checks all the rooms. Then he crosses to the dresser,\n studies himself in the mirror. He looks haggard.", "As he enters. We read awe, shock and fascination on his\n features. He approaches something we can't see. His\n hand reaches out.", "Lull's assistant, the TECHNICIAN in b.g., who had been\n steadily working on the instrumentation, now looks over\n at Lull.", "PULL BACK to reveal they are Quail's hands. The hotel\n room he's now in is obviously a different one than the" ], [ "Melina is still fighting back tears. Quail stops in front\n of her, unsure about what to do. He has no recollection\n of how well he might have known this woman.", "MELINA\n You bastard.", "Melina bursts into tears. Quail rather tentatively puts\n his arms around her. She welcomes this at first, but then\n pushes him away.", "MELINA turns to return to the bar and runs straight into\n Quail. She stops, obviously astonished to see him.\n\n MELINA\n You bastard!", "MELINA\n Yes, Mr. Quail, I'm afraid\n it's all true.\n\n Quail is staggered.", "MELINA\n (continuing)\n I tried to break through to\n you earlier, but you just", "Suddenly, she slaps him hard across the face.\n\n MELINA\n (quietly)\n You bastard...\n\n He rubs his painful cheek.", "beneath them. Melina looks down. She's sorry she did:\n the fall is at least 200 feet. (Both are wearing their\n breathing apparatus.)", "MELINA\n ...so he had your memory\n wiped and fixed you up with\n a new identity.", "MELINA\n They kidnapped me. Said\n they'd kill you if I didn't", "MELINA\n It's happening.\n\n MINER\n What is it?", "Melina's expression grows dead hard.\n\n MELINA\n [And I thought...]\n\n QUAIL\n Who is us?", "MELINA\n What are you here for?!\n\n QUAIL\n For you! I don't even know\n why --", "Quail strides back in, icy-furious. He seizes Melina by\n the wrist and drags her after him into the corridor.\n\n\n84A INT. CORRIDOR - NIGHT", "Melina watches from the bed as Quail dresses. She rises,\n with only the sheet around her, tries desperately to make", "Quail is out of sight, but they see Melina poised near the\n window. She waves and smiles to them, hiding her gun behind", "Melina expertly ejects her spent clip (that Guards fired\n at Quail), slams in a fresh clip and cocks the gun.", "QUAIL\n I don't know why they're\n after me, but what's your\n connection with all this?\n\n MELINA\n We were together before.", "MELINA\n (rushes to Quail)\n Charles! Are you all right?\n\n Quail stares at her, as if an entire bank of lost memories\n were suddenly clicking back into place --", "MELINA\n (continuing)\n That's new -- the innocent\n look." ], [ "Bennie is nervous. Melina and Quail are in the back, but\n cannot be seen. Guards are checking all vehicles exiting,\n looking for Quail and Melina.", "A large gas-powered official-looking car is pushing its way\n through the crowds and traffic behind them.\n\n\n86B INT. BENNIE'S CAR - NIGHT", "At the end of the street, however, Bennie doesn't stop but\n continues going into a large opening. It is an abandoned", "He turns to Bennie\n\n QUAIL\n (continuing)\n Bennie, where's your depot?", "BENNIE\n You don't look so good, boss.\n All over the Universe, women\n is an awful curse.\n\n He opens the door for Quail, beams.", "BENNIE\n (continuing)\n Mine's right around the corner.\n\n QUAIL\n (indicating first\n cab in line)\n That one's closer.", "BENNIE\n Well... look at that one, eh?\n\n QUAIL\n What?", "BENNIE\n (glances in\n mirror)\n Bad news, boss lady.\n\n MELINA\n What?", "BENNIE\n But I out-hustle him, right?\n\n QUAIL\n (smiling)\n Right.", "The fight begins. Bennie attacks Quail with his buzz-saw\n arm; Quail dodges. Bennie's arm shreds various articles", "Bennie indicates a building on their left.\n\n\n115 INT. CAR POOL - EARLY MORNING", "Stands. For a moment his back is to Melina and Bennie.\n Then he turns.", "Quail enters from the cafe. Bennie is kneeling beside his\n taxi, repairing a tire. He look up, sees Quail approach.", "Bennie weaves as fast as he can in and out of the traffic,\n Quail and Melina ducking out of view in the passenger seat.", "Bennie reaches down, grasps a KNOB. He yanks it, like\n someone starting an outboard motor -- and an ear-splitting\n LOUD ENGINE roars to life.", "MELINA\n (ditto)\n Purpose? What purpose?\n\n Bennie starts the engine.", "Bennie's car hurtles through the crowds with the official\n car gaining on it. Bennie takes a corner sharply near a", "BENNIE\n Big cheese in town. Big\n smelly cheese.\n\n QUAIL\n Cohaagen? But isn't he often\n here?", "in the cabin -- and keeps Melina at bay with well-timed\n swipes. Finally Bennie gets in a roundhouse punch to", "BENNIE\n No way. That cat just cheat\n the Martian workers without\n ever leavin' his place in\n Beverly Hills. Somethin' must\n be cookin'." ], [ "EDGEMAR\n Mr. Quail... I'm afraid you're\n not really standing here at\n this moment.\n\n QUAIL\n Sat that again.", "QUAIL\n Okay -- so you're Doctor\n George Edgemar of 'Rekall,\n Inc.' So?", "EDGEMAR\n This is not -- shit, Mr. Quail.\n It's the truth.\n (beat)", "EDGEMAR\n As I said... this is going to\n be very difficult -- for both\n of us.\n\n QUAIL\n I'm listening.", "EDGEMAR\n If we can't get you out now...\n you may never come out of it.\n Your wife calls every day --\n\n\n CLOSE - QUAIL", "QUAIL\n (wavering)\n So what's supposed to happen\n now?\n\n EDGEMAR\n Just do exactly as we tell\n you.", "EDGEMAR\n You're going to do exactly\n what I tell you --\n\n Quail PULLS THE TRIGGER!", "LULL\n Tell McClane what you told us.\n\n McClane glances sharply at Lull, then turns to Quail.", "VOICE (O.S.)\n My name is George Edgemar.\n I work for Rekall, Incorporated.", "CLOSE - QUAIL\n\n Trembling, holding the gun point blank in Edgemar's face.\n\n\n CLOSE - EDGEMAR", "QUAIL\n But I remember it! All of\n it!... Us!\n\n KIRSTEN\n All implanted.", "KIRSTEN\n (continuing)\n It's all a fabrication, Quail.\n Everything you know.", "QUAIL\n I believe you, but that won't\n stop E.T.O. from killing you.\n\n The Rekall people stare at each other in quiet horror.", "KIRSTEN\n Oh my God...\n\n QUAIL\n But something went wrong...\n something about a real\n memory... and then those\n men... tried to kill me.", "Quail looks toward the doorman, who is paying little\n attention to the events. As the two men edge Quail towards\n the door, he call out...", "Quail does keep his gun trained on the man. The man enters,\n holding in his outstretched hand -- a business card.\n\n EDGEMAR\n My card, Mr. Quail.", "Long pause.\n\n QUAIL\n Are you trying to tell me that\n this is all part of some...\n artificially injected fantasy?\n That I never really left Earth?", "EDGEMAR\n I've been artificially\n implanted -- like the first\n part of your fantasy. I'm", "The Guards laugh and signal him on.\n\n Once through the second door of the air lock (i.e. to the\n area outside the city), Quail and Melina emerge and sit\n up on the rear seats.", "The First Guard points to the edge of the main shaft --\n right where Quail and Melina are hiding. The Guards\n cock their weapons, start cautiously forward. Just as" ], [ "EDGEMAR\n You're going to do exactly\n what I tell you --\n\n Quail PULLS THE TRIGGER!", "EDGEMAR\n This is not -- shit, Mr. Quail.\n It's the truth.\n (beat)", "QUAIL\n Why did you kill him? It\n was the next bit I really...\n\n BENNIE\n No choice, boss. It was him\n or you.", "CLOSE - QUAIL\n\n Trembling, holding the gun point blank in Edgemar's face.\n\n\n CLOSE - EDGEMAR", "Quail does keep his gun trained on the man. The man enters,\n holding in his outstretched hand -- a business card.\n\n EDGEMAR\n My card, Mr. Quail.", "EDGEMAR\n As I said... this is going to\n be very difficult -- for both\n of us.\n\n QUAIL\n I'm listening.", "Showing no fear of tension whatever.\n\n EDGEMAR\n You're going to lower the gun,\n Mr. Quail. You're going to\n hand it to me --", "EDGEMAR\n Mr. Quail... I'm afraid you're\n not really standing here at\n this moment.\n\n QUAIL\n Sat that again.", "EDGEMAR\n Hello, Mr. Quail. May I come\n in? I won't be offended if\n you prefer to keep the gun\n you're holding trained on me.", "Quail steps back. He stares at the two bodies, incredulous;\n then stares at his own deadly HANDS. It is as though they\n belong to someone else.", "QUAIL\n (continuing)\n Killing you... killing you...\n killing you....\n\n His voice trails off, his eyes close.", "Even more suspicious.\n\n\n TWO SHOT - QUAIL AND EDGEMAR", "He slaps Quail hard across the face. Quail is terrified.\n He is tearful with fear.\n\n QUAIL\n My God! No! You're going to\n kill me!", "QUAIL\n (wavering)\n So what's supposed to happen\n now?\n\n EDGEMAR\n Just do exactly as we tell\n you.", "Quail ditches the recorder and the \"emergency case\" into\n the drawer -- everything except the PISTOL.\n\n Quail approaches the door very cautiously (from the side --\n out of the line of fire).", "EDGEMAR\n If we can't get you out now...\n you may never come out of it.\n Your wife calls every day --\n\n\n CLOSE - QUAIL", "Melina and Quail can be seen on the security monitor from\n a high angle. Quail looks up, spots the monitor, and\n shoots is to pieces. The image on the screen goes black.", "We SEE the results of the gunshot from this angle only,\n and so BRIEFLY as to produce an almost SUBLIMINAL effect:\n the back of Edgemar's head blows off --", "Quail looks toward the doorman, who is paying little\n attention to the events. As the two men edge Quail towards\n the door, he call out...", "cold and steely. In fact, Quail's entire personality\n seems to have changed -- his face has acquired a flint-\n edged hardness. He is chillingly menacing." ], [ "Quail steps back. He stares at the two bodies, incredulous;\n then stares at his own deadly HANDS. It is as though they\n belong to someone else.", "returns the fire. He staggers back out into the corridor\n and slams against the wall, dead.", "her body. They slow down and approach less cautiously,\n beguiled by her manner and attractiveness. As they get\n close, she suddenly lifts her gun and opens fire, mowing", "Melina and Quail can be seen on the security monitor from\n a high angle. Quail looks up, spots the monitor, and\n shoots is to pieces. The image on the screen goes black.", "back. A pistol lies on the floor. Quail is totally stunned.\n He releases her arm, shoving her away from him, at the same\n time scooping up the pistol.", "shreds, scattering refuse everywhere. The rat is killed.\n They all stare in disbelief.", "in for the quick kill. Melina clutches the terrifying\n appendage with both hands, desperately keeping it at bay.\n But her strength is no match for Bennie; the whirring", "It is an explosive device of some sort. Quail and Melina\n press themselves against the wall just around a corner from\n the elevator. There is a tremendous explosion.", "QUAIL\n (continuing)\n Killing you... killing you...\n killing you....\n\n His voice trails off, his eyes close.", "Quail comes out in crouch, ready to shoot. On the floor\n lies a DEAD MAN and the body of the Shoeshine Boy, sprawled", "QUAIL\n Why did you kill him? It\n was the next bit I really...\n\n BENNIE\n No choice, boss. It was him\n or you.", "QUAIL\n No. That's what's so amazing.\n I killed them. I think...\n\n Kirsten stops pouring her drink and look at him sharply.", "riddling him with bullets. He collapses in an undignified\n heap, his head in the water at the base of the trough.", "Quail comes back, lands a ferocious rabbit punch to\n Bennie's spine. Quail lunges at him, grabs the blade\n weapon; he and Bennie crash into the cabin wall and --", "Now no one can breathe. They all claw for their masks,\n [still] in place. Bennie is first; he recovers, lunges", "He leaves. Kirsten smiles secretively. She goes to a\n drawer, opens it and removes a tiny instrument that looks", "Quail gives Bennie that same eerie look, then turns to\n Kuato, who is sprawled motionless across the pillows, a\n curl of smoke rising from two entry wounds in his spine.", "Two more E.I.O. men appear but Quail shoots them while\n dragging Melina down the hall in the opposite direction.\n He pushes open the door leading to the staircase.", "MINER #4\n (alarmed)\n ...well, that killed twelve\n thousand...\n\n QUAIL\n What is this, Bennie...\n Tombstone?", "The fight begins. Bennie attacks Quail with his buzz-saw\n arm; Quail dodges. Bennie's arm shreds various articles" ], [ "The fight ends as Cohaagen is hurled backwards and\n disappears when a section of floor collapses underneath him.\n\n\n144 INT. SURREAL TUNNEL", "The second official car pulls up behind. A chauffeur jumps\n out and opens the rear door. Cohaagen steps out. He sur-", "The entire control room begins to rumble and shudder. As\n Quail reaches for Melina, Cohaagen suddenly dives on him.", "NEWSCASTER\n (continuing)\n ...but Earth Intelligence Operations\n Director Vilos Cohaagen, clearly", "RED-HEADED MAN\n (to Cohaagen;\n quietly)\n They lost him.\n\n COHAAGEN\n Again?!", "Several DOCTORS stand over him. INTO FRAME moves...\n Cohaagen!", "Quail keeps his face in shadow and watches Cohaagen with\n curiosity as he passes. Cohaagen is lit up briefly by a", "MELINA\n And Cohaagen's going to own\n it all!", "142A INT. CONTROL ROOM - DAY\n\n The video monitors show the space shuttles. An operator,\n with earphones, turns to Cohaagen.", "MELINA\n (baffled)\n So why is Cohaagen shipping\n everyone out?", "QUAIL\n I'm the only one who does.\n Why do you think Cohaagen's\n left me alone all this time?", "way back. Cohaagen's buyin' em\n all up, says he's gonna cut off\n the air an' water if they won't", "Cohaagen turns to an associate, EMILE, a youngish,\n well-dressed executive type.\n\n COHAAGEN\n (continuing)\n Proceed with Operation Sphinx.", "MELINA\n But Cohaagen wiped your\n memory!!!", "Cohaagen and a number of his associates, plus scientists\n and heavily arms troops are present.\n\n COHAAGEN\n The air supply is off under\n the domes?", "Cohaagen and his Aides hear the ALARMS, see Quail and\n Melina on MONITORS as they race down the corridor on\n Level One.", "Quail hesitates. He looks from Melina to Cohaagen.", "COHAAGEN\n We'll torture him. You don't\n think I got this far by being\n a nice guy?", "COHAAGEN\n Seal all upper levels.\n\n A button is pressed and huge doors slide across in front\n of the formidable doors already closing the Control Room\n off from the outside corridors.", "SECURITY AIDE\n (studies monitor\n more carefully)\n They're on Level One.\n\n A wall sign behind Cohaagen reads: \"LEVEL THIRTEEN\"." ], [ "Quail strides back in, icy-furious. He seizes Melina by\n the wrist and drags her after him into the corridor.\n\n\n84A INT. CORRIDOR - NIGHT", "MELINA turns to return to the bar and runs straight into\n Quail. She stops, obviously astonished to see him.\n\n MELINA\n You bastard!", "Melina bursts into tears. Quail rather tentatively puts\n his arms around her. She welcomes this at first, but then\n pushes him away.", "Melina and Quail can be seen on the security monitor from\n a high angle. Quail looks up, spots the monitor, and\n shoots is to pieces. The image on the screen goes black.", "MELINA\n Yes, Mr. Quail, I'm afraid\n it's all true.\n\n Quail is staggered.", "Melina is still fighting back tears. Quail stops in front\n of her, unsure about what to do. He has no recollection\n of how well he might have known this woman.", "Melina watches from the bed as Quail dresses. She rises,\n with only the sheet around her, tries desperately to make", "QUAIL\n (continuing)\n Rekall could never have come\n up with anything like this.\n\n Melina looks oddly at him, smiling, mysterious.", "Quail snatches both Guards' weapons, grenades and ammo\n belts. Melina climbs out of the shaft. Quail tosses her\n one of the Guard's guns.", "Melina expertly ejects her spent clip (that Guards fired\n at Quail), slams in a fresh clip and cocks the gun.", "Quail gives up; goes through the doors and leaves. Melina\n slumps her shoulder against the table and cries.\n\n\n77 INT. LAST CHANCE AIR STATION GARAGE - NIGHT", "The entire control room begins to rumble and shudder. As\n Quail reaches for Melina, Cohaagen suddenly dives on him.", "Two more E.I.O. men appear but Quail shoots them while\n dragging Melina down the hall in the opposite direction.\n He pushes open the door leading to the staircase.", "Melina backs off. Quail grows more desperate.", "QUAIL\n I don't know why they're\n after me, but what's your\n connection with all this?\n\n MELINA\n We were together before.", "It is an explosive device of some sort. Quail and Melina\n press themselves against the wall just around a corner from\n the elevator. There is a tremendous explosion.", "QUAIL\n Please, Melina --\n\n MELINA\n (tears starting)\n Get out!", "The door starts to open. Quail pivots and points his\n gun at the opening door.\n\n MELINA walks in, carrying a CLIPBOARD. She looks at Quail\n with professional detachment.", "Quail and Melina, wearing breather masks, bursts in onto\n an overhead catwalk. They OPEN FIRE on the Guards, who are\n choking, struggling with their masks.", "Suddenly, she slaps him hard across the face.\n\n MELINA\n (quietly)\n You bastard...\n\n He rubs his painful cheek." ] ]

[ "Which planet is Quaid dreaming about?", "What is rumored to be located in the mines?", "Who is Lori's real husband?", "Who does Quaid indentify himself as in the video given to him?", "What was placed in Quaid's skull?", "Why were most of the people in Venusville mutated?", "Where were Quaid and Melina taken to?", "Who triggered the bomb?", "What does the reactor release into the Martian atmosphere?", "What is the name of Dennis Quaid's fake wife? ", "Which 5 items are in the suitcase that Quaid is given? ", "Who is Lori's real husband?", "Who is on the video recording which was given to Quaid in the suitcase?", "What is Quaids real name?", "What is the reason for the mutations in the people of Venusville?", "Why does Melina spurn Quaid when he meets her in Venusville?", "What does the reactor do to the atmosphere in Mars once it is activated by Quaid?", "What is the name of the parasitic twin who is the leader of the resistance?", "What did Lori told Douglas Quaid about their marage?", "Who was Richter?", "Who was Melina?", "Who was Benny?", "What did Lori and Dr Edgemer told Quaid?", "Why did Quaid killed Edgemer?", "Who killed Lori?", "What happen to Cohaagen?", "What did Quaid did to Melina?" ]

[ [ "Mars", "Mars" ], [ "Alien artifacts", "a reactor" ], [ "Richter", "Rich" ], [ "A Hauser", "Hauser" ], [ "A tracking device", "a tracking device" ], [ "From poor radiation shielding", "poor radiation shielding" ], [ "Cohaagen", "They are taken to a resistance base, and then to Cohaagen." ], [ "Cohaagen", "Cohaagen" ], [ "Air", "Air" ], [ "Lori", "Lori" ], [ "Fake ID's, money, gadgets, disguise, video recording.", "Money, gadgets, fake IDs, a disguise and a video recording" ], [ "Richter", "Rich" ], [ "Quaid himself", "a video of Quaid identifying himself as \"Hauser\"" ], [ "Hauser", "Arnold Swartzenegger" ], [ "Poor radiation shielding", "poor radiation shield" ], [ "She believes he is still working for Cohaagen", "She thinks he is still working for Cohaagen" ], [ "Makes the atmosphere breathable", "It releases breathable air into the atmosphere of Mars." ], [ "Kuato", "Kuato" ], [ "Lori told Quaid that their was fake.", "That is was a fake memory implant and she is not his wife" ], [ "Lori's real husband", "Cohaagen's operative and Lori's real husband" ], [ "The woman from Quaid dream.", "woman from Quaid's dream" ], [ "A tax driver", "Benny was a taxi driver who also was secretly working for Cohaagen." ], [ "They told Quaid he is in a dream based on plant memories.", "That he was having a schizoid embolism " ], [ "Quaid saw Edgemer looking afraid.", "He saw Edgemer's great fear as he was about to take the pill, and realized Edgemer was working for his enemies." ], [ "Quaid", "Quaid" ], [ "He was sucked out to Martian surface.", "He is sucked out into the Martian surface." ], [ "Quaid kissed Melina.", "kiss her" ] ]

[ [ "spacecraft. It settles into a landing across the dirt road \n resting on its three pods. With a crack, a cone of bright \n white light blasts from the underside.", "is blocked by police cars. The helicopter leans into a banking \n turn and the spacecraft's blackened landing site comes into \n view. Below it an orange nylon tent has been erected over", "The officers watch in awe as the beam wobbles through the \n air, then crashes to the earth.", "STAR MAN\n (points at a \n distinctive cone \n peak)\n That's where we landed last time. \n Right under that mountain.", "BENNY\n There is. They came out of the belly \n of the ship and then went to the \n first terrace and flew down into the \n houses.", "The STAR MAN sets down with the smoothness of a man stepping \n off an escalator. He looks over his shoulder. The helicopter", "This one's real. We have a dead extra-\n terrestrial in that tent and another \n one in the area that might be alive.", "The lift off of Shermin's helicopter reveals contamination -- \n suited scientists slipping the dead extraterrestrial's coffin \n into the Air Force helicopter.", "The spacecraft passes over the top of the helicopter. The \n whirling downdraft emanating from the spaceship's underbelly", "and into the white light emitting from the underbelly of the \n spacecraft. The noise from the ship's power plant is deafening \n as it begins to rise above the trees.", "the dead extraterrestrial. It glows from the inside. An Air \n Force helicopter is parked on the other side of the burn.", "comes from inside the extraterrestrial's helmet. The men \n freeze. There is another burst of percussive language and a \n projection beam shoots out of the helmet throwing the image", "on them from behind. Before they can turn a light rockets \n over their heads. With a rumble the hill begins to vibrate. \n As they follow its flight, they see lights beginning to ripple", "to stagger back up the hill. Benny and the officer break \n into a run. They are on their way up the hill when the light \n in front of them crashes to the earth. It rolls over and", "to life across the skin of a saucer-shaped spacecraft resting \n at the edge of the forest on top of the hill. With a rumble", "dropping out of the sky in front of them. Its searchlight \n bangs into their faces and, with its thirty-calibre MACHINE", "SHERMIN\n It could have been anything.\n\n EXT. BLACKENED LANDING SITE - DAWNBREAK", "The sound of a powerful slow-speed drill greets Bell and \n Shermin as they enter. The extraterrestrial is still on its", "The Mustang cruises along between fields of corn.\n\n JENNY (V.O.)\n Why did your ship land on this \n planet... on Earth?", "From the road Benny and the officer watch as the humanoid \n figure that just blasted over them flies between the trees" ], [ "This one's real. We have a dead extra-\n terrestrial in that tent and another \n one in the area that might be alive.", "The lift off of Shermin's helicopter reveals contamination -- \n suited scientists slipping the dead extraterrestrial's coffin \n into the Air Force helicopter.", "comes from inside the extraterrestrial's helmet. The men \n freeze. There is another burst of percussive language and a \n projection beam shoots out of the helmet throwing the image", "The sound of a powerful slow-speed drill greets Bell and \n Shermin as they enter. The extraterrestrial is still on its", "room and various close-ups of the dead extraterrestrial lying \n on a white glass table lit from underneath.", "SHERMIN\n I saw it with my own eyes. We've \n killed an extraterrestrial and...", "the dead extraterrestrial. It glows from the inside. An Air \n Force helicopter is parked on the other side of the burn.", "BENNY\n There is. They came out of the belly \n of the ship and then went to the \n first terrace and flew down into the \n houses.", "spacecraft. It settles into a landing across the dirt road \n resting on its three pods. With a crack, a cone of bright \n white light blasts from the underside.", "He hands the can back to Jenny. She looks at it and knows \n there are alien bacteria there her body would not like to \n meet.", "For a moment, Jenny and the STAR MAN think they're safe. \n That hope turns to despair when the two patrol cars loop", "SHERMIN (V.O.)\n (his voice quavering)\n George, we've just confirmed the \n existence of the live \n extraterrestrial.", "on them from behind. Before they can turn a light rockets \n over their heads. With a rumble the hill begins to vibrate. \n As they follow its flight, they see lights beginning to ripple", "and into the white light emitting from the underbelly of the \n spacecraft. The noise from the ship's power plant is deafening \n as it begins to rise above the trees.", "The Mustang cruises along between fields of corn.\n\n JENNY (V.O.)\n Why did your ship land on this \n planet... on Earth?", "neutron back scatters and doppler radar. On a fourth screen \n the forward-looking infrared module begins creating a picture \n of the UFO. The men relax as they recognize the configurations", "we saw a small ship. My... eh... we \n kidnapped it. On it there was a map \n that said how to come to Earth. This", "The STAR MAN sets down with the smoothness of a man stepping \n off an escalator. He looks over his shoulder. The helicopter", "themselves back in panic. When they turn back to look, \n distorted impressions of the face inside the helmet reflect \n on the glass of their contamination hoods. (Pause)", "faceplate and we hear the faint sounds of a percussive \n language. Through the window over the sink we can see the \n lights of the spaceship." ], [ "MAN\n Where are you going?\n\n STAR MAN\n Las Vegas, please. I do not speak \n English.", "JENNY\n (laughs)\n No, they don't talk... We talk to \n them.\n\n STAR MAN\n I understand.", "Jenny awakens and looks around. The STAR MAN is not with \n her. As she stands up she hears his VOICE OUTSIDE. He is \n speaking to something in his language.", "The STAR MAN takes it, quickly examines it, then positions \n it in his mouth at the exact angle the Cook did. His eyebrows", "The STAR MAN looks intently at her, then opens the front \n door. He taps his chest, points to Jenny and motions to the \n dawn outside.", "JENNY\n (alarmed)\n What are you doing?!\n\n The STAR MAN brings the globe close to his mouth and speaks \n into it.", "JENNY\n Any words you don't know you can \n find in the dictionary.\n\n STAR MAN\n I understand.", "The STAR MAN scrapes it forward. He activates the satel \n compass which lights the interior of the boxcar. While he is", "STAR MAN\n I don't understand.\n\n MAN\n Parlez vous Francais?... Habla \n Ingles?... Sprechen zie deutsch?", "STAR MAN\n The Cook said I speak good English.\n\n DISSOLVE TO:", "comes from inside the extraterrestrial's helmet. The men \n freeze. There is another burst of percussive language and a \n projection beam shoots out of the helmet throwing the image", "The STAR MAN smiles.\n\n MAN\n Where you from?\n\n The STAR MAN starts to point to the sky, then catches himself.", "In the passenger seat the STAR MAN is riffling through a \n Columbia \"History of the World.\" A Webster's Dictionary is", "Jenny shakes her head 'no.'\n\n JENNY\n Steering wheel.\n\n STAR MAN\n (repeats)\n Steering wheel.", "Fear erases the STAR MAN's tenuous grasp of English and he \n begins to jabber in his own language. This makes Burt even \n madder.", "JENNY\n (enunciates)\n Steering wheel...\n\n STAR MAN\n (correcting her)\n What.", "JENNY\n I've noticed... Do you understand \n what they're saying?\n\n STAR MAN\n Not all... but it feels like a kiss.", "The STAR MAN mutters in his language.\n\n JENNY\n What are you saying?", "The STAR MAN looks at Jenny for help. She sweeps her fingers \n across her mouth to indicate her lips are sealed. The STAR \n MAN peeks around her at the Attendant.", "SHERMIN\n Hello...\n\n STAR MAN (V.O.)\n I must get to my ship, Mr. Shermin." ], [ "Benny and the officer look to where Mike is pointing. What \n appears to be the beam of a powerful headlight bobs among", "The STAR MAN looks at the map. Lathrop Wells is a small town \n north of Las Vegas on Highway 95. From there he runs his \n finger to a spot in the Funeral Range of Death Valley.", "Shermin takes a bullhorn from Lyman and goes around to the \n front of the Mustang. The highway patrolmen get out of their \n cars behind him.", "off his view. A path between two logs leads him to the tip \n of a promontory. From behind the cedars growing there, he \n sits and looks down on the center of Eau Claire.", "are between it and the ship. At the angle that it is coming \n up the hill, the light looks like it is heading directly for \n them. This is too much for the officer and in terror he raises", "The fires on the hillside have been renewed. Shaking, Benny \n and the officer rise to their feet and start toward the light", "then slowly draws them apart. The force field appears between \n them. On it the solarized view of the United States rotates \n until the red destination dot is on his right. He drops his", "The two men begin to trot toward the light. It swings wildly \n around and, accompanied by the high-pitched whistle, starts", "are thrown into a skid. When they stop, they are facing each \n other ready to inspect the traffic coming off 70. They lower \n the blanket from their faces. Jenny lays her head back against", "Lyman runs up and whispers in Shermin's ear. Shermin is \n startled by what he hears. He leaves Lyman in charge and \n hurries to the helicopter parked in the field beside the \n roadblock.", "BENNY\n (loud whisper)\n There!! Up on the hill!!\n\n The officer steps forward for a better look. Benny hangs on \n his shoulder.", "She motions ahead and he turns to look at an inter-section \n with streets running in three directions off of it. His eyes \n question Jenny again.", "Fox, immaculate in a freshly pressed black flight suit, climbs \n out of the first one down and he and Shermin meet in the \n middle of the runway.", "The STAR MAN looks intently at her, then opens the front \n door. He taps his chest, points to Jenny and motions to the \n dawn outside.", "Shermin's helicopter slices around a pine-dotted peak \n following the twists of Interstate 70 below. In the near \n distance, we can SEE the roadblock.", "Her rusty laugh follows him into the parking lot. He walks \n between the trucks to a semi which has half of a pre-fab", "They bolt across the lanes of traffic to the other side of \n the road where she flags down an old black pickup truck. She", "three Nebraska Highway Patrol cars speed up the off-ramp. \n The lead car turns right on a surface street and enters the \n motel parking lot at the far end.", "She stares at him until he does, then leads the STAR MAN \n down the path that opens for them in the crowd. They pass a \n MALL GUARD who has just arrived.", "She points right. After another look at Jenny, the STAR MAN \n presses the palms of his hands together, concentrates briefly," ], [ "STAR MAN\n Who?\n\n JENNY\n My... husband.\n\n STAR MAN\n I am husband?", "Still shaken, the STAR MAN nods. Jenny realizes that it is \n comforting to him to have his hand in hers and she leads him \n like a child down the sidewalk to the Mustang.", "The STAR MAN gets her to her feet and hustles her out of the \n room. On the dresser is Jenny's wedding picture. The man the \n STAR MAN has become is her husband.", "by. He starts across the lanes of traffic toward Jenny. A \n truck blasts past him in the slow lane. He is buffeted into \n the fast lane. Jenny runs down the center divider to meet", "Jenny lets out a blood-curdling scream and strikes out at \n him. Flashes of light erupt off his exposed chest where she \n hits. The ferocity of her attack knocks him aside and she \n sprints up the stairs.", "JENNY\n See? You're going to be okay.\n\n When they stop at the door, she impulsively kisses him on \n the cheek.", "He eases Jenny to the ground behind a boulder. She whimpers \n with the pain.", "JENNY\n Hang on.\n\n She throws the car into a skid and leaves the blacktop for a \n dirt road winding between two low hills.", "Jenny joins the STAR MAN at the fence.\n\n JENNY\n Good morning.\n\n STAR MAN\n Horses.", "He turns from her and walks to his ship. Jenny watches him \n go, then remembers something.\n\n JENNY\n Wait!!", "ATTENDANT\n Nope.\n\n Jenny folds back the plastic windows to the picture of her \n husband.\n\n JENNY\n This is him.", "It is difficult with Jenny around his waist, but he manages. \n He drapes his arms over her. She snuggles into him. The RAIN", "JENNY\n (into phone)\n Mr... I'm sorry, what was your name \n again?\n\n SHERMIN (V.O.)\n Marc Shermin.", "The STAR MAN looks intently at her, then opens the front \n door. He taps his chest, points to Jenny and motions to the \n dawn outside.", "glimpses of Jenny pleading his case on the phone. Finally, \n leaving the receiver dangling at the end of its cord, she \n comes around to stand in the doorway.", "JENNY\n (V.O.)\n Gas.\n\n The car leaps forward again.", "above it. With his lips firmly pressed together, he tugs \n Jenny's sleeve and points.", "JENNY\n Men. You go in here.\n\n She cracks the door for him.\n\n JENNY\n Come on.", "He looks to Jenny for confirmation. She nods absently. He \n returns to the alphabet.\n\n STAR MAN\n W-w...", "Jenny is nervous about being here. She feels every face that \n looks at them could be a cop. The STAR MAN is pulling her" ], [ "A bit of the white light comes out of his forehead. It tumbles \n across to Jenny's cheek and settles into the wound. The STAR", "his side mirror and drifts over, only to be caught by a light. \n The car is still rolling when Jenny makes her move. She throws", "runs her fingers over her cheek and neck, across her shoulder \n and down her side, feeling for traces of the wounds she knows \n she sustained. She has been completely healed and there are", "JENNY\n (V.O.)\n Gas.\n\n The car leaps forward again.", "A shotgun blast from the middle patrol car rips through the \n door and into Jenny. Part of the FRONT WINDOW is BLOWN OUT. \n Bleeding badly, she slumps against the STAR MAN.", "the grip of the drill. Jenny winces as he buries them into \n the flesh on either side of his left wrist. The car skates", "Jenny lets out a blood-curdling scream and strikes out at \n him. Flashes of light erupt off his exposed chest where she \n hits. The ferocity of her attack knocks him aside and she \n sprints up the stairs.", "Jenny sets her jaw and wrenches the steering wheel violently \n to the left.\n\n EXT. STREET - DAWN", "Still shaken, the STAR MAN nods. Jenny realizes that it is \n comforting to him to have his hand in hers and she leads him \n like a child down the sidewalk to the Mustang.", "JENNY\n (softly)\n Oh no...\n\n She stops next to him and rolls down her window.\n\n JENNY\n What happened?", "JENNY\n Hang on.\n\n She throws the car into a skid and leaves the blacktop for a \n dirt road winding between two low hills.", "It is as if all three vehicles have heard Jenny. They slam \n on their brakes at the same time and begin to skid toward \n each other. It's going to be close.", "of the Mustang. Both vehicles shudder to a stop. Jenny claws \n at her door. It swings open. She is halfway out before the", "by. He starts across the lanes of traffic toward Jenny. A \n truck blasts past him in the slow lane. He is buffeted into \n the fast lane. Jenny runs down the center divider to meet", "away the blood on the right side of her head and neck. He \n finds a deep glass cut on her cheek and two entry points in \n her neck. He concentrates on her cheek and we can SEE the", "The cold light marbles Jenny's skin and makes the blood from \n her wounds appear black. With her blouse, the STAR MAN wipes", "JENNY\n It works.\n\n The STAR MAN slumps in exhaustion and pain.", "She takes her foot off the accelerator and the car quickly \n slows down.\n\n JENNY\n No gas.\n\n EXT. BRIDGE - AFTERNOON", "It is difficult with Jenny around his waist, but he manages. \n He drapes his arms over her. She snuggles into him. The RAIN", "The STAR MAN opens the passenger door. Jenny is soaked in \n her own blood. He hooks the strap of her purse over his" ], [ "JENNY\n I'd love to have a baby. But I \n can't...\n\n STAR MAN\n Why?", "JENNY\n I told you it's impossible for me to \n have a baby.", "He hands the can back to Jenny. She looks at it and knows \n there are alien bacteria there her body would not like to \n meet.", "Jenny lets out a blood-curdling scream and strikes out at \n him. Flashes of light erupt off his exposed chest where she \n hits. The ferocity of her attack knocks him aside and she \n sprints up the stairs.", "JENNY\n (shakes her head 'no')\n But...", "Jenny, knowing it can't work, but hoping that it will, stands \n back and gnaws on her thumb. Then she sees the blue haze", "JENNY\n I can't... Forget the baby. Okay? \n The closest I was able to get you", "JENNY\n Oh, God, no! I'm not leaving this \n house with you. You're going to hurt \n me, I know...", "doing this Jenny turns her back to him and takes off her \n jacket. Her teeth chattering, she tries to wring the water \n out of it.", "away to look up at it. He can't see anything. He is on his \n way to try and get in the side door when Jenny comes clumping", "JENNY\n (in a small voice)\n No... please don't...", "JENNY\n (screams)\n Stop!! Enough!! Jesus! You're worse \n than a parrot!!", "JENNY\n (through tears)\n I can't. I'd like to help. You look", "JENNY\n (shouts at him)\n Even if we walk five miles, it's not \n going to make any difference.", "Jenny, sitting on the floor with her arms wrapped around her \n knees, is reflected in a mirror fastened to the back of the", "This hits Jenny like a kick in the stomach. She leans her \n head back against the wall. Her ride is pacing outside the \n booth.", "JENNY\n You shit! I'll decide if I go or \n not. Not you. I don't know what you", "The STAR MAN looks at her uncomprehendingly.\n\n JENNY\n (to herself)\n I gotta get out of here.", "Jenny is nervous about being here. She feels every face that \n looks at them could be a cop. The STAR MAN is pulling her", "There is no one in the kitchen and she continues into the \n living room. It is empty. Jenny opens the door to an enclosed" ], [ "We pull back as he holds the ten up to Jenny.\n\n JENNY\n Money.\n\n STAR MAN\n Money.", "STAR MAN\n The cowboys were right. You can make \n money fast gambling.\n\n JENNY\n You don't make money gambling. You \n lose it.", "STAR MAN\n (stepping up to the \n 'Super Jackpot')\n Yes.", "JENNY\n It works.\n\n The STAR MAN slumps in exhaustion and pain.", "The STAR MAN pops a gleaming silver dollar into the machine, \n pulls the handle and places his hands against the metal.", "JENNY\n This is crazy. We don't have time \n for this.\n\n STAR MAN\n I know how to gamble now.", "The STAR MAN hangs back to examine a one-armed bandit inside \n the front door while Jenny goes to the counter. An almost", "The STAR MAN is afraid of the crush of people and wants to \n stay close to Jenny, but is fascinated by the whir and click \n and jingle of the one-armed bandits that seem to be \n everywhere.", "STAR MAN\n I want to gamble.\n\n Jenny sighs and rolls her eyes and fishes two quarters out \n of her purse and hands them to him.", "He leaves the window. The STAR MAN watches him until the \n nozzle is in the Mustang, then pleased with himself, turns \n to Jenny and lifts his face into a 'smile.'", "STAR MAN\n Money.\n\n JENNY\n Yes.", "Clutching the windbreaker to her breasts, Jenny looks at the \n STAR MAN over her shoulder. It doesn't take her long to make \n up her mind.", "Confused, the STAR MAN puts the money back into Jenny's wallet \n and reads the first card through its plastic window.", "Jenny gets out of the car. When she straightens up, she finds \n the STAR MAN staring at her over the roof. She slams the", "STAR MAN fights back as best he can. The sleeve of his \n windbreaker is torn. One of the T-shirts lands a blow on his", "The STAR MAN scrapes it forward. He activates the satel \n compass which lights the interior of the boxcar. While he is", "JENNY\n (to the STAR MAN)\n They're trying to get him.\n\n Suddenly the STAR MAN slams his shoulder against the door. \n It swings open.", "She points right. After another look at Jenny, the STAR MAN \n presses the palms of his hands together, concentrates briefly,", "The STAR MAN looks intently at her, then opens the front \n door. He taps his chest, points to Jenny and motions to the \n dawn outside.", "The STAR MAN sets down with the smoothness of a man stepping \n off an escalator. He looks over his shoulder. The helicopter" ], [ "THIRD DRIVER\n National Security folks should be \n here any minute. Let them take care \n of it. That's what they get the big \n bucks for.", "MAN\n (around a cigarette)\n Major Aaron Bell...\n\n SHERMIN\n Marc Shermin, National Security \n Agency.", "Lyman runs up and whispers in Shermin's ear. Shermin is \n startled by what he hears. He leaves Lyman in charge and \n hurries to the helicopter parked in the field beside the \n roadblock.", "LYMAN\n (over his shoulder to \n Shermin)\n Fox.\n\n He taps a three digit code and Fox comes into view.", "then slowly draws them apart. The force field appears between \n them. On it the solarized view of the United States rotates \n until the red destination dot is on his right. He drops his", "In the office, he can see Jenny and the STAR MAN leave the \n counter and head for the door. He raises a pair of binoculars \n to his eyes for a good head-on look at them.", "She tries to swing the door open and hide her message against \n the wall, but she is too slow. The STAR MAN sees it and steps \n forward to read.", "OFFICER\n (over outside speakers)\n This is the police. Identify \n yourselves.\n\n It is deathly silent.", "The STAR MAN looks at Jenny for help. She sweeps her fingers \n across her mouth to indicate her lips are sealed. The STAR \n MAN peeks around her at the Attendant.", "Lyman taps a code into the computer keyboard. There's a shower \n of static on one of the TV screens. When it clears up GEORGE", "The Mall Guard follows them down the walk-way and watches \n them drive off. He scribbles the license number in his \n notebook.", "He hangs up and heads for the rear door. Jenny Haydn's current \n Visa statement occupies the upper left screen. The last two", "Shermin takes a bullhorn from Lyman and goes around to the \n front of the Mustang. The highway patrolmen get out of their \n cars behind him.", "There are Eau Claire police cars on the street. Shermin is \n out back watching Bell pick his way down the hill. Through \n the windows we see uniformed policemen in the living room.", "Bell stuffs his breakfast plate into a garbage bag and goes \n to get a breath of fresh air in the open doorway. Shermin \n stops at a point on the telex sheet. He reads the message to \n himself again.", "We'll tell the press that there was \n an accident. Chemical warfare spill. \n That cover cannot be violated in any", "Standing back of the officers, Shermin watches them check to \n cars passing through the squeeze point. Every car trunk is \n opened. Vans and campers are looked into.", "SHERMIN\n You can change a directive, George. \n You've done it before. Listen to me.", "Still shaken, the STAR MAN nods. Jenny realizes that it is \n comforting to him to have his hand in hers and she leads him \n like a child down the sidewalk to the Mustang.", "BENNY\n (to the officers, his \n voice cracking)\n There's one over here..." ], [ "spacecraft. It settles into a landing across the dirt road \n resting on its three pods. With a crack, a cone of bright \n white light blasts from the underside.", "is blocked by police cars. The helicopter leans into a banking \n turn and the spacecraft's blackened landing site comes into \n view. Below it an orange nylon tent has been erected over", "The Mustang cruises along between fields of corn.\n\n JENNY (V.O.)\n Why did your ship land on this \n planet... on Earth?", "The lift off of Shermin's helicopter reveals contamination -- \n suited scientists slipping the dead extraterrestrial's coffin \n into the Air Force helicopter.", "STAR MAN\n (points at a \n distinctive cone \n peak)\n That's where we landed last time. \n Right under that mountain.", "This one's real. We have a dead extra-\n terrestrial in that tent and another \n one in the area that might be alive.", "the dead extraterrestrial. It glows from the inside. An Air \n Force helicopter is parked on the other side of the burn.", "and into the white light emitting from the underbelly of the \n spacecraft. The noise from the ship's power plant is deafening \n as it begins to rise above the trees.", "comes from inside the extraterrestrial's helmet. The men \n freeze. There is another burst of percussive language and a \n projection beam shoots out of the helmet throwing the image", "The spacecraft passes over the top of the helicopter. The \n whirling downdraft emanating from the spaceship's underbelly", "Jenny backs away as the STAR MAN walks under the ship into \n the white light. He waves one last time to Jenny and is \n swallowed into the ship by the light.\n\n EXT. DESERT - NIGHT", "The sound of a powerful slow-speed drill greets Bell and \n Shermin as they enter. The extraterrestrial is still on its", "BENNY\n There is. They came out of the belly \n of the ship and then went to the \n first terrace and flew down into the \n houses.", "to life across the skin of a saucer-shaped spacecraft resting \n at the edge of the forest on top of the hill. With a rumble", "The STAR MAN sets down with the smoothness of a man stepping \n off an escalator. He looks over his shoulder. The helicopter", "on them from behind. Before they can turn a light rockets \n over their heads. With a rumble the hill begins to vibrate. \n As they follow its flight, they see lights beginning to ripple", "The officers watch in awe as the beam wobbles through the \n air, then crashes to the earth.", "With an awesome roar the spacecraft reaches escape velocity \n and hurtles into the night sky. The concussion waves knock \n Benny and the officers off their feet.", "vibrate and drift off its target. Fox looks toward the sound \n coming from his right and his eyes widen in fear as he sees \n the STAR MAN's ship looming over him.", "SHERMIN\n It could have been anything.\n\n EXT. BLACKENED LANDING SITE - DAWNBREAK" ], [ "As he replaces it in his pocket, he sees a shadow flit across \n the far end of the clearing. He swings his flashlight in \n that direction. The beam catches a piece of Jenny and the \n STAR MAN.", "He is hairless. Underneath a graceful fore-head, transparent \n eyelids droop over black pupilless eyes. The thin lips that \n delineate his mouth are chalk-white.", "He tries to clutch the edges of the tear together but is too \n weak. His hands drop limply from the suit, allowing the rent \n to gape open and reveal the translucent body underneath.", "FOX\n Clarify that.\n\n SHERMIN (V.O.)\n It's made itself look like the woman's \n dead husband.", "endoskeleton. The creature seems to \n have tremendous regenerative powers. \n Although it must have died within \n minutes of receiving the fatal wound,", "The lift off of Shermin's helicopter reveals contamination -- \n suited scientists slipping the dead extraterrestrial's coffin \n into the Air Force helicopter.", "He turns from the mirror and goes over to where the .45 and \n a leg pouch from his life-support suit are lying on the bed", "The STAR MAN returns to the picture and resumes his \n transformation. He completes the chin, then continues downward \n weaving skin and filling in the human characteristics over \n the entire body.", "This one's real. We have a dead extra-\n terrestrial in that tent and another \n one in the area that might be alive.", "The sound of a powerful slow-speed drill greets Bell and \n Shermin as they enter. The extraterrestrial is still on its", "Jenny lets out a blood-curdling scream and strikes out at \n him. Flashes of light erupt off his exposed chest where she \n hits. The ferocity of her attack knocks him aside and she \n sprints up the stairs.", "The STAR MAN gets her to her feet and hustles her out of the \n room. On the dresser is Jenny's wedding picture. The man the \n STAR MAN has become is her husband.", "He hands the can back to Jenny. She looks at it and knows \n there are alien bacteria there her body would not like to \n meet.", "The men do. Jenny pushes the sleeve of the torn wind-breaker \n back up on the STAR MAN's shoulder.\n\n MOTHER\n He was stealing my baby...", "comes from inside the extraterrestrial's helmet. The men \n freeze. There is another burst of percussive language and a \n projection beam shoots out of the helmet throwing the image", "The STAR MAN stirs and awakens with a start. He parts the \n tear in his suit and looks at his lung through his translucent", "the dead extraterrestrial. It glows from the inside. An Air \n Force helicopter is parked on the other side of the burn.", "The cold light marbles Jenny's skin and makes the blood from \n her wounds appear black. With her blouse, the STAR MAN wipes", "onto the exposed copper. With Jenny watching we have a montage \n of the STAR MAN working through the night: modifying the \n insides of the Black and Decker drill, cutting out the mid-", "identification light that flickers on and off inside its \n helmet, we see a MAN FROM THE STARS. His skin is translucent" ], [ "are between it and the ship. At the angle that it is coming \n up the hill, the light looks like it is heading directly for \n them. This is too much for the officer and in terror he raises", "Shermin takes a bullhorn from Lyman and goes around to the \n front of the Mustang. The highway patrolmen get out of their \n cars behind him.", "Lyman runs up and whispers in Shermin's ear. Shermin is \n startled by what he hears. He leaves Lyman in charge and \n hurries to the helicopter parked in the field beside the \n roadblock.", "then slowly draws them apart. The force field appears between \n them. On it the solarized view of the United States rotates \n until the red destination dot is on his right. He drops his", "The STAR MAN looks at the map. Lathrop Wells is a small town \n north of Las Vegas on Highway 95. From there he runs his \n finger to a spot in the Funeral Range of Death Valley.", "Benny and the officer look to where Mike is pointing. What \n appears to be the beam of a powerful headlight bobs among", "She motions ahead and he turns to look at an inter-section \n with streets running in three directions off of it. His eyes \n question Jenny again.", "are thrown into a skid. When they stop, they are facing each \n other ready to inspect the traffic coming off 70. They lower \n the blanket from their faces. Jenny lays her head back against", "Shermin's helicopter slices around a pine-dotted peak \n following the twists of Interstate 70 below. In the near \n distance, we can SEE the roadblock.", "The fires on the hillside have been renewed. Shaking, Benny \n and the officer rise to their feet and start toward the light", "off his view. A path between two logs leads him to the tip \n of a promontory. From behind the cedars growing there, he \n sits and looks down on the center of Eau Claire.", "Fox, immaculate in a freshly pressed black flight suit, climbs \n out of the first one down and he and Shermin meet in the \n middle of the runway.", "The STAR MAN looks intently at her, then opens the front \n door. He taps his chest, points to Jenny and motions to the \n dawn outside.", "Carrying a shotgun the officer motions Benny and Mike to fan \n out on either side of him and, guns drawn, they cut across \n the tract to where they last saw the bobbing light.", "cross land mass to site of our \n practice landings. If transformation \n is not fatal, second message ball by \n next darkness.", "STAR MAN\n (points at a \n distinctive cone \n peak)\n That's where we landed last time. \n Right under that mountain.", "For a moment, Jenny and the STAR MAN think they're safe. \n That hope turns to despair when the two patrol cars loop", "It is as if all three vehicles have heard Jenny. They slam \n on their brakes at the same time and begin to skid toward \n each other. It's going to be close.", "BENNY\n (loud whisper)\n There!! Up on the hill!!\n\n The officer steps forward for a better look. Benny hangs on \n his shoulder.", "He's going somewhere in Death Valley. \n Lathrop Wells was never anything but \n a bus stop. East is the nuclear site." ], [ "we saw a small ship. My... eh... we \n kidnapped it. On it there was a map \n that said how to come to Earth. This", "JENNY\n How many days and nights do you have \n to go...\n (prods the red dot)\n ...here?", "This one's real. We have a dead extra-\n terrestrial in that tent and another \n one in the area that might be alive.", "JENNY\n (shouts after him)\n I will. I will. We still have another \n day.\n\n STAR MAN\n You promised.", "We've been visited. It's finally \n happened and the sooner Washington \n accepts that and starts figuring out", "comes from inside the extraterrestrial's helmet. The men \n freeze. There is another burst of percussive language and a \n projection beam shoots out of the helmet throwing the image", "then slowly draws them apart. The force field appears between \n them. On it the solarized view of the United States rotates \n until the red destination dot is on his right. He drops his", "The sound of a powerful slow-speed drill greets Bell and \n Shermin as they enter. The extraterrestrial is still on its", "on them from behind. Before they can turn a light rockets \n over their heads. With a rumble the hill begins to vibrate. \n As they follow its flight, they see lights beginning to ripple", "The Mustang cruises along between fields of corn.\n\n JENNY (V.O.)\n Why did your ship land on this \n planet... on Earth?", "The STAR MAN looks intently at her, then opens the front \n door. He taps his chest, points to Jenny and motions to the \n dawn outside.", "JENNY\n How long will it take you to get \n home?\n\n STAR MAN\n (absently)\n Many, many days and nights...", "But when it comes it will know \n everything I know and everything you \n know. That is something from my planet \n that I want your baby to have.", "He hands the can back to Jenny. She looks at it and knows \n there are alien bacteria there her body would not like to \n meet.", "The lift off of Shermin's helicopter reveals contamination -- \n suited scientists slipping the dead extraterrestrial's coffin \n into the Air Force helicopter.", "JENNY\n Where are you going?\n\n STAR MAN\n I must meet my ship.", "STAR MAN\n Three nights... two days.", "are between it and the ship. At the angle that it is coming \n up the hill, the light looks like it is heading directly for \n them. This is too much for the officer and in terror he raises", "JENNY\n You thought we were a different \n planet?!\n\n STAR MAN\n No. My ship was doing a map of all \n the suns and...", "Earth to take home. The police came \n and shot at us. One of the people \n from my ship was killed." ], [ "He hands the can back to Jenny. She looks at it and knows \n there are alien bacteria there her body would not like to \n meet.", "JENNY\n I will.\n\n STAR MAN\n Goodbye.", "JENNY\n Well...\n\n STAR MAN\n I must go.\n\n Jenny nods.", "Jenny lets out a blood-curdling scream and strikes out at \n him. Flashes of light erupt off his exposed chest where she \n hits. The ferocity of her attack knocks him aside and she \n sprints up the stairs.", "JENNY\n (this frightens Jenny \n even more)\n Good.\n\n STAR MAN\n Good.", "JENNY\n Yes. I have a long ride ahead of \n me...\n (takes his hand)\n Goodbye.\n\n STAR MAN\n Goodbye.", "JENNY\n Satisfied? Now get out. Out.\n\n STAR MAN\n No.", "He turns from her and walks to his ship. Jenny watches him \n go, then remembers something.\n\n JENNY\n Wait!!", "The men do. Jenny pushes the sleeve of the torn wind-breaker \n back up on the STAR MAN's shoulder.\n\n MOTHER\n He was stealing my baby...", "The STAR MAN looks at her but doesn't move. Jenny snarls in \n frustration, then with the STAR MAN on her heels, stalks to \n the ladies' room and throws open the door.", "Clutching the windbreaker to her breasts, Jenny looks at the \n STAR MAN over her shoulder. It doesn't take her long to make \n up her mind.", "JENNY\n (her head on his \n shoulder)\n I'm never going to see you again, am \n I?\n\n STAR MAN\n No.", "The STAR MAN looks at her uncomprehendingly.\n\n JENNY\n (to herself)\n I gotta get out of here.", "Jenny comes in and locks the door. She passes through the \n kitchen and is on her way to the stairs when the STAR MAN \n steps out of the darkness in the living room. A scream catches \n in Jenny's throat.", "The line moves forward a step.\n\n JENNY\n Well... I'm going to go now.\n\n STAR MAN\n Go?", "The STAR MAN gets her to her feet and hustles her out of the \n room. On the dresser is Jenny's wedding picture. The man the \n STAR MAN has become is her husband.", "JENNY\n (shouts after him)\n I will. I will. We still have another \n day.\n\n STAR MAN\n You promised.", "Jenny gets there two steps ahead of the STAR MAN. She slams \n the door in his face and locks it. With him POUNDING ON THE", "JENNY\n Sure.\n\n She leans back and gives the startled Teenager a kiss on the \n mouth, then gets out.", "JENNY\n Goodbye.\n\n STAR MAN\n (touches his cheek)\n What?" ], [ "The STAR MAN pops a gleaming silver dollar into the machine, \n pulls the handle and places his hands against the metal.", "The STAR MAN frees his right hand and blindly searches the \n floor for the gun. He comes up with it and, shoving the barrel", "The STAR MAN scrapes it forward. He activates the satel \n compass which lights the interior of the boxcar. While he is", "The STAR MAN sets down with the smoothness of a man stepping \n off an escalator. He looks over his shoulder. The helicopter", "The STAR MAN returns to the picture and resumes his \n transformation. He completes the chin, then continues downward \n weaving skin and filling in the human characteristics over \n the entire body.", "The STAR MAN turns toward the Cobra. Weakly, he raises his \n weapon and pulls the trigger. Nothing happens. The searchlight", "She points right. After another look at Jenny, the STAR MAN \n presses the palms of his hands together, concentrates briefly,", "The STAR MAN opens his hands and, to Jenny's astonishment, \n the ball rises quickly and seeps through her roof without \n leaving a trace.\n\n EXT. INTERSTATE - NIGHT", "STAR MAN fights back as best he can. The sleeve of his \n windbreaker is torn. One of the T-shirts lands a blow on his", "The last patrol car speeds up to replace it. The lead patrol \n car slips in next to the STAR MAN. They've got him in a \n sandwich. The STAR MAN stands on his brakes.", "Jenny's outburst rocks the STAR MAN back into silence. He \n waits for her to calm down, then slowly takes the gun out of \n his pocket.", "The STAR MAN is sitting on the edge of a chair with his back \n to her. He is naked. A dot of light is HISSING around his", "The STAR MAN tenses and forces a smile as the Rider passes \n in front of him. A VOICE comes from behind the faceplate.", "The STAR MAN draws the satel compass out between his palms. \n The green dot now covers the right half of the red dot. He \n presses his palms together and looks past Jenny at the rugged \n foothills.", "MAN\n Where are you going?\n\n STAR MAN\n Las Vegas, please. I do not speak \n English.", "STAR MAN standing on the gravel. The STAR MAN looks back to \n where they came from. There is nothing coming so he sets out \n in the other direction.", "Shermin pushes the seat forward. The STAR MAN's life-support \n suit is stuffed in the space behind it. The patrol cars skid \n around the curve.", "The STAR MAN looks at Jenny for help. She sweeps her fingers \n across her mouth to indicate her lips are sealed. The STAR \n MAN peeks around her at the Attendant.", "The STAR MAN angles back into his lane and begins to pick up \n speed.\n\n EXT. SIOUX FALLS - SOUTH DAKOTA - DAY", "SHERMIN\n Hello...\n\n STAR MAN (V.O.)\n I must get to my ship, Mr. Shermin." ], [ "Confused, the STAR MAN puts the money back into Jenny's wallet \n and reads the first card through its plastic window.", "The STAR MAN gets her to her feet and hustles her out of the \n room. On the dresser is Jenny's wedding picture. The man the \n STAR MAN has become is her husband.", "We pull back as he holds the ten up to Jenny.\n\n JENNY\n Money.\n\n STAR MAN\n Money.", "JENNY\n Well...\n\n STAR MAN\n I must go.\n\n Jenny nods.", "Jenny gets out of the car. When she straightens up, she finds \n the STAR MAN staring at her over the roof. She slams the", "STAR MAN\n Money.\n\n JENNY\n Yes.", "JENNY\n I will.\n\n STAR MAN\n Goodbye.", "JENNY\n It works.\n\n The STAR MAN slumps in exhaustion and pain.", "The STAR MAN is intent on the police car. Jenny gives up \n trying to distract him. The patrol car passes out of their \n view. The STAR MAN lowers the gun and looks at Jenny.", "JENNY\n You don't forget anything, do you?\n\n STAR MAN\n No.\n\n Jenny pets one of the horses on the nose.", "There are no more gas stations in sight. The STAR MAN becomes \n bored with the silence. He picks up Jenny's wallet. The", "JENNY\n (to the STAR MAN)\n They're trying to get him.\n\n Suddenly the STAR MAN slams his shoulder against the door. \n It swings open.", "The STAR MAN opens his hands and, to Jenny's astonishment, \n the ball rises quickly and seeps through her roof without \n leaving a trace.\n\n EXT. INTERSTATE - NIGHT", "Jenny awakens and looks around. The STAR MAN is not with \n her. As she stands up she hears his VOICE OUTSIDE. He is \n speaking to something in his language.", "Jenny ignores him.\n\n STAR MAN\n (yells)\n Kidnapped!!!", "The STAR MAN looks intently at her, then opens the front \n door. He taps his chest, points to Jenny and motions to the \n dawn outside.", "Clutching the windbreaker to her breasts, Jenny looks at the \n STAR MAN over her shoulder. It doesn't take her long to make \n up her mind.", "JENNY\n Yes. I have a long ride ahead of \n me...\n (takes his hand)\n Goodbye.\n\n STAR MAN\n Goodbye.", "The STAR MAN looks at her but doesn't move. Jenny snarls in \n frustration, then with the STAR MAN on her heels, stalks to \n the ladies' room and throws open the door.", "He leaves the window. The STAR MAN watches him until the \n nozzle is in the Mustang, then pleased with himself, turns \n to Jenny and lifts his face into a 'smile.'" ], [ "The last patrol car speeds up to replace it. The lead patrol \n car slips in next to the STAR MAN. They've got him in a \n sandwich. The STAR MAN stands on his brakes.", "The STAR MAN frees his right hand and blindly searches the \n floor for the gun. He comes up with it and, shoving the barrel", "The STAR MAN is sitting on the edge of a chair with his back \n to her. He is naked. A dot of light is HISSING around his", "Jenny ignores him.\n\n STAR MAN\n (yells)\n Kidnapped!!!", "Burt pulls the STAR MAN up by his shirt front and shakes \n him.\n\n BURT\n Is that right? Come on. Answer me.", "The STAR MAN looks at Jenny for help. She sweeps her fingers \n across her mouth to indicate her lips are sealed. The STAR \n MAN peeks around her at the Attendant.", "The STAR MAN looks at her but doesn't move. Jenny snarls in \n frustration, then with the STAR MAN on her heels, stalks to \n the ladies' room and throws open the door.", "room. It is locked. Not knowing what to do, the STAR MAN \n stands uncomfortably in front of the door, then like a child", "The STAR MAN sets down with the smoothness of a man stepping \n off an escalator. He looks over his shoulder. The helicopter", "panel on his chest and the identification light comes on \n inside his helmet. At the sight of the STAR MAN, Jenny begins \n to scream. He presses her back against the wall and puts a", "JENNY\n (to the STAR MAN)\n They're trying to get him.\n\n Suddenly the STAR MAN slams his shoulder against the door. \n It swings open.", "The STAR MAN gets her to her feet and hustles her out of the \n room. On the dresser is Jenny's wedding picture. The man the \n STAR MAN has become is her husband.", "In the office, he can see Jenny and the STAR MAN leave the \n counter and head for the door. He raises a pair of binoculars \n to his eyes for a good head-on look at them.", "Jenny gets out of the car. When she straightens up, she finds \n the STAR MAN staring at her over the roof. She slams the", "The STAR MAN does as he is told. He doesn't like it, but he \n does it. With his lips puckered, he looks straight down the", "The gunsights lock in on Jenny and the STAR MAN. Fox's grip \n tightens on the trigger. Suddenly the helicopter begins to", "STAR MAN\n Wehave...\n\n Jenny ceases her struggle and begins to cry. The STAR MAN \n takes his hand away from her mouth.", "The STAR MAN is intent on the police car. Jenny gives up \n trying to distract him. The patrol car passes out of their \n view. The STAR MAN lowers the gun and looks at Jenny.", "She turns around and looks down indecisively, then hurries \n upstairs. A light goes on in the bedroom. The STAR MAN backs", "The STAR MAN smiles.\n\n MAN\n Where you from?\n\n The STAR MAN starts to point to the sky, then catches himself." ], [ "JENNY\n I will.\n\n STAR MAN\n Goodbye.", "He hands the can back to Jenny. She looks at it and knows \n there are alien bacteria there her body would not like to \n meet.", "JENNY\n Well...\n\n STAR MAN\n I must go.\n\n Jenny nods.", "JENNY\n (alarmed)\n What are you doing?!\n\n The STAR MAN brings the globe close to his mouth and speaks \n into it.", "JENNY\n (laughs)\n No, they don't talk... We talk to \n them.\n\n STAR MAN\n I understand.", "Jenny backs away as the STAR MAN walks under the ship into \n the white light. He waves one last time to Jenny and is \n swallowed into the ship by the light.\n\n EXT. DESERT - NIGHT", "The STAR MAN looks intently at her, then opens the front \n door. He taps his chest, points to Jenny and motions to the \n dawn outside.", "JENNY\n It works.\n\n The STAR MAN slumps in exhaustion and pain.", "The STAR MAN contemplates the station as they pass it, then \n turns to Jenny, puzzled:\n\n STAR MAN\n Go.", "JENNY\n (this frightens Jenny \n even more)\n Good.\n\n STAR MAN\n Good.", "She points right. After another look at Jenny, the STAR MAN \n presses the palms of his hands together, concentrates briefly,", "Jenny shakes her head 'no.'\n\n JENNY\n Steering wheel.\n\n STAR MAN\n (repeats)\n Steering wheel.", "JENNY\n Yes. I have a long ride ahead of \n me...\n (takes his hand)\n Goodbye.\n\n STAR MAN\n Goodbye.", "JENNY (V.O.)\n Which way?\n\n STAR MAN (V.O.)\n That way.", "JENNY\n I see it.\n\n The STAR MAN reaches forward and squeezes the satel compass \n back into his palms.", "STAR MAN\n (holds his hand out \n for it)\n I...\n\n JENNY\n You want to try it?", "JENNY\n Don't be afraid. Do what I told you \n and you'll be okay.\n\n STAR MAN\n (nervous)\n Yes.", "JENNY\n Where are you going?\n\n STAR MAN\n I must meet my ship.", "The STAR MAN draws the satel compass out between his palms. \n The green dot now covers the right half of the red dot. He \n presses his palms together and looks past Jenny at the rugged \n foothills.", "command, the satel compass comes from around behind the STAR \n MAN to hover in back of Jenny. He takes it between his palms \n and extinguishes it." ], [ "JENNY\n I will.\n\n STAR MAN\n Goodbye.", "The STAR MAN steps back and places a hand on Jenny's stomach.\n\n STAR MAN\n Tell the baby about me.", "JENNY\n Well...\n\n STAR MAN\n I must go.\n\n Jenny nods.", "Jenny nods.\n\n JENNY\n Who are you?\n\n STAR MAN\n I am...", "The STAR MAN looks intently at her, then opens the front \n door. He taps his chest, points to Jenny and motions to the \n dawn outside.", "STAR MAN\n What?\n\n JENNY\n Nothing.", "The STAR MAN nods that he understands.\n\n JENNY\n Say it.", "JENNY\n (shouts after him)\n I will. I will. We still have another \n day.\n\n STAR MAN\n You promised.", "Jenny ignores him.\n\n STAR MAN\n (yells)\n Kidnapped!!!", "JENNY\n What will you say about us?\n\n STAR MAN\n I will say that we can be friends.", "JENNY\n Yes. I have a long ride ahead of \n me...\n (takes his hand)\n Goodbye.\n\n STAR MAN\n Goodbye.", "STAR MAN\n I will see it next time.\n\n JENNY\n You better.", "JENNY\n (laughs)\n No, they don't talk... We talk to \n them.\n\n STAR MAN\n I understand.", "STAR MAN\n There.\n\n JENNY\n Where?\n\n He directs Jenny's attention to the constellation Auriga.", "JENNY\n (her head on his \n shoulder)\n I'm never going to see you again, am \n I?\n\n STAR MAN\n No.", "The STAR MAN gets her to her feet and hustles her out of the \n room. On the dresser is Jenny's wedding picture. The man the \n STAR MAN has become is her husband.", "Jenny gets out of the car. When she straightens up, she finds \n the STAR MAN staring at her over the roof. She slams the", "JENNY\n (this frightens Jenny \n even more)\n Good.\n\n STAR MAN\n Good.", "Jenny awakens and looks around. The STAR MAN is not with \n her. As she stands up she hears his VOICE OUTSIDE. He is \n speaking to something in his language.", "JENNY\n Where do you think you're going?\n\n STAR MAN\n Thank you, Jennyhaydn. You are good. \n I must go alone now." ], [ "FOX\n Recognize this?\n\n MAJOR BELL\n It's a copy of the plaque NASA sent \n into space on the Pioneer probes.", "With an awesome roar the spacecraft reaches escape velocity \n and hurtles into the night sky. The concussion waves knock \n Benny and the officers off their feet.", "Jenny is sleeping comfortably, then presses the palms of his \n hands together. The satel compass appears between them. The \n green dot tells him he is still on course.", "The STAR MAN scrapes it forward. He activates the satel \n compass which lights the interior of the boxcar. While he is", "then slowly draws them apart. The force field appears between \n them. On it the solarized view of the United States rotates \n until the red destination dot is on his right. He drops his", "He hands the can back to Jenny. She looks at it and knows \n there are alien bacteria there her body would not like to \n meet.", "The STAR MAN shifts restlessly in his seat as he searches \n the ghostly landscape for something familiar. He activates \n the satel compass. The red and green dots are touching.", "This one's real. We have a dead extra-\n terrestrial in that tent and another \n one in the area that might be alive.", "In the passenger seat the STAR MAN is riffling through a \n Columbia \"History of the World.\" A Webster's Dictionary is", "But when it comes it will know \n everything I know and everything you \n know. That is something from my planet \n that I want your baby to have.", "body. It has changed in color from brown to a rich yellow \n ocher. He takes several deep breaths of our atmosphere and \n his lung expands and contracts easily. He conducts a quick", "The lift off of Shermin's helicopter reveals contamination -- \n suited scientists slipping the dead extraterrestrial's coffin \n into the Air Force helicopter.", "faceplate and we hear the faint sounds of a percussive \n language. Through the window over the sink we can see the \n lights of the spaceship.", "The STAR MAN contemplates the station as they pass it, then \n turns to Jenny, puzzled:\n\n STAR MAN\n Go.", "comes from inside the extraterrestrial's helmet. The men \n freeze. There is another burst of percussive language and a \n projection beam shoots out of the helmet throwing the image", "JENNY\n (alarmed)\n What are you doing?!\n\n The STAR MAN brings the globe close to his mouth and speaks \n into it.", "Jenny turns away from the stinging sand as the space-craft \n lifts off. When she looks again, it is high and moving over", "turns a glowing gold as it grows in size. When it reaches \n the dimensions of a baseball, he brings it close to his \n faceplate and speaks into it.", "shoots off into the stars. When she can no longer see it, \n Jenny drops her wave with a sigh and starts back toward the \n Camaro.", "vibrate and drift off its target. Fox looks toward the sound \n coming from his right and his eyes widen in fear as he sees \n the STAR MAN's ship looming over him." ], [ "comes from inside the extraterrestrial's helmet. The men \n freeze. There is another burst of percussive language and a \n projection beam shoots out of the helmet throwing the image", "spacecraft. It settles into a landing across the dirt road \n resting on its three pods. With a crack, a cone of bright \n white light blasts from the underside.", "The spacecraft passes over the top of the helicopter. The \n whirling downdraft emanating from the spaceship's underbelly", "and into the white light emitting from the underbelly of the \n spacecraft. The noise from the ship's power plant is deafening \n as it begins to rise above the trees.", "Jenny backs away as the STAR MAN walks under the ship into \n the white light. He waves one last time to Jenny and is \n swallowed into the ship by the light.\n\n EXT. DESERT - NIGHT", "We've been visited. It's finally \n happened and the sooner Washington \n accepts that and starts figuring out", "With an awesome roar the spacecraft reaches escape velocity \n and hurtles into the night sky. The concussion waves knock \n Benny and the officers off their feet.", "vibrate and drift off its target. Fox looks toward the sound \n coming from his right and his eyes widen in fear as he sees \n the STAR MAN's ship looming over him.", "on them from behind. Before they can turn a light rockets \n over their heads. With a rumble the hill begins to vibrate. \n As they follow its flight, they see lights beginning to ripple", "The Mustang cruises along between fields of corn.\n\n JENNY (V.O.)\n Why did your ship land on this \n planet... on Earth?", "are between it and the ship. At the angle that it is coming \n up the hill, the light looks like it is heading directly for \n them. This is too much for the officer and in terror he raises", "neutron back scatters and doppler radar. On a fourth screen \n the forward-looking infrared module begins creating a picture \n of the UFO. The men relax as they recognize the configurations", "The lift off of Shermin's helicopter reveals contamination -- \n suited scientists slipping the dead extraterrestrial's coffin \n into the Air Force helicopter.", "The sound of a powerful slow-speed drill greets Bell and \n Shermin as they enter. The extraterrestrial is still on its", "then slowly draws them apart. The force field appears between \n them. On it the solarized view of the United States rotates \n until the red destination dot is on his right. He drops his", "This one's real. We have a dead extra-\n terrestrial in that tent and another \n one in the area that might be alive.", "MAJOR BELL\n Major Bell here, sir. We have to \n tell these people that we're friendly. \n That this whole thing was a mistake. \n Is anyone trying to contact the ship?", "we saw a small ship. My... eh... we \n kidnapped it. On it there was a map \n that said how to come to Earth. This", "the dead extraterrestrial. It glows from the inside. An Air \n Force helicopter is parked on the other side of the burn.", "He hands the can back to Jenny. She looks at it and knows \n there are alien bacteria there her body would not like to \n meet." ], [ "The STAR MAN pops a gleaming silver dollar into the machine, \n pulls the handle and places his hands against the metal.", "The STAR MAN scrapes it forward. He activates the satel \n compass which lights the interior of the boxcar. While he is", "The STAR MAN opens his hands and, to Jenny's astonishment, \n the ball rises quickly and seeps through her roof without \n leaving a trace.\n\n EXT. INTERSTATE - NIGHT", "The STAR MAN sets down with the smoothness of a man stepping \n off an escalator. He looks over his shoulder. The helicopter", "The STAR MAN returns to the picture and resumes his \n transformation. He completes the chin, then continues downward \n weaving skin and filling in the human characteristics over \n the entire body.", "JENNY\n (alarmed)\n What are you doing?!\n\n The STAR MAN brings the globe close to his mouth and speaks \n into it.", "His answer is nothing but the low buzz. He taps a series of \n buttons on his chest panel and speaks again.\n\n STAR MAN\n Mapmaker Wind. Do you hear me?", "The STAR MAN stirs and awakens with a start. He parts the \n tear in his suit and looks at his lung through his translucent", "Behind the faceplate a piece of white light breaks off from \n the shining mass in the STAR MAN'S head and moves down his", "Shermin pushes the seat forward. The STAR MAN's life-support \n suit is stuffed in the space behind it. The patrol cars skid \n around the curve.", "SHERMIN\n Hello...\n\n STAR MAN (V.O.)\n I must get to my ship, Mr. Shermin.", "a marble from his pouch. It grows and glows gold as the STAR \n MAN rolls it between his palms. When it reaches the size of", "The STAR MAN tenses and forces a smile as the Rider passes \n in front of him. A VOICE comes from behind the faceplate.", "The STAR MAN looks around. Jenny's eyes widen at what is \n happening behind him. The pneumatic arm above the door is", "STAR MAN\n I understand.\n\n He hangs up.\n\n INT. REPAIR BAY - NIGHT", "JENNY\n I see it.\n\n The STAR MAN reaches forward and squeezes the satel compass \n back into his palms.", "She points right. After another look at Jenny, the STAR MAN \n presses the palms of his hands together, concentrates briefly,", "then slowly draws them apart. The force field appears between \n them. On it the solarized view of the United States rotates \n until the red destination dot is on his right. He drops his", "The STAR MAN takes it, quickly examines it, then positions \n it in his mouth at the exact angle the Cook did. His eyebrows", "STAR MAN\n Wehave...\n\n Jenny ceases her struggle and begins to cry. The STAR MAN \n takes his hand away from her mouth." ], [ "The Mustang cruises along between fields of corn.\n\n JENNY (V.O.)\n Why did your ship land on this \n planet... on Earth?", "FOX\n You have to. We're trying to contact \n the ship. If we do, I'll let you \n know immediately. Good luck.", "MAJOR BELL\n Major Bell here, sir. We have to \n tell these people that we're friendly. \n That this whole thing was a mistake. \n Is anyone trying to contact the ship?", "JENNY\n Where are you going?\n\n STAR MAN\n I must meet my ship.", "comes from inside the extraterrestrial's helmet. The men \n freeze. There is another burst of percussive language and a \n projection beam shoots out of the helmet throwing the image", "then slowly draws them apart. The force field appears between \n them. On it the solarized view of the United States rotates \n until the red destination dot is on his right. He drops his", "The figure thrashes over on its back and tries to close a \n shoulder-to-hip tear in its life-support suit. By the faint", "The lift off of Shermin's helicopter reveals contamination -- \n suited scientists slipping the dead extraterrestrial's coffin \n into the Air Force helicopter.", "we saw a small ship. My... eh... we \n kidnapped it. On it there was a map \n that said how to come to Earth. This", "The STAR MAN contemplates the station as they pass it, then \n turns to Jenny, puzzled:\n\n STAR MAN\n Go.", "He hands the can back to Jenny. She looks at it and knows \n there are alien bacteria there her body would not like to \n meet.", "The STAR MAN shifts restlessly in his seat as he searches \n the ghostly landscape for something familiar. He activates \n the satel compass. The red and green dots are touching.", "This one's real. We have a dead extra-\n terrestrial in that tent and another \n one in the area that might be alive.", "STAR MAN (V.O.)\n If I talk to you, I will miss my \n ship.", "SHERMIN (V.O.)\n (his voice quavering)\n George, we've just confirmed the \n existence of the live \n extraterrestrial.", "SUBTITLE\n Lander four to Mapmaker Wind. Fix \n position for rescue. Repeat. Fix \n position for rescue.\n\n EXT. HOUSING TRACT - NIGHT", "JENNY\n Why can't we wait here for a ride?\n\n STAR MAN\n I feel better if I move.", "JENNY\n (to the STAR MAN)\n They're trying to get him.\n\n Suddenly the STAR MAN slams his shoulder against the door. \n It swings open.", "Jenny backs away as the STAR MAN walks under the ship into \n the white light. He waves one last time to Jenny and is \n swallowed into the ship by the light.\n\n EXT. DESERT - NIGHT", "The STAR MAN looks intently at her, then opens the front \n door. He taps his chest, points to Jenny and motions to the \n dawn outside." ], [ "He hands the can back to Jenny. She looks at it and knows \n there are alien bacteria there her body would not like to \n meet.", "JENNY\n (this frightens Jenny \n even more)\n Good.\n\n STAR MAN\n Good.", "JENNY\n I will.\n\n STAR MAN\n Goodbye.", "JENNY\n Satisfied? Now get out. Out.\n\n STAR MAN\n No.", "The STAR MAN looks at her uncomprehendingly.\n\n JENNY\n (to herself)\n I gotta get out of here.", "Jenny lets out a blood-curdling scream and strikes out at \n him. Flashes of light erupt off his exposed chest where she \n hits. The ferocity of her attack knocks him aside and she \n sprints up the stairs.", "JENNY\n Well...\n\n STAR MAN\n I must go.\n\n Jenny nods.", "JENNY\n Yes. I have a long ride ahead of \n me...\n (takes his hand)\n Goodbye.\n\n STAR MAN\n Goodbye.", "Jenny ignores him.\n\n STAR MAN\n (yells)\n Kidnapped!!!", "The men do. Jenny pushes the sleeve of the torn wind-breaker \n back up on the STAR MAN's shoulder.\n\n MOTHER\n He was stealing my baby...", "The STAR MAN looks at her but doesn't move. Jenny snarls in \n frustration, then with the STAR MAN on her heels, stalks to \n the ladies' room and throws open the door.", "to her feet. Jenny squirms back, but he holds her tight. She \n looks at the hand, almost touches it, then up at the familiar \n yet disturbingly unfamiliar face above her.", "JENNY\n It works.\n\n The STAR MAN slumps in exhaustion and pain.", "JENNY\n (her head on his \n shoulder)\n I'm never going to see you again, am \n I?\n\n STAR MAN\n No.", "Jenny gets there two steps ahead of the STAR MAN. She slams \n the door in his face and locks it. With him POUNDING ON THE", "Clutching the windbreaker to her breasts, Jenny looks at the \n STAR MAN over her shoulder. It doesn't take her long to make \n up her mind.", "JENNY\n (laughs)\n No, they don't talk... We talk to \n them.\n\n STAR MAN\n I understand.", "Jenny is nervous about being here. She feels every face that \n looks at them could be a cop. The STAR MAN is pulling her", "Jenny comes in and locks the door. She passes through the \n kitchen and is on her way to the stairs when the STAR MAN \n steps out of the darkness in the living room. A scream catches \n in Jenny's throat.", "Still shaken, the STAR MAN nods. Jenny realizes that it is \n comforting to him to have his hand in hers and she leads him \n like a child down the sidewalk to the Mustang." ], [ "Jenny gets there two steps ahead of the STAR MAN. She slams \n the door in his face and locks it. With him POUNDING ON THE", "Jenny lets out a blood-curdling scream and strikes out at \n him. Flashes of light erupt off his exposed chest where she \n hits. The ferocity of her attack knocks him aside and she \n sprints up the stairs.", "He hands the can back to Jenny. She looks at it and knows \n there are alien bacteria there her body would not like to \n meet.", "JENNY\n Sure.\n\n She leans back and gives the startled Teenager a kiss on the \n mouth, then gets out.", "The STAR MAN is intent on the police car. Jenny gives up \n trying to distract him. The patrol car passes out of their \n view. The STAR MAN lowers the gun and looks at Jenny.", "JENNY\n I will.\n\n STAR MAN\n Goodbye.", "JENNY\n (to the STAR MAN)\n They're trying to get him.\n\n Suddenly the STAR MAN slams his shoulder against the door. \n It swings open.", "For a moment, Jenny and the STAR MAN think they're safe. \n That hope turns to despair when the two patrol cars loop", "With a rush the helicopter rises out of the trees and thunders \n away.\n\n EXT. JENNY'S HOUSE - MORNING", "Jenny ignores him.\n\n STAR MAN\n (yells)\n Kidnapped!!!", "JENNY\n It works.\n\n The STAR MAN slumps in exhaustion and pain.", "Jenny backs away as the STAR MAN walks under the ship into \n the white light. He waves one last time to Jenny and is \n swallowed into the ship by the light.\n\n EXT. DESERT - NIGHT", "JENNY\n Well...\n\n STAR MAN\n I must go.\n\n Jenny nods.", "Jenny is nervous about being here. She feels every face that \n looks at them could be a cop. The STAR MAN is pulling her", "Jenny kills her lights and glues the accelerator to the floor. \n Three MEN scramble from the helicopter with M16s. A BURST OF", "While the STAR MAN picks through the contents of the glove \n compartment, Jenny looks for a way to escape. An all-night", "The gunsights lock in on Jenny and the STAR MAN. Fox's grip \n tightens on the trigger. Suddenly the helicopter begins to", "JENNY\n Yes. I have a long ride ahead of \n me...\n (takes his hand)\n Goodbye.\n\n STAR MAN\n Goodbye.", "The STAR MAN gets her to her feet and hustles her out of the \n room. On the dresser is Jenny's wedding picture. The man the \n STAR MAN has become is her husband.", "The STAR MAN guides her into the entryway and reaches for \n the front door. Realizing his intentions, Jenny increases \n her struggle and manages to pull away." ], [ "JENNY\n Yes.\n\n STAR MAN\n A baby is a new person?\n\n JENNY\n Eh... yes...", "Jenny lets out a blood-curdling scream and strikes out at \n him. Flashes of light erupt off his exposed chest where she \n hits. The ferocity of her attack knocks him aside and she \n sprints up the stairs.", "The STAR MAN steps back and places a hand on Jenny's stomach.\n\n STAR MAN\n Tell the baby about me.", "STAR MAN\n You will have this baby. If you want \n it. If you don't, I can stop it now.\n\n Jenny comes over and puts her arms around the STAR MAN.", "JENNY\n Oh, wow... I'll tell you what. When \n the baby is born, we'll go out in my \n back yard and wave to you.", "already done. Everything is perfect, even the eyes. Jenny \n begins to tremble and lowers the gun.", "A bit of the white light comes out of his forehead. It tumbles \n across to Jenny's cheek and settles into the wound. The STAR", "He hands the can back to Jenny. She looks at it and knows \n there are alien bacteria there her body would not like to \n meet.", "JENNY\n I can't... Forget the baby. Okay? \n The closest I was able to get you", "JENNY\n I'd love to have a baby. But I \n can't...\n\n STAR MAN\n Why?", "away to look up at it. He can't see anything. He is on his \n way to try and get in the side door when Jenny comes clumping", "But when it comes it will know \n everything I know and everything you \n know. That is something from my planet \n that I want your baby to have.", "to her feet. Jenny squirms back, but he holds her tight. She \n looks at the hand, almost touches it, then up at the familiar \n yet disturbingly unfamiliar face above her.", "Jenny, knowing it can't work, but hoping that it will, stands \n back and gnaws on her thumb. Then she sees the blue haze", "JENNY\n I don't need any money for the baby. \n I'll be fine.", "It is difficult with Jenny around his waist, but he manages. \n He drapes his arms over her. She snuggles into him. The RAIN", "Jenny gets there two steps ahead of the STAR MAN. She slams \n the door in his face and locks it. With him POUNDING ON THE", "The men do. Jenny pushes the sleeve of the torn wind-breaker \n back up on the STAR MAN's shoulder.\n\n MOTHER\n He was stealing my baby...", "them. It is taking me to the pick-up \n point in a land vehicle.\n (eyeing Jenny)\n I think I can control it by mastering", "The STAR MAN looks intently at her, then opens the front \n door. He taps his chest, points to Jenny and motions to the \n dawn outside." ], [ "Jenny gets out of the car. When she straightens up, she finds \n the STAR MAN staring at her over the roof. She slams the", "Jenny shakes her head 'no.'\n\n JENNY\n Steering wheel.\n\n STAR MAN\n (repeats)\n Steering wheel.", "JENNY\n (V.O.)\n Gas.\n\n The car leaps forward again.", "JENNY\n (V.O.)\n No gas.\n\n It drops back to a crawl.\n\n INT. MUSTANG - AFTERNOON", "JENNY\n No. Get in.\n\n STAR MAN\n (rounding the hood)\n You can have one.", "He hands the can back to Jenny. She looks at it and knows \n there are alien bacteria there her body would not like to \n meet.", "Jenny turns toward an oncoming car and sticks out her thumb. \n The STAR MAN falls into the same pose just back of her. The \n car honks at them as it breezes by.", "JENNY\n Sure.\n\n She leans back and gives the startled Teenager a kiss on the \n mouth, then gets out.", "JENNY\n It works.\n\n The STAR MAN slumps in exhaustion and pain.", "She takes her foot off the accelerator and the car quickly \n slows down.\n\n JENNY\n No gas.\n\n EXT. BRIDGE - AFTERNOON", "The STAR MAN is intent on the police car. Jenny gives up \n trying to distract him. The patrol car passes out of their \n view. The STAR MAN lowers the gun and looks at Jenny.", "For a moment, Jenny and the STAR MAN think they're safe. \n That hope turns to despair when the two patrol cars loop", "JENNY\n Do you understand what I'm saying to \n you? You can keep the car.\n (she hands him some", "shoots off into the stars. When she can no longer see it, \n Jenny drops her wave with a sigh and starts back toward the \n Camaro.", "JENNY\n I said I would get you to your ship \n and that's where we're going to say \n goodbye.\n\n INT. CAMARO - NIGHT", "STAR MAN\n No gas.\n\n JENNY\n This car runs on gas.", "JENNY\n I will.\n\n STAR MAN\n Goodbye.", "STAR MAN\n Gas good?\n\n JENNY\n Yes. Very good.\n\n INT. MUSTANG - AFTERNOON", "JENNY\n Yes. I have a long ride ahead of \n me...\n (takes his hand)\n Goodbye.\n\n STAR MAN\n Goodbye.", "JENNY\n (V.O.)\n Gas.\n\n The Mustang spurts forward a few yards." ], [ "JENNY\n (to the STAR MAN)\n They're trying to get him.\n\n Suddenly the STAR MAN slams his shoulder against the door. \n It swings open.", "The last patrol car speeds up to replace it. The lead patrol \n car slips in next to the STAR MAN. They've got him in a \n sandwich. The STAR MAN stands on his brakes.", "men in the field. He sees that their guns are drawn and \n pointed in his direction. The STAR MAN pulls back and takes", "The STAR MAN is intent on the police car. Jenny gives up \n trying to distract him. The patrol car passes out of their \n view. The STAR MAN lowers the gun and looks at Jenny.", "from the Cobra finds them. Its machine guns begin to raise \n puffs of gravel around them. Jenny grabs the STAR MAN's arm", "Some of the onlookers have joined Burt in his attempt to \n bring the STAR MAN down. Growling in his own language, the", "The STAR MAN frees his right hand and blindly searches the \n floor for the gun. He comes up with it and, shoving the barrel", "Jenny ignores him.\n\n STAR MAN\n (yells)\n Kidnapped!!!", "The STAR MAN peers around the boulder. At that instant the \n searchlight from the helicopter happens to splash across the", "STAR MAN\n Wehave...\n\n Jenny ceases her struggle and begins to cry. The STAR MAN \n takes his hand away from her mouth.", "STAR MAN fights back as best he can. The sleeve of his \n windbreaker is torn. One of the T-shirts lands a blow on his", "The gunsights lock in on Jenny and the STAR MAN. Fox's grip \n tightens on the trigger. Suddenly the helicopter begins to", "She stares at him until he does, then leads the STAR MAN \n down the path that opens for them in the crowd. They pass a \n MALL GUARD who has just arrived.", "The STAR MAN sets down with the smoothness of a man stepping \n off an escalator. He looks over his shoulder. The helicopter", "after them. They keep getting closer. The STAR MAN inches \n the blanket up over his nose. Unexpectedly, the patrol cars", "The STAR MAN returns to the picture and resumes his \n transformation. He completes the chin, then continues downward \n weaving skin and filling in the human characteristics over \n the entire body.", "and pulls him into the relative safety of the rocks. The \n STAR MAN collapses against the cool stone.", "The STAR MAN gets her to her feet and hustles her out of the \n room. On the dresser is Jenny's wedding picture. The man the \n STAR MAN has become is her husband.", "The STAR MAN looks at Jenny for help. She sweeps her fingers \n across her mouth to indicate her lips are sealed. The STAR \n MAN peeks around her at the Attendant.", "The STAR MAN looks intently at her, then opens the front \n door. He taps his chest, points to Jenny and motions to the \n dawn outside." ], [ "JENNY\n Well...\n\n STAR MAN\n I must go.\n\n Jenny nods.", "JENNY\n I will.\n\n STAR MAN\n Goodbye.", "The STAR MAN looks at her uncomprehendingly.\n\n JENNY\n (to herself)\n I gotta get out of here.", "JENNY\n Yes. I have a long ride ahead of \n me...\n (takes his hand)\n Goodbye.\n\n STAR MAN\n Goodbye.", "STAR MAN\n No.\n\n JENNY\n Then let me go. You don't need me.\n\n STAR MAN\n No.", "JENNY\n Where do you think you're going?\n\n STAR MAN\n Thank you, Jennyhaydn. You are good. \n I must go alone now.", "JENNY\n Where are you going?\n\n STAR MAN\n I must meet my ship.", "JENNY\n (her head on his \n shoulder)\n I'm never going to see you again, am \n I?\n\n STAR MAN\n No.", "The line moves forward a step.\n\n JENNY\n Well... I'm going to go now.\n\n STAR MAN\n Go?", "The STAR MAN contemplates the station as they pass it, then \n turns to Jenny, puzzled:\n\n STAR MAN\n Go.", "STAR MAN\n You can stop. I will go on alone.\n\n JENNY\n We're too far away to walk. Don't \n you understand?", "JENNY\n (after a few steps)\n We're not going to get a ride tonight.\n\n STAR MAN\n I can't stay on this planet.", "JENNY\n Satisfied? Now get out. Out.\n\n STAR MAN\n No.", "JENNY\n I'd love to have a baby. But I \n can't...\n\n STAR MAN\n Why?", "STAR MAN\n No, thank you.\n\n Jenny takes his hand in hers.", "Jenny ignores him.\n\n STAR MAN\n (yells)\n Kidnapped!!!", "JENNY\n Nobody knows.\n\n STAR MAN\n Why?\n\n JENNY\n I don't know.", "The STAR MAN looks at her but doesn't move. Jenny snarls in \n frustration, then with the STAR MAN on her heels, stalks to \n the ladies' room and throws open the door.", "Jenny gets there two steps ahead of the STAR MAN. She slams \n the door in his face and locks it. With him POUNDING ON THE", "Jenny awakens and looks around. The STAR MAN is not with \n her. As she stands up she hears his VOICE OUTSIDE. He is \n speaking to something in his language." ] ]

[ "Where the crashed alien craft fell down?", "How many aliens are there in the crashed alien craft?", "Which disk used by Starman to understand English?", "Where is the rendezvous point located?", "What is the name of Jenne's husband?", "How Jenny's wounds healed after the car crash?", "Why Jenny feels she can not have children?", "How much the Starman win in the Jackpot?", "Who is the Director of National Security Agency?", "Where did the alien craft crash land? ", "What item (from the deceased husband) did the alien use to clone his body?", "Where was the planned rendezvous point? ", "In how many days did the alien plan to rendezvous with his people? ", "What does the alien do that makes Jenny decide to stay with the alien? ", "How many silver spheres does the Starman originally have? ", "How does Starman get money after Jenny loses her wallet?", "What does the NSA agent plan to do with Starman if the alien is captured? ", "The alien gives Jenny the final silver sphere with what instructions? ", "What does Starman say that Jenny's son will grow up to be? ", "What was the Voyager 2 carrying?", "What ends up happening to the alien craft when it approaches Earth?", "What do the silver spheres allow Starman to do?", "Why is the alien trying to reach the rendezvous point?", "What causes Jenny to stay with the alien?", "How does the alien and Jenny escape from the authorities?", "What features and abilities will Jenny's baby have?", "How are Jenny and the alien able to purchase a new car after traveling too far?", "How does the army become involved in the capturing of Starman?", "Why is Jenny not able to go with Starman to his world?" ]

[ [ "Chequamegon Bay, Wisconsin", "Chequamegon Bay, Wisconsin." ], [ "One", "1." ], [ "Voyager 2 Disk", "voyager 2 disk" ], [ "Arizona", "Arizona." ], [ "Scott", "Scott" ], [ "Starman uses Silver Sphere to heal Jenny", "a silver sphere" ], [ "Because she is infertile", "She is infertile." ], [ "$500,000", "$500,000.00" ], [ "George Fox", "George Fox." ], [ "Chequamegon bay, Wisconson", "Chequomegon Bay Wisconsin" ], [ "A lock of hair", "A lock of hair." ], [ "Barringer Crater, Arizona ", "Arizona's Barringer Crater." ], [ "In three days", "Three days." ], [ "He resurrected a deer. ", "Resurrect a dead deer." ], [ "He has 7 silver spheres.", "seven" ], [ "He plays a slot machine.", "He wins on a slot machine." ], [ "He plans to vivisect him.", "vivisect the alien" ], [ "Starman tells Jenny that her son will know what to do with it. ", "Their son will know what to do with it." ], [ "He says he will be a teacher. ", "A teacher." ], [ "a gold phonographic disc that invited aliens to come to Earth.", "a gold phonographic disk" ], [ "The US government decides to shoot it down instead of welcoming it.", "It is shot down." ], [ "They provide energy for him to perform amazing things.", "provide energy to do miraculous work" ], [ "He must reach it because if he does not within 3 day he will die.", "to be reunited with his kind, and to go home" ], [ "She witnesses the alien revive a dead deer.", "Jenny saw the alien resurrected a deer." ], [ "The alien uses a sphere upon crashing into a fuel tanker to protect them.", "Shermin managed to help them escape." ], [ "The baby will be the son of Scott, but also possess all of Starman's knowledge and will become a teacher.", "Have all of the starmans knowledge" ], [ "Starman uses a quarter in a slot machine and manipulates it to win the five hundred thousand dollar jackpot.", "With their winnings at a slot machine." ], [ "George Fox discovers the original destination of Starman and arranges to have him captured dead or alive.", "at a road block " ], [ "Starman tells Jenny that she would die in his world.", "Jenny will die" ] ]

[ [ "him in. When he comes onto the church porch he stops in surprise. To the \nright of the entrance there is a large fresco on the wall, not quite", "Outside the church, four soldiers and a monk are in the process of putting a \nwoman in the stocks. Her face is pale and child-like, her head has been", "The PAINTER points with his brush. JONS sees a small human form writhing in \nthe grass, its eyes turned upwards in a frenzied look of horror and pain.", "mumbles from a small book. One of the soldiers picks up a wooden bucket and \nwith his hand begins to smear a bloody paste on the wall of the church and \naround the woman. JONS holds his nose.", "Waves of heat envelop the gray stone church in a strange white mist. The \nKNIGHT dismounts and enters. After tying up the horses, JONS slowly follows", "eyes. Christ's face is turned upwards, His mouth open as if in a cry of \nanguish. On the ceiling beam there is a representation of a hideous devil", "All have turned their faces towards the white road. Now a shrill song is \nheard. It is frenzied, almost a scream. A crucified Christ sways above the \nhilltop.", "finished. Perched on a crude scaffolding is a PAINTER wearing a red cap and \npaint-stained clothes. He has one brush in his mouth, while with another in", "The KNIGHT is kneeling before a small altar. It is dark and quiet around him.\nThe air is cool and musty. Pictures of saints look down on him with stony", "He makes the sign of the cross over the crowd and then begins a new song in a\nstrong voice. The monks rise and join in the song. As if driven by some", "PAINTER \n\t\tThe rump behind you, the rump behind you \n\t\tthere's a profound truth.\n\nJONS paints a small figure which is supposed to represent himself.", "He makes a fist of his hand and lifts it to his temple.\n\n\n\nMeanwhile, JONS and the PAINTER have got drunk and are talking animatedly \ntogether.", "JONS \n\t\tWhat is this supposed to represent? \n\n\t\t\t\tPAINTER \n\t\tThe Dance of Death.", "The inn is very small and full of people eating and drinking to forget their \nnewly aroused fears of eternity. In the open fireplace a roasting pig turns", "PAINTER \n\t\tThe remarkable thing is that the poor creatures\n\t\tthink the pestilence is the Lord's punishment.", "PAINTER \n\t\tI think I frightened you after all.\n\nJONS sits down with the PAINTER, who produces a jug of brandy.", "They walk across an open meadow. Here it is a little brighter and the moon \nshimmers behind a thin sky. Suddenly PLOG points a large finger towards the \nedge of the forest.", "with heavy coffins or clutching holy relics, their hands stretched out \nspasmodically. The dust wells up around their black hoods; the censers sway", "tightly together. Their song never stops. The Christ figure on its timbered \ncross is raised above the heads of the crowd. It is not Christ triumphant,", "PAINTER \n\t\tYou should see the boils on a diseased man's \n\t\tthroat. You should see how his body shrivels up" ], [ "iron chains around her throat and arms. She stares fixedly into the \nmoonlight.\n \nA black figure sits next to her, a monk with his hood pulled down over his", "When they have fastened her, they walk over to light the pyre. The KNIGHT \nsteps up and leans over her.", "SKAT frowns, toys with his small dagger and occasionally throws a roguish but \nfiery glance at the beautiful visitor. She suddenly discovers that one of her", "SOLDIER \n\t\tShe has had carnal intercourse with the Evil \n\t\tOne.", "The woman quietly bites into a chicken leg dripping with fat. At this moment \nthe actor is stricken by a radiant glance full of lustful appetites.", "SKAT hesitates momentarily, but he is still the strategist. He lets the \nchicken leg fall to the grass, and murmurs in the woman's rosy ear.", "Antonius Block has brought his companions with him to the castle. But it\nseems deserted. They walk from room to room. There is only emptiness and\nquiet echoes. Outside, the rain is heard roaring noisily.", "no one appears he enters. It is very dark inside and his foot touches a soft \nobject. He looks down. Beside the whitewashed fireplace, a woman is lying \nwith her face to the ground.", "He nods resignedly and walks away. The young woman starts to moan as though \nshe were having a horrible nightmare. The sound of her cries follows the two \nriders for a considerable distance down the road.", "She puts the child down on the ground and half rises to shake out her red \nskirt. When she sits down again, the KNIGHT steps closer.", "The devil with it! Come along and don't stand \n\t\tthere staring. I've saved your life, so you owe \n\t\tme a great deal.", "She becomes weak and faint from his nearness, looks at him with a glassy \nglance and breathes heavily. SKAT doesn't neglect to press kisses on her", "The Seventh Seal\n \nThe night had brought little relief from the heat, and at dawn a hot gust of\nwind blows across the colorless sea. The KNIGHT, Antonius Block, lies", "she brings the Devil with her wherever she \n\t\tgoes.", "KNIGHT \n\t\tYour move!\n\nDEATH raises his hand and strikes the KNIGHT'S queen. Antonius Block looks at \nDEATH.", "SOLDIER \n\t\tShe will be burned tomorrow morning at the \n\t\tparish boundary. But we have to keep the Devil \n\t\taway from the rest of us.", "MIA does what JOF has told her. At the same moment, the KNIGHT looks up from\nhis game. \n\n\t\t\t\tDEATH \n\t\tIt is your move, Antonius Block.", "little longer, or sit on the ground, because \n\t\twe are now going to perform a tragedia about \n\t\tan unfaithful wife, her jealous husband, and", "on you and immediately blow you down to the \n\t\tactor's own red-hot hell, where you can sit and \n\t\trecite monologues to each other until the dust", "Suddenly, out of the silence and the dim light falling across the forest \nroad, a ghostlike cart emerges. It is the WITCH being taken to the place" ], [ "The squire JONS is awakened by a kick in the rear. Opening his eyes, he", "The KNIGHT hands his squire a piece of bread, which keeps him quiet for a \nwhile. The sun burns down on them cruelly, and beads of perspiration trickle", "She begins walking towards him, her head bent. He doesn't wait for her but \nwalks towards the KNIGHT, who patiently awaits his squire.", "Nearby his squire JONS is snoring loudly. He has fallen asleep where he \ncollapsed, at the edge of the forest among the wind-gnarled fir trees. His", "The KNIGHT slowly rides away from the sea, into the forest near the beach and \nup towards the road. He pretends not to hear the morning prayers of his \nsquire. JONS soon overtakes him.", "The KNIGHT walks by, calls to his squire and goes out into the bright \nsunshine. JONS manages to set himself down from the scaffolding.", "JONS \n\t\tThis is squire Jˆns. He grins at Death, mocks \n\t\tthe Lord, laughs at himself and leers at the", "The procession continues. New members have joined the rear of the column; \nothers who were unable to go on lie weeping in the dust of the road. JONS the \nsquire drinks his beer.", "and milkmaids. A whole flock of children perch in the trees around the wagon.\n \nThe KNIGHT and his squire have sat down in the shadow of a wall. They drink", "She puts the child down on the ground and half rises to shake out her red \nskirt. When she sits down again, the KNIGHT steps closer.", "The KNIGHT has risen and waded into the shallow water, where he rinses his \nsunburned face and blistered lips. JONS rolls over to face the forest and the", "The KNIGHT rummages in the big black bag which he keeps beside him and takes \nout a small chessboard. He places it carefully on the ground and begins \nsetting up the pieces.", "grunts like a pig and yawns broadly. He scrambles to his feet, saddles his \nhorse and picks up the heavy pack.", "The sound of the hammering echoes through the forest. The KNIGHT has \ndismounted and walks closer to the cart. Again he tries to catch TYAN'S eyes,", "She nods energetically and the KNIGHT smiles seriously. Now the shrieks and \nthe noise from the inn become louder. Black figures flicker across the grass", "They walk across an open meadow. Here it is a little brighter and the moon \nshimmers behind a thin sky. Suddenly PLOG points a large finger towards the \nedge of the forest.", "him towards the road. MIA has just climbed up on the wagon. JOF takes the \nhorse by the bridle and leads it down the road. DEATH notices nothing; he is", "JONS \n\t\tNeither can I.\n \nJONS walks over towards the horses. The KNIGHT stands for a few, moments", "The KNIGHT is kneeling before a small altar. It is dark and quiet around him.\nThe air is cool and musty. Pictures of saints look down on him with stony", "barely visible, a seagull floats on motionless wings. Its cry is weird and \nrestless. The KNIGHT'S large gray horse lifts its head and whinnies. Antonius" ], [ "He has picked up the juggling balls and slowly begins to toss them. Then he \nstands on his head and cackles like a hen. Suddenly he stops and sits down", "His voice sticks in his throat and he suddenly walks away. The KNIGHT mounts\nhis horse. The travelers depart from the crossroads. TYAN finally closes her \neyes.", "In his sleep, JOF the juggler hears the neighing of his horse and the answer \nfrom a distance. He tries to go on sleeping, but it is stifling inside the", "They walk out of the house. RAVAL lies still for a few moments, then he rises \nslowly and looks around. When no one is in sight, he takes his bag and steals", "His eyes are popping with rage. He turns over and continues snoring where he \nleft off. MIA and JOF decide that it would be wisest to leave the wagon. They", "close to each other in the juggler's wagon. MIA holds her son in her arms. \nJONS follows them with his heavily laden horse. He has the smith in tow. The", "The two lovers discover PLOG and it's too late. They cannot retreat. SKAT \nimmediately takes to his heels. PLOG chases him, swinging his sledge and \nbellowing like a wild boar.", "DEATH \n\t\tAre you going to escort the juggler and his \n\t\twife through the forest? Those whose names are \n\t\tJof and Mia and who have a small son?", "SKAT lies in the grass and keeps the dagger pressed tightly to his breast. \nThe travelers depart and soon they have disappeared into the dark forest on", "He nods resignedly and walks away. The young woman starts to moan as though \nshe were having a horrible nightmare. The sound of her cries follows the two \nriders for a considerable distance down the road.", "He is silent. He lowers his hand. His son, MIKAEL, has listened to his words.\nNow, he crawls up to MIA and sits down in her lap.", "MERCHANT\n\t\tAnd people are acting crazy, I'd say. They flee \n\t\tthe country and carry the plague with them \n\t\twherever they go.", "They crawl out of their hiding place. The wagon stands on a height above a \nslope, protected by an enormous tree. They look across ridges, forests, the", "He places his leg in front of JOF as if to trip him, raises MIA's skirt, \nmakes a face as if he could see all the wonders of the world underneath it, \nand disappears behind the gaudily patched curtains.", "He rises, nods to the others and walks down towards the forest. JOF continues \nto play on his lyre. MIA stretches out on the grass.", "SKAT hesitates momentarily, but he is still the strategist. He lets the \nchicken leg fall to the grass, and murmurs in the woman's rosy ear.", "JONS and the KNIGHT stop and watch in silence. The soldiers are working \nquickly and skillfully, but they seem frightened and dejected. The monk", "JOF'S face breaks into a smile and his eyes fill with tears. With a dazed \nexpression he sits flat on his behind while the grass rustles softly, and \nbees and butterflies hum around his head. The unseen bird continues to sing.", "together and his lips form the words silently. His face is sad and bitter. He \nopens his eyes and stares directly into the morning sun which wallows up from", "stop their games and stand with gaping mouths and frightened eyes.\n \nJOF steps out in front of the curtain. His painted face bears an expression" ], [ "No one answers, no one moves. RAVAL'S sobs are dry and convulsive, like a \nfrightened child's. His sudden scream is cut off in the middle. Then it", "RAVAL \n\t\tI am going to die. I. I. I! What will happen to \n\t\tme! Can no one console me? Haven't you any \n\t\tcompassion? Can't you see that I ...", "Now RAVAL enters the discussion. He is slightly drunk and his voice is shrill \nand evil.\n \n\t\t\t\tRAVAL \n\t\tListen, you! You sit there and lie to the \n\t\tsmith.", "RAVAL prods JOF lightly with the knife point. JOF gets up with cold sweat on \nhis cheeks and forehead, frightened half to death. He begins to jump and hop", "RAVAL \n\t\tCan't you have pity on me? Help me! At least \n\t\ttalk to me.\n\nNo one answers. The trees sigh. RAVAL begins to cry.", "He bends over RAVAL. \n\n\t\t\t\tRAVEL \n\t\tDon't beat me.", "They walk out of the house. RAVAL lies still for a few moments, then he rises \nslowly and looks around. When no one is in sight, he takes his bag and steals", "No one answers. RAVAL'S face appears suddenly at the base of the tree. His \neyes bulge wildly and his mouth is ringed with foam.", "RAVAL \n\t\tDo you have some water?\n\nRAVAL'S perspiring face soon becomes visible. He disappears in the darkness, \nbut his voice is heard again.", "RAVAL \n\t\tDon't try to scream. There's no one around to \n\t\thear you, neither God nor man.", "PLOG beats him so furiously that JOF flies across the table. RAVAL leans over\nhim.\n \n\t\t\t\tRAVAL \n\t\tDon't lie there moaning. Get up and dance.", "RAVAL looks around.\n \n\t\t\t\tJONS \n\t\tYou look uncomfortable. Do you have a stomach-\n\t\tache? \n\nRAVAL smiles anxiously.", "With a quick movement he knocks the knife out of RAVAL'S hand, gives him a \nkick so that he falls on the floor and is about to finish him off. Suddenly", "JONS raises his knife and cuts RAVAL from forehead to cheek. RAVAL staggers \ntowards the wall.", "JOF looks from one face to another, but no one seems ready to help him or \ncome to his defense.\n \n \t\t\t\tRAVAL \n\t\tGet up so everyone can hear you. Talk louder.", "RAVAL \n\t\tCan't you give me a little water? \n\t\t\t(pause) \n\t\tI have the plague.", "Trembling, JOF rises. He opens his mouth as if to say something, but not a \nword comes out.\n \n\t\t\t\tRAVAL", "RAVEL \n\t\tI'm afraid of death.\n\nNo one answers. There is complete silence. RAVAL gasps heavily for air. The \ndry leaves rustle with his movements.", "RAVAL smiles uneasily and looks around. \n\n\t\t\t\tJONS \n\t\tAm I not right?\n\nThe GIRL stands immobile.", "At that moment the door opens and JONS enters. JOF sees his chance and steals\nout. RAVAL intends to follow him, but suddenly stops. JONS and RAVAL look at \neach other." ], [ "KNIGHT \n\t\tYour move!\n\nDEATH raises his hand and strikes the KNIGHT'S queen. Antonius Block looks at \nDEATH.", "DEATH \n\t\tI am Death.\n\n\t\t\t\tKNIGHT \n\t\tHave you come for me?", "KNIGHT \n\t\tWhat have you done with the child? \n\nDEATH turns around and looks at him.", "The KNIGHT has risen to his feet. He shivers. DEATH opens his cloak to place \nit around the KNIGHT'S shoulders. \n\n\t\t\t\tKNIGHT \n\t\tWait a moment.", "DEATH \n\t\tOh, no reason at all.\n \nThe KNIGHT suddenly stops smiling. DEATH looks at him scornfully.", "DEATH \n\t\tDon't you ever stop asking questions? \n\n\t\t\t\tKNIGHT \n\t\tNo, I'll never stop.", "MIA does what JOF has told her. At the same moment, the KNIGHT looks up from\nhis game. \n\n\t\t\t\tDEATH \n\t\tIt is your move, Antonius Block.", "The KNIGHT and DEATH bend over the chessboard. After a moment of hesitation, \nAntonius Block opens with his king's pawn. DEATH moves, also using his king's \npawn.", "DEATH \n\t\tNow I see something interesting. \n\n\t\t\t\tKNIGHT \n\t\tWhat do you see?", "DEATH straightens his back and squints up at him. SKAT cries out in terror.", "KNIGHT \n\t\tAnd you will divulge your secrets. \n\n\t\t\t\tDEATH \n\t\tI have no secrets.", "DEATH \n\t\tYou are mated on the next move, Antonius Block. \n\n\t\t\t\tKNIGHT \n\t\tThat's true.", "DEATH \n\t\tThat's what they all say. I grant no reprieves. \n\n\t\t\t\tKNIGHT \n\t\tYou play chess, don't you?", "DEATH is about to answer him but stops and leans over the board. The KNIGHT \nsmiles.", "He pretends to be clumsy and knocks the chess pieces over with the hem of his \ncoat. He looks up at DEATH.", "DEATH \n\t\tIs that why you are playing chess with Death?", "KNIGHT \n\t\tYes, I do.\n \n\t\t\t\tDEATH \n\t\tWhat are you waiting for? \n\n\t\t\t\tKNIGHT \n\t\tI want knowledge.", "DEATH \n\t\tWhat matter is that?\n \n\t\t\t\tKNIGHT", "The Seventh Seal\n \nThe night had brought little relief from the heat, and at dawn a hot gust of\nwind blows across the colorless sea. The KNIGHT, Antonius Block, lies", "DEATH doesn't answer.\n \n\t\t\t\tKNIGHT \n\t\tThrough my indifference to my fellow men, I" ], [ "Antonius Block has brought his companions with him to the castle. But it\nseems deserted. They walk from room to room. There is only emptiness and\nquiet echoes. Outside, the rain is heard roaring noisily.", "The castle is silhouetted like a black boulder against the heavy dawn. Now\nthe storm moves there, throwing itself powerfully against walls and\nabutments. The sky darkens; it is almost like night.", "no one appears he enters. It is very dark inside and his foot touches a soft \nobject. He looks down. Beside the whitewashed fireplace, a woman is lying \nwith her face to the ground.", "barely visible, a seagull floats on motionless wings. Its cry is weird and \nrestless. The KNIGHT'S large gray horse lifts its head and whinnies. Antonius", "Perhaps no one is there.\n \n\t\t\t\tKNIGHT \n\t\tThen life is an outrageous horror. No one can", "JONS goes into the inn to get provisions for the night journey and to have a \nlast mug of beer. The inn is now empty and quiet except for a few farmhands", "The Seventh Seal\n \nThe night had brought little relief from the heat, and at dawn a hot gust of\nwind blows across the colorless sea. The KNIGHT, Antonius Block, lies", "At the sound of approaching steps, JONS quickly hides behind the door. A man \ncomes down a ladder from the loft. He is broad and thick-set. His eyes are", "and maidens who are eating their evening meal in a corner. At one of the \nsmall windows sits a lonely, hunched-over fellow, with a jug of brandy in his", "Slowly he closes the door behind the GIRL. The stuffy room is now in almost \ntotal darkness. But JONS becomes clearly visible.", "Waves of heat envelop the gray stone church in a strange white mist. The \nKNIGHT dismounts and enters. After tying up the horses, JONS slowly follows", "Three mighty knocks sound on the large portal. KARIN interrupts her reading \nand looks up from the book. JONS rises quickly and goes to open the door.", "The inn is very small and full of people eating and drinking to forget their \nnewly aroused fears of eternity. In the open fireplace a roasting pig turns", "He rises, nods to the others and walks down towards the forest. JOF continues \nto play on his lyre. MIA stretches out on the grass.", "KNIGHT \n\t\tYour move!\n\nDEATH raises his hand and strikes the KNIGHT'S queen. Antonius Block looks at \nDEATH.", "Now the rain becomes quiet. There is suddenly an immense, frightening silence \nin the large, murky room where the burning torches throw uneasy shadows over \nthe ceiling and the walls. Everyone listens tensely to the stillness.", "SKAT lies in the grass and keeps the dagger pressed tightly to his breast. \nThe travelers depart and soon they have disappeared into the dark forest on", "The KNIGHT is kneeling before a small altar. It is dark and quiet around him.\nThe air is cool and musty. Pictures of saints look down on him with stony", "No one answers. RAVAL'S face appears suddenly at the base of the tree. His \neyes bulge wildly and his mouth is ringed with foam.", "SKAT frowns, toys with his small dagger and occasionally throws a roguish but \nfiery glance at the beautiful visitor. She suddenly discovers that one of her" ], [ "He nods resignedly and walks away. The young woman starts to moan as though \nshe were having a horrible nightmare. The sound of her cries follows the two \nriders for a considerable distance down the road.", "SKAT hesitates momentarily, but he is still the strategist. He lets the \nchicken leg fall to the grass, and murmurs in the woman's rosy ear.", "of horror. MIA has risen with MIKAEL in her arms. Some of the women in the \nyard have fallen on their knees, others hide their faces, many begin to", "She becomes weak and faint from his nearness, looks at him with a glassy \nglance and breathes heavily. SKAT doesn't neglect to press kisses on her", "iron chains around her throat and arms. She stares fixedly into the \nmoonlight.\n \nA black figure sits next to her, a monk with his hood pulled down over his", "When he sees this look, SKAT makes an instantaneous decision, jumps down from \nthe wagon and kneels in front of the blushing damsel.", "She puts the child down on the ground and half rises to shake out her red \nskirt. When she sits down again, the KNIGHT steps closer.", "The PAINTER points with his brush. JONS sees a small human form writhing in \nthe grass, its eyes turned upwards in a frenzied look of horror and pain.", "no one appears he enters. It is very dark inside and his foot touches a soft \nobject. He looks down. Beside the whitewashed fireplace, a woman is lying \nwith her face to the ground.", "When they have fastened her, they walk over to light the pyre. The KNIGHT \nsteps up and leans over her.", "Now she is forced to sit back; her legs seem unwilling to support her any \nlonger. Bewildered, she singles out another chicken leg from the large sack", "Now she comes a little closer, kneels down and opens a bundle containing \nseveral dainty morsels and a skin filled with red wine. JONAS SKAT manages", "emerges. They take her down from the cart and lead her towards the ladder and \nthe stake. The KNIGHT turns to the MONK, who remains seated in the cart.", "The sounds of the hammers stops. The soldiers stand like black shadows rooted \nin the moss. They fumble with the chains and pull at the neck iron. TYAN \nmoans weakly, as if she were far away.", "in their hands with which they whip themselves and each other, howling \necstatically. They twist in pain; their eyes bulge wildly; their lips are", "SKAT frowns, toys with his small dagger and occasionally throws a roguish but \nfiery glance at the beautiful visitor. She suddenly discovers that one of her", "Outside the church, four soldiers and a monk are in the process of putting a \nwoman in the stocks. Her face is pale and child-like, her head has been", "His words seem to please her. She puts her arms around the actor's neck and \npulls him to her with such fierceness that both of them lose their balance", "mound. Someone collapses, gets up and runs. It is JOF. MIA stretches out her \narms and receives him. He holds his hands in front of his face, moaning like", "She yawns. The sun, has made her a bit drowsy and she lies down on the grass.\nJOF does likewise and puts one arm around his wife's shoulders." ], [ "The KNIGHT has risen and waded into the shallow water, where he rinses his \nsunburned face and blistered lips. JONS rolls over to face the forest and the", "KNIGHT \n\t\tThe plague has spread in that direction, \n\t\tfollowing the coast line south. It's said that \n\t\tpeople are dying by the tens of thousands.", "The KNIGHT hands his squire a piece of bread, which keeps him quiet for a \nwhile. The sun burns down on them cruelly, and beads of perspiration trickle", "The KNIGHT slowly rides away from the sea, into the forest near the beach and \nup towards the road. He pretends not to hear the morning prayers of his \nsquire. JONS soon overtakes him.", "She nods energetically and the KNIGHT smiles seriously. Now the shrieks and \nthe noise from the inn become louder. Black figures flicker across the grass", "JONS and the KNIGHT stop and watch in silence. The soldiers are working \nquickly and skillfully, but they seem frightened and dejected. The monk", "The Seventh Seal\n \nThe night had brought little relief from the heat, and at dawn a hot gust of\nwind blows across the colorless sea. The KNIGHT, Antonius Block, lies", "The KNIGHT is kneeling before a small altar. It is dark and quiet around him.\nThe air is cool and musty. Pictures of saints look down on him with stony", "Waves of heat envelop the gray stone church in a strange white mist. The \nKNIGHT dismounts and enters. After tying up the horses, JONS slowly follows", "The procession continues. New members have joined the rear of the column; \nothers who were unable to go on lie weeping in the dust of the road. JONS the \nsquire drinks his beer.", "Antonius Block has brought his companions with him to the castle. But it\nseems deserted. They walk from room to room. There is only emptiness and\nquiet echoes. Outside, the rain is heard roaring noisily.", "The KNIGHT walks by, calls to his squire and goes out into the bright \nsunshine. JONS manages to set himself down from the scaffolding.", "Nearby his squire JONS is snoring loudly. He has fallen asleep where he \ncollapsed, at the edge of the forest among the wind-gnarled fir trees. His", "His voice sticks in his throat and he suddenly walks away. The KNIGHT mounts\nhis horse. The travelers depart from the crossroads. TYAN finally closes her \neyes.", "The squire JONS is awakened by a kick in the rear. Opening his eyes, he", "and milkmaids. A whole flock of children perch in the trees around the wagon.\n \nThe KNIGHT and his squire have sat down in the shadow of a wall. They drink", "The KNIGHT returns to the beach and falls on his knees. With his eyes closed \nand brow furrowed, he says his morning prayers. His hands are clenched", "The two lovers discover PLOG and it's too late. They cannot retreat. SKAT \nimmediately takes to his heels. PLOG chases him, swinging his sledge and \nbellowing like a wild boar.", "RAVAL prods JOF lightly with the knife point. JOF gets up with cold sweat on \nhis cheeks and forehead, frightened half to death. He begins to jump and hop", "Three mighty knocks sound on the large portal. KARIN interrupts her reading \nand looks up from the book. JONS rises quickly and goes to open the door." ], [ "She puts the child down on the ground and half rises to shake out her red \nskirt. When she sits down again, the KNIGHT steps closer.", "touches her very lightly as if to waken her. Slowly she turns her face \ntowards him.\n \n\t\t\t\tKNIGHT", "When they have fastened her, they walk over to light the pyre. The KNIGHT \nsteps up and leans over her.", "She begins walking towards him, her head bent. He doesn't wait for her but \nwalks towards the KNIGHT, who patiently awaits his squire.", "He leans down over the GIRL as she crouches at his feet and pats her on the \nhead. The KNIGHT drinks his beer silently.", "She nods energetically and the KNIGHT smiles seriously. Now the shrieks and \nthe noise from the inn become louder. Black figures flicker across the grass", "emerges. They take her down from the cart and lead her towards the ladder and \nthe stake. The KNIGHT turns to the MONK, who remains seated in the cart.", "The KNIGHT is kneeling before a small altar. It is dark and quiet around him.\nThe air is cool and musty. Pictures of saints look down on him with stony", "KNIGHT \n\t\tI see that they have hurt your hands.\n\nThe WITCH'S pale, childish face turns towards the KNIGHT and she shakes her \nhead.", "JOF has dozed off for a few moments, but suddenly he wakens. Then he sees the \nKNIGHT and DEATH together. He becomes very frightened and awakens MIA.", "The KNIGHT has risen and waded into the shallow water, where he rinses his \nsunburned face and blistered lips. JONS rolls over to face the forest and the", "KNIGHT \n\t\tYes, I do.\n \n\t\t\t\tDEATH \n\t\tWhat are you waiting for? \n\n\t\t\t\tKNIGHT \n\t\tI want knowledge.", "The KNIGHT slowly rides away from the sea, into the forest near the beach and \nup towards the road. He pretends not to hear the morning prayers of his \nsquire. JONS soon overtakes him.", "The KNIGHT walks by, calls to his squire and goes out into the bright \nsunshine. JONS manages to set himself down from the scaffolding.", "The sound of the hammering echoes through the forest. The KNIGHT has \ndismounted and walks closer to the cart. Again he tries to catch TYAN'S eyes,", "KNIGHT \n\t\tAnd you will divulge your secrets. \n\n\t\t\t\tDEATH \n\t\tI have no secrets.", "Suddenly the KNIGHT stands face to face with his wife. They look at each\nother quietly.", "TYAN \n\t\tWhy?\n\n\t\t\t\tKNIGHT \n\t\tI want to ask him about God. He, if anyone, \n\t\tmust know.", "JONS finally gets the KNIGHT'S attention. He stops singing. The KNIGHT, his \nhorse, JONS'S own horse and JONS himself know all the songs by heart. The", "Perhaps no one is there.\n \n\t\t\t\tKNIGHT \n\t\tThen life is an outrageous horror. No one can" ], [ "RAVAL prods JOF lightly with the knife point. JOF gets up with cold sweat on \nhis cheeks and forehead, frightened half to death. He begins to jump and hop", "He has picked up the juggling balls and slowly begins to toss them. Then he \nstands on his head and cackles like a hen. Suddenly he stops and sits down", "JONS raises his knife and cuts RAVAL from forehead to cheek. RAVAL staggers \ntowards the wall.", "Now RAVAL enters the discussion. He is slightly drunk and his voice is shrill \nand evil.\n \n\t\t\t\tRAVAL \n\t\tListen, you! You sit there and lie to the \n\t\tsmith.", "No one answers, no one moves. RAVAL'S sobs are dry and convulsive, like a \nfrightened child's. His sudden scream is cut off in the middle. Then it", "With a quick movement he knocks the knife out of RAVAL'S hand, gives him a \nkick so that he falls on the floor and is about to finish him off. Suddenly", "PLOG beats him so furiously that JOF flies across the table. RAVAL leans over\nhim.\n \n\t\t\t\tRAVAL \n\t\tDon't lie there moaning. Get up and dance.", "RAVAL \n\t\tDo you have some water?\n\nRAVAL'S perspiring face soon becomes visible. He disappears in the darkness, \nbut his voice is heard again.", "They walk out of the house. RAVAL lies still for a few moments, then he rises \nslowly and looks around. When no one is in sight, he takes his bag and steals", "No one answers. RAVAL'S face appears suddenly at the base of the tree. His \neyes bulge wildly and his mouth is ringed with foam.", "He bends over RAVAL. \n\n\t\t\t\tRAVEL \n\t\tDon't beat me.", "RAVAL looks around.\n \n\t\t\t\tJONS \n\t\tYou look uncomfortable. Do you have a stomach-\n\t\tache? \n\nRAVAL smiles anxiously.", "Trembling, JOF rises. He opens his mouth as if to say something, but not a \nword comes out.\n \n\t\t\t\tRAVAL", "In his sleep, JOF the juggler hears the neighing of his horse and the answer \nfrom a distance. He tries to go on sleeping, but it is stifling inside the", "At that moment the door opens and JONS enters. JOF sees his chance and steals\nout. RAVAL intends to follow him, but suddenly stops. JONS and RAVAL look at \neach other.", "RAVAL smiles uneasily and looks around. \n\n\t\t\t\tJONS \n\t\tAm I not right?\n\nThe GIRL stands immobile.", "RAVAL \n\t\tDon't try to scream. There's no one around to \n\t\thear you, neither God nor man.", "PLOG, the smith, shoves his way into a place next to JOF, who is still \ndressed in his costume. Opposite him sits RAVAL, leaning slightly forward,", "his face perspiring heavily. RAVAL rolls an armlet out on the table.", "close to each other in the juggler's wagon. MIA holds her son in her arms. \nJONS follows them with his heavily laden horse. He has the smith in tow. The" ], [ "The KNIGHT hands his squire a piece of bread, which keeps him quiet for a \nwhile. The sun burns down on them cruelly, and beads of perspiration trickle", "The KNIGHT has risen and waded into the shallow water, where he rinses his \nsunburned face and blistered lips. JONS rolls over to face the forest and the", "She points with a spoon and smiles. The KNIGHT nods, as if he were pondering \nsome profound thought. JOF eats heartily.", "She nods energetically and the KNIGHT smiles seriously. Now the shrieks and \nthe noise from the inn become louder. Black figures flicker across the grass", "and milkmaids. A whole flock of children perch in the trees around the wagon.\n \nThe KNIGHT and his squire have sat down in the shadow of a wall. They drink", "The KNIGHT rummages in the big black bag which he keeps beside him and takes \nout a small chessboard. He places it carefully on the ground and begins \nsetting up the pieces.", "The KNIGHT is kneeling before a small altar. It is dark and quiet around him.\nThe air is cool and musty. Pictures of saints look down on him with stony", "stands a bulging wagon covered with a mottled canvas. A horse whinnies nearby \nand is answered by the KNIGHT'S horse. The two travelers do not stop to rest", "barely visible, a seagull floats on motionless wings. Its cry is weird and \nrestless. The KNIGHT'S large gray horse lifts its head and whinnies. Antonius", "The KNIGHT slowly rides away from the sea, into the forest near the beach and \nup towards the road. He pretends not to hear the morning prayers of his \nsquire. JONS soon overtakes him.", "JONS finally gets the KNIGHT'S attention. He stops singing. The KNIGHT, his \nhorse, JONS'S own horse and JONS himself know all the songs by heart. The", "The sound of the hammering echoes through the forest. The KNIGHT has \ndismounted and walks closer to the cart. Again he tries to catch TYAN'S eyes,", "She puts the child down on the ground and half rises to shake out her red \nskirt. When she sits down again, the KNIGHT steps closer.", "KNIGHT \n\t\tI shall remember this moment. The silence, the \n\t\ttwilight, the bowls of strawberries and milk,", "Not far from the wagon, the KNIGHT sits crouched over his chess game. He \nlifts his head.", "When they have fastened her, they walk over to light the pyre. The KNIGHT \nsteps up and leans over her.", "His voice sticks in his throat and he suddenly walks away. The KNIGHT mounts\nhis horse. The travelers depart from the crossroads. TYAN finally closes her \neyes.", "Now she comes a little closer, kneels down and opens a bundle containing \nseveral dainty morsels and a skin filled with red wine. JONAS SKAT manages", "JOF lifts his head and wakes up. He has been asleep with his arms around \nMIA's shoulders. The KNIGHT is sharply silhouetted against the tree trunks.", "The KNIGHT grips the wooden rail of the cart so tightly that his knuckles \nwhiten. TYAN leans forward and joins her gaze with his." ], [ "In his sleep, JOF the juggler hears the neighing of his horse and the answer \nfrom a distance. He tries to go on sleeping, but it is stifling inside the", "JOF'S face breaks into a smile and his eyes fill with tears. With a dazed \nexpression he sits flat on his behind while the grass rustles softly, and \nbees and butterflies hum around his head. The unseen bird continues to sing.", "JOF has dozed off for a few moments, but suddenly he wakens. Then he sees the \nKNIGHT and DEATH together. He becomes very frightened and awakens MIA.", "He places his leg in front of JOF as if to trip him, raises MIA's skirt, \nmakes a face as if he could see all the wonders of the world underneath it, \nand disappears behind the gaudily patched curtains.", "He has picked up the juggling balls and slowly begins to toss them. Then he \nstands on his head and cackles like a hen. Suddenly he stops and sits down", "JOF \n\t\t\t(angry)\n\t\tI didn't ask to have visions. I can't help it", "JOF stands in the hot sun with a flickering lantern in his hand. MIA pretends \nto be asleep on a bench which has been pulled forward on the stage.", "stop their games and stand with gaping mouths and frightened eyes.\n \nJOF steps out in front of the curtain. His painted face bears an expression", "JOF \n\t\tMikael will grow up to be a great acrobat -- or \n\t\ta juggler who can do the one impossible trick.", "JOF \n\t\tListen, I've had a vision. No, it wasn't a \n\t\tvision. It was real, absolutely real.", "JOF gets up on the table and stands on his head. A hand pushes him forward so\nthat he collapses on the floor. PLOG rises, pulls him to his feet with one \nhand.", "JOF has come out with his lyre, sits on a small, gaudy box and plucks at the \ninstrument, humming quietly, searching for his melody. JONS yawns and lies \ndown.", "MIA \n\t\tOh, so you've had a vision again!\n\nMIA's voice is filled with gentle irony. JOF shakes his head and grabs her by \nthe shoulders.", "JOF snatches away his hands and raises his head. He looks half surprised, as \nif the truth had just become apparent to him.", "mound. Someone collapses, gets up and runs. It is JOF. MIA stretches out her \narms and receives him. He holds his hands in front of his face, moaning like", "JOF gingerly proffers a frightened hand and gets it thoroughly shaken and \nsqueezed. While JOF tries to straighten out his fingers, PLOG is seized by \ngreat good will and opens his arms.", "JOF \n\t\tI see them, Mia! I see them! Over there against \n\t\tthe dark, stormy sky. They are all there. The", "JOF comes to life. He rushes into the wagon and shakes MIA awake.", "RAVAL prods JOF lightly with the knife point. JOF gets up with cold sweat on \nhis cheeks and forehead, frightened half to death. He begins to jump and hop", "In the meantime JOF and MIA play their tragedy; it is not, however, received \nwith great acclaim. SKAT suddenly discovers that someone is watching him as" ], [ "hands. His expression is very sad. Once in a while he is shaken by a gigantic \nsob. It is PLOG, the smith, who sits there and whimpers.", "His silence makes him seem almost unreal. JONS and PLOG are slightly drunk \nand support each other. Suddenly PLOG has to sit down. He puts his hands over \nhis face and howls piteously.", "SKAT looks at the travelers with a pained expression and then lifts his eyes \ntowards the night sky. \n\n\t\t\t\tSKAT \n\t\tI forgive all of you. Pray for me sometimes.", "SKAT sinks the dagger into his breast and slowly falls to the ground. The \ntravelers stand confused. PLOG rushes forward and begins to pull at SKAT'S hands.", "LISA sobs with excitement and sorrow. PLOG looks around, a little confused. \nSKAT uses this opportunity. He pulls out a dagger and places the point \nagainst his breast.", "The two lovers discover PLOG and it's too late. They cannot retreat. SKAT \nimmediately takes to his heels. PLOG chases him, swinging his sledge and \nbellowing like a wild boar.", "PLOG begins to cry loudly and his whole body sways in an enormous attack of \nsorrow. JONS looks at him with interest.\n\n\t\t\t\tJONS\n\t\tLook how he howls again.", "PLOG \n\t\tOh dear, dear, I didn't mean it that way! Look, \n\t\tthere's no life left in him. I was beginning to", "TYAN \n\t\tWhy?\n\n\t\t\t\tKNIGHT \n\t\tI want to ask him about God. He, if anyone, \n\t\tmust know.", "The KNIGHT is kneeling before a small altar. It is dark and quiet around him.\nThe air is cool and musty. Pictures of saints look down on him with stony", "The KNIGHT returns to the beach and falls on his knees. With his eyes closed \nand brow furrowed, he says his morning prayers. His hands are clenched", "DEATH straightens his back and squints up at him. SKAT cries out in terror.", "MONK\n\t\tGod has sentenced us to punishment. We shall \n\t\tall perish in the black death. You, standing", "spying on a miserable human being. The KNIGHT hears a sound from the \nconfession booth and approaches it. The face of DEATH appears behind the", "JOF gingerly proffers a frightened hand and gets it thoroughly shaken and \nsqueezed. While JOF tries to straighten out his fingers, PLOG is seized by \ngreat good will and opens his arms.", "The Seventh Seal\n \nThe night had brought little relief from the heat, and at dawn a hot gust of\nwind blows across the colorless sea. The KNIGHT, Antonius Block, lies", "PLOG \n\t\tOh, now it came over me again! \n\n\t\t\t\tJONS \n\t\tDon't scream. What came over you?", "JOF has dozed off for a few moments, but suddenly he wakens. Then he sees the \nKNIGHT and DEATH together. He becomes very frightened and awakens MIA.", "JONS dismounts and approaches the sleeping man. JONS addresses him politely. \nWhen he doesn't receive an answer, he walks up to the man in order to shake", "He makes the sign of the cross over the crowd and then begins a new song in a\nstrong voice. The monks rise and join in the song. As if driven by some" ], [ "The KNIGHT is kneeling before a small altar. It is dark and quiet around him.\nThe air is cool and musty. Pictures of saints look down on him with stony", "spying on a miserable human being. The KNIGHT hears a sound from the \nconfession booth and approaches it. The face of DEATH appears behind the", "JOF has dozed off for a few moments, but suddenly he wakens. Then he sees the \nKNIGHT and DEATH together. He becomes very frightened and awakens MIA.", "Waves of heat envelop the gray stone church in a strange white mist. The \nKNIGHT dismounts and enters. After tying up the horses, JONS slowly follows", "She nods energetically and the KNIGHT smiles seriously. Now the shrieks and \nthe noise from the inn become louder. Black figures flicker across the grass", "JOF lifts his head and wakes up. He has been asleep with his arms around \nMIA's shoulders. The KNIGHT is sharply silhouetted against the tree trunks.", "JONS and the KNIGHT stop and watch in silence. The soldiers are working \nquickly and skillfully, but they seem frightened and dejected. The monk", "KNIGHT \n\t\tGood evening.\n \nJOF becomes a little embarrassed and rises. All three of them look at one", "The KNIGHT has risen and waded into the shallow water, where he rinses his \nsunburned face and blistered lips. JONS rolls over to face the forest and the", "The KNIGHT returns to the beach and falls on his knees. With his eyes closed \nand brow furrowed, he says his morning prayers. His hands are clenched", "When they have fastened her, they walk over to light the pyre. The KNIGHT \nsteps up and leans over her.", "Suddenly the KNIGHT stands face to face with his wife. They look at each\nother quietly.", "She begins walking towards him, her head bent. He doesn't wait for her but \nwalks towards the KNIGHT, who patiently awaits his squire.", "JOF gets up carefully and disappears into the darkness behind the trees. MIA \nremains standing, as if paralyzed by fear. She stares fixedly at the KNIGHT", "emerges. They take her down from the cart and lead her towards the ladder and \nthe stake. The KNIGHT turns to the MONK, who remains seated in the cart.", "The procession continues. New members have joined the rear of the column; \nothers who were unable to go on lie weeping in the dust of the road. JONS the \nsquire drinks his beer.", "The KNIGHT walks by, calls to his squire and goes out into the bright \nsunshine. JONS manages to set himself down from the scaffolding.", "The sound of the hammering echoes through the forest. The KNIGHT has \ndismounted and walks closer to the cart. Again he tries to catch TYAN'S eyes,", "The KNIGHT slowly rides away from the sea, into the forest near the beach and \nup towards the road. He pretends not to hear the morning prayers of his \nsquire. JONS soon overtakes him.", "KNIGHT \n\t\tAnd you will divulge your secrets. \n\n\t\t\t\tDEATH \n\t\tI have no secrets." ], [ "DEATH straightens his back and squints up at him. SKAT cries out in terror.", "DEATH \n\t\tNow I see something interesting. \n\n\t\t\t\tKNIGHT \n\t\tWhat do you see?", "JOF has dozed off for a few moments, but suddenly he wakens. Then he sees the \nKNIGHT and DEATH together. He becomes very frightened and awakens MIA.", "His voice sticks in his throat and he suddenly walks away. The KNIGHT mounts\nhis horse. The travelers depart from the crossroads. TYAN finally closes her \neyes.", "him towards the road. MIA has just climbed up on the wagon. JOF takes the \nhorse by the bridle and leads it down the road. DEATH notices nothing; he is", "KNIGHT \n\t\tYour move!\n\nDEATH raises his hand and strikes the KNIGHT'S queen. Antonius Block looks at \nDEATH.", "DEATH \n\t\tOh, no reason at all.\n \nThe KNIGHT suddenly stops smiling. DEATH looks at him scornfully.", "DEATH \n\t\tBut He remains silent.\n \n\t\t\t\tKNIGHT", "DEATH is about to answer him but stops and leans over the board. The KNIGHT \nsmiles.", "spying on a miserable human being. The KNIGHT hears a sound from the \nconfession booth and approaches it. The face of DEATH appears behind the", "He pretends to be clumsy and knocks the chess pieces over with the hem of his \ncoat. He looks up at DEATH.", "DEATH \n\t\t\t(laughs contentedly) \n\t\tBut I have not forgotten. You can't get away", "No one answers. RAVAL'S face appears suddenly at the base of the tree. His \neyes bulge wildly and his mouth is ringed with foam.", "DEATH doesn't answer.\n \n\t\t\t\tKNIGHT \n\t\tThrough my indifference to my fellow men, I", "DEATH doesn't answer.\n \n\t\t\t\tKNIGHT \n\t\tHow can we have faith in those who believe when", "No one answers, no one moves. RAVAL'S sobs are dry and convulsive, like a \nfrightened child's. His sudden scream is cut off in the middle. Then it", "He nods resignedly and walks away. The young woman starts to moan as though \nshe were having a horrible nightmare. The sound of her cries follows the two \nriders for a considerable distance down the road.", "RAVEL \n\t\tI'm afraid of death.\n\nNo one answers. There is complete silence. RAVAL gasps heavily for air. The \ndry leaves rustle with his movements.", "The KNIGHT holds out his two fists to DEATH, who smiles at him suddenly. \nDEATH points to one of the KNIGHT'S hands; it contains a black pawn.", "DEATH \n\t\tI'm happy to hear that. Now I'll be leaving you. \n\t\tWhen we meet again, you and your companions' \n\t\ttime will be up." ], [ "The squire JONS is awakened by a kick in the rear. Opening his eyes, he", "The KNIGHT walks by, calls to his squire and goes out into the bright \nsunshine. JONS manages to set himself down from the scaffolding.", "She begins walking towards him, her head bent. He doesn't wait for her but \nwalks towards the KNIGHT, who patiently awaits his squire.", "The KNIGHT hands his squire a piece of bread, which keeps him quiet for a \nwhile. The sun burns down on them cruelly, and beads of perspiration trickle", "JONS \n\t\tThis is squire Jˆns. He grins at Death, mocks \n\t\tthe Lord, laughs at himself and leers at the", "The KNIGHT slowly rides away from the sea, into the forest near the beach and \nup towards the road. He pretends not to hear the morning prayers of his \nsquire. JONS soon overtakes him.", "Nearby his squire JONS is snoring loudly. He has fallen asleep where he \ncollapsed, at the edge of the forest among the wind-gnarled fir trees. His", "The procession continues. New members have joined the rear of the column; \nothers who were unable to go on lie weeping in the dust of the road. JONS the \nsquire drinks his beer.", "When he sees this look, SKAT makes an instantaneous decision, jumps down from \nthe wagon and kneels in front of the blushing damsel.", "She puts the child down on the ground and half rises to shake out her red \nskirt. When she sits down again, the KNIGHT steps closer.", "His voice sticks in his throat and he suddenly walks away. The KNIGHT mounts\nhis horse. The travelers depart from the crossroads. TYAN finally closes her \neyes.", "When they have fastened her, they walk over to light the pyre. The KNIGHT \nsteps up and leans over her.", "She nods energetically and the KNIGHT smiles seriously. Now the shrieks and \nthe noise from the inn become louder. Black figures flicker across the grass", "The KNIGHT has risen and waded into the shallow water, where he rinses his \nsunburned face and blistered lips. JONS rolls over to face the forest and the", "JONS finally gets the KNIGHT'S attention. He stops singing. The KNIGHT, his \nhorse, JONS'S own horse and JONS himself know all the songs by heart. The", "JONS remounts and overtakes his master. He takes a drink from his waterskin \nand hands the bag to the knight.", "emerges. They take her down from the cart and lead her towards the ladder and \nthe stake. The KNIGHT turns to the MONK, who remains seated in the cart.", "Suddenly the KNIGHT stands face to face with his wife. They look at each\nother quietly.", "JOF has dozed off for a few moments, but suddenly he wakens. Then he sees the \nKNIGHT and DEATH together. He becomes very frightened and awakens MIA.", "JOF lifts his head and wakes up. He has been asleep with his arms around \nMIA's shoulders. The KNIGHT is sharply silhouetted against the tree trunks." ], [ "The KNIGHT is kneeling before a small altar. It is dark and quiet around him.\nThe air is cool and musty. Pictures of saints look down on him with stony", "Waves of heat envelop the gray stone church in a strange white mist. The \nKNIGHT dismounts and enters. After tying up the horses, JONS slowly follows", "him in. When he comes onto the church porch he stops in surprise. To the \nright of the entrance there is a large fresco on the wall, not quite", "The squire JONS is awakened by a kick in the rear. Opening his eyes, he", "The KNIGHT hands his squire a piece of bread, which keeps him quiet for a \nwhile. The sun burns down on them cruelly, and beads of perspiration trickle", "Outside the church, four soldiers and a monk are in the process of putting a \nwoman in the stocks. Her face is pale and child-like, her head has been", "mumbles from a small book. One of the soldiers picks up a wooden bucket and \nwith his hand begins to smear a bloody paste on the wall of the church and \naround the woman. JONS holds his nose.", "The procession continues. New members have joined the rear of the column; \nothers who were unable to go on lie weeping in the dust of the road. JONS the \nsquire drinks his beer.", "She begins walking towards him, her head bent. He doesn't wait for her but \nwalks towards the KNIGHT, who patiently awaits his squire.", "Nearby his squire JONS is snoring loudly. He has fallen asleep where he \ncollapsed, at the edge of the forest among the wind-gnarled fir trees. His", "She nods energetically and the KNIGHT smiles seriously. Now the shrieks and \nthe noise from the inn become louder. Black figures flicker across the grass", "and milkmaids. A whole flock of children perch in the trees around the wagon.\n \nThe KNIGHT and his squire have sat down in the shadow of a wall. They drink", "The KNIGHT slowly rides away from the sea, into the forest near the beach and \nup towards the road. He pretends not to hear the morning prayers of his \nsquire. JONS soon overtakes him.", "The KNIGHT walks by, calls to his squire and goes out into the bright \nsunshine. JONS manages to set himself down from the scaffolding.", "JONS \n\t\tThis is squire Jˆns. He grins at Death, mocks \n\t\tthe Lord, laughs at himself and leers at the", "He makes the sign of the cross over the crowd and then begins a new song in a\nstrong voice. The monks rise and join in the song. As if driven by some", "TYAN nods quietly and looks away. Now they arrive at the parish border. At \nthe foot of the nearby hills lies a crossroads. The pyre has already been", "She puts the child down on the ground and half rises to shake out her red \nskirt. When she sits down again, the KNIGHT steps closer.", "A large square monk rises from his knees and reveals his face, which is red-\nbrown from the sun. His eyes glitter; his voice is thick with impotent scorn.", "The KNIGHT rummages in the big black bag which he keeps beside him and takes \nout a small chessboard. He places it carefully on the ground and begins \nsetting up the pieces." ], [ "Antonius Block has brought his companions with him to the castle. But it\nseems deserted. They walk from room to room. There is only emptiness and\nquiet echoes. Outside, the rain is heard roaring noisily.", "The Seventh Seal\n \nThe night had brought little relief from the heat, and at dawn a hot gust of\nwind blows across the colorless sea. The KNIGHT, Antonius Block, lies", "JONS \n\t\tIn F‰rjestad everyone was talking about evil \n\t\tomens and other horrible things. Two horses had", "The two lovers discover PLOG and it's too late. They cannot retreat. SKAT \nimmediately takes to his heels. PLOG chases him, swinging his sledge and \nbellowing like a wild boar.", "SKAT \n\t\tIdiot. There's a rumor going around that \n\t\tthere's a terrible pestilence in the land, and", "lice devour us, the fevers rot us, all for the \n\t\tGlory of God. Our crusade was such madness that", "KNIGHT \n\t\tYour move!\n\nDEATH raises his hand and strikes the KNIGHT'S queen. Antonius Block looks at \nDEATH.", "KNIGHT \n\t\tThe plague has spread in that direction, \n\t\tfollowing the coast line south. It's said that \n\t\tpeople are dying by the tens of thousands.", "The KNIGHT has risen and waded into the shallow water, where he rinses his \nsunburned face and blistered lips. JONS rolls over to face the forest and the", "barely visible, a seagull floats on motionless wings. Its cry is weird and \nrestless. The KNIGHT'S large gray horse lifts its head and whinnies. Antonius", "The KNIGHT and DEATH bend over the chessboard. After a moment of hesitation, \nAntonius Block opens with his king's pawn. DEATH moves, also using his king's \npawn.", "They walk across an open meadow. Here it is a little brighter and the moon \nshimmers behind a thin sky. Suddenly PLOG points a large finger towards the \nedge of the forest.", "Land and let snakes bite us, flies sting us, \n\t\twild animals eat us, heathens butcher us, the \n\t\twine poison us, the women give us lice, the", "The inn is very small and full of people eating and drinking to forget their \nnewly aroused fears of eternity. In the open fireplace a roasting pig turns", "Now RAVAL enters the discussion. He is slightly drunk and his voice is shrill \nand evil.\n \n\t\t\t\tRAVAL \n\t\tListen, you! You sit there and lie to the \n\t\tsmith.", "For a few confusing moments the two rivals stumble among the stones and \nbushes in the gray gloom of the forest. The duel begins to look senseless, \nbecause both of them are equally frightened.", "of horror. MIA has risen with MIKAEL in her arms. Some of the women in the \nyard have fallen on their knees, others hide their faces, many begin to", "LISA sobs with excitement and sorrow. PLOG looks around, a little confused. \nSKAT uses this opportunity. He pulls out a dagger and places the point \nagainst his breast.", "gnawed to shreds and dripping with foam. They have been seized by madness. \nThey bite their own hands and arms, whip each other in violent, almost", "MIA does what JOF has told her. At the same moment, the KNIGHT looks up from\nhis game. \n\n\t\t\t\tDEATH \n\t\tIt is your move, Antonius Block." ], [ "Antonius Block has brought his companions with him to the castle. But it\nseems deserted. They walk from room to room. There is only emptiness and\nquiet echoes. Outside, the rain is heard roaring noisily.", "The Seventh Seal\n \nThe night had brought little relief from the heat, and at dawn a hot gust of\nwind blows across the colorless sea. The KNIGHT, Antonius Block, lies", "KARIN\n\t\tI heard from people who came from the crusade \n\t\tthat you were on your way home. I've been", "The KNIGHT has risen and waded into the shallow water, where he rinses his \nsunburned face and blistered lips. JONS rolls over to face the forest and the", "The two lovers discover PLOG and it's too late. They cannot retreat. SKAT \nimmediately takes to his heels. PLOG chases him, swinging his sledge and \nbellowing like a wild boar.", "He is silent. He lowers his hand. His son, MIKAEL, has listened to his words.\nNow, he crawls up to MIA and sits down in her lap.", "JOF is a bit offended and glances over at his son, MIKAEL, but he is also \nsleeping soundly in the high grass. JONAS SKAT comes out from the wagon. He", "barely visible, a seagull floats on motionless wings. Its cry is weird and \nrestless. The KNIGHT'S large gray horse lifts its head and whinnies. Antonius", "KNIGHT \n\t\tYour move!\n\nDEATH raises his hand and strikes the KNIGHT'S queen. Antonius Block looks at \nDEATH.", "SKAT lies in the grass and keeps the dagger pressed tightly to his breast. \nThe travelers depart and soon they have disappeared into the dark forest on", "The KNIGHT and DEATH bend over the chessboard. After a moment of hesitation, \nAntonius Block opens with his king's pawn. DEATH moves, also using his king's \npawn.", "For a few confusing moments the two rivals stumble among the stones and \nbushes in the gray gloom of the forest. The duel begins to look senseless, \nbecause both of them are equally frightened.", "MIA does what JOF has told her. At the same moment, the KNIGHT looks up from\nhis game. \n\n\t\t\t\tDEATH \n\t\tIt is your move, Antonius Block.", "JONS \n\t\tIn F‰rjestad everyone was talking about evil \n\t\tomens and other horrible things. Two horses had", "The KNIGHT returns to the beach and falls on his knees. With his eyes closed \nand brow furrowed, he says his morning prayers. His hands are clenched", "SKAT hesitates momentarily, but he is still the strategist. He lets the \nchicken leg fall to the grass, and murmurs in the woman's rosy ear.", "SKAT frowns, toys with his small dagger and occasionally throws a roguish but \nfiery glance at the beautiful visitor. She suddenly discovers that one of her", "Three mighty knocks sound on the large portal. KARIN interrupts her reading \nand looks up from the book. JONS rises quickly and goes to open the door.", "His voice sticks in his throat and he suddenly walks away. The KNIGHT mounts\nhis horse. The travelers depart from the crossroads. TYAN finally closes her \neyes.", "His silence makes him seem almost unreal. JONS and PLOG are slightly drunk \nand support each other. Suddenly PLOG has to sit down. He puts his hands over \nhis face and howls piteously." ], [ "He pretends to be clumsy and knocks the chess pieces over with the hem of his \ncoat. He looks up at DEATH.", "DEATH straightens his back and squints up at him. SKAT cries out in terror.", "spying on a miserable human being. The KNIGHT hears a sound from the \nconfession booth and approaches it. The face of DEATH appears behind the", "DEATH is about to answer him but stops and leans over the board. The KNIGHT \nsmiles.", "DEATH \n\t\tOh, no reason at all.\n \nThe KNIGHT suddenly stops smiling. DEATH looks at him scornfully.", "JOF has dozed off for a few moments, but suddenly he wakens. Then he sees the \nKNIGHT and DEATH together. He becomes very frightened and awakens MIA.", "DEATH \n\t\tI am Death.\n\n\t\t\t\tKNIGHT \n\t\tHave you come for me?", "him towards the road. MIA has just climbed up on the wagon. JOF takes the \nhorse by the bridle and leads it down the road. DEATH notices nothing; he is", "The KNIGHT has risen to his feet. He shivers. DEATH opens his cloak to place \nit around the KNIGHT'S shoulders. \n\n\t\t\t\tKNIGHT \n\t\tWait a moment.", "KNIGHT \n\t\tYour move!\n\nDEATH raises his hand and strikes the KNIGHT'S queen. Antonius Block looks at \nDEATH.", "MIA \n\t\tWho is it, then?\n \n\t\t\t\tJOF \n\t\tDeath. He is sitting there playing chess with \n\t\tDeath himself.", "The KNIGHT holds out his two fists to DEATH, who smiles at him suddenly. \nDEATH points to one of the KNIGHT'S hands; it contains a black pawn.", "DEATH \n\t\tNow I see something interesting. \n\n\t\t\t\tKNIGHT \n\t\tWhat do you see?", "yawns; he is very tired and in a bad humor. In his hands he holds a crudely \nmade death mask.", "JONS \n\t\tAnd that one is Death?\n \n\t\t\t\tPAINTER", "DEATH \n\t\tI'll remember that.\n\nDEATH shows his face at the grill of the confession booth for a moment but \ndisappears instantly.", "DEATH \n\t\t\t(laughs contentedly) \n\t\tBut I have not forgotten. You can't get away", "DEATH \n\t\tHave you tricked me?\n \n\t\t\t\tKNIGHT \n\t\tOf course. You fell right in the trap. Check!", "DEATH doesn't answer.\n \n\t\t\t\tKNIGHT \n\t\tThe emptiness is a mirror turned towards my \n\t\town face. I see myself in it, and I am filled \n\t\twith fear and disgust.", "16\nThe KNIGHT is no longer alone. DEATH has come to him and he raises his hand.\n\n\t\t\t\tDEATH \n\t\tShall we play our game to the end?" ], [ "DEATH \n\t\tYou're rather arrogant. \n\n\t\t\t\tKNIGHT \n\t\tOur game amuses me.", "The KNIGHT holds out his two fists to DEATH, who smiles at him suddenly. \nDEATH points to one of the KNIGHT'S hands; it contains a black pawn.", "DEATH is about to answer him but stops and leans over the board. The KNIGHT \nsmiles.", "KNIGHT \n\t\tYour move!\n\nDEATH raises his hand and strikes the KNIGHT'S queen. Antonius Block looks at \nDEATH.", "DEATH \n\t\tHave you lost interest in our game?\n \nThe KNIGHT'S eyes become alarmed. DEATH looks at him intently.", "The KNIGHT picks up his chess game and carries it towards the beach. It is \nquiet and deserted; the sea is still. \n\n\t\t\t\tDEATH \n\t\tI have been waiting for you.", "The KNIGHT and DEATH bend over the chessboard. After a moment of hesitation, \nAntonius Block opens with his king's pawn. DEATH moves, also using his king's \npawn.", "He pretends to be clumsy and knocks the chess pieces over with the hem of his \ncoat. He looks up at DEATH.", "The KNIGHT rummages in the big black bag which he keeps beside him and takes \nout a small chessboard. He places it carefully on the ground and begins \nsetting up the pieces.", "MIA does what JOF has told her. At the same moment, the KNIGHT looks up from\nhis game. \n\n\t\t\t\tDEATH \n\t\tIt is your move, Antonius Block.", "KNIGHT \n\t\tDeath visited me this morning. We are playing \n\t\tchess together. This reprieve gives me the \n\t\tchance to arrange an urgent matter.", "that easily.\n \nDEATH leans over the board and rearranges the pieces. The KNIGHT looks past", "DEATH \n\t\tThat's what they all say. I grant no reprieves. \n\n\t\t\t\tKNIGHT \n\t\tYou play chess, don't you?", "KNIGHT \n\t\tYou drew black!\n\n\t\t\t\tDEATH \n\t\tVery appropriate. Don't you think so?", "Not far from the wagon, the KNIGHT sits crouched over his chess game. He \nlifts his head.", "DEATH \n\t\tI am Death.\n\n\t\t\t\tKNIGHT \n\t\tHave you come for me?", "KNIGHT \n\t\tAnd you will divulge your secrets. \n\n\t\t\t\tDEATH \n\t\tI have no secrets.", "The KNIGHT leans over the game. The moonlight moves over the chess pieces, \nwhich seem to have a life of their own.", "DEATH \n\t\tWhy do you want to play chess with me? \n\n\t\t\t\tKNIGHT \n\t\tI have my reasons.", "KNIGHT \n\t\tThat's my secret.\n \n\t\t\t\tDEATH \n\t\tOf course. Now I take your knight." ], [ "The KNIGHT rummages in the big black bag which he keeps beside him and takes \nout a small chessboard. He places it carefully on the ground and begins \nsetting up the pieces.", "The KNIGHT picks up his chess game and carries it towards the beach. It is \nquiet and deserted; the sea is still. \n\n\t\t\t\tDEATH \n\t\tI have been waiting for you.", "KNIGHT \n\t\tDeath visited me this morning. We are playing \n\t\tchess together. This reprieve gives me the \n\t\tchance to arrange an urgent matter.", "He pretends to be clumsy and knocks the chess pieces over with the hem of his \ncoat. He looks up at DEATH.", "Not far from the wagon, the KNIGHT sits crouched over his chess game. He \nlifts his head.", "The KNIGHT leans over the game. The moonlight moves over the chess pieces, \nwhich seem to have a life of their own.", "The KNIGHT and DEATH bend over the chessboard. After a moment of hesitation, \nAntonius Block opens with his king's pawn. DEATH moves, also using his king's \npawn.", "DEATH is about to answer him but stops and leans over the board. The KNIGHT \nsmiles.", "KNIGHT \n\t\tYour move!\n\nDEATH raises his hand and strikes the KNIGHT'S queen. Antonius Block looks at \nDEATH.", "The KNIGHT holds out his two fists to DEATH, who smiles at him suddenly. \nDEATH points to one of the KNIGHT'S hands; it contains a black pawn.", "DEATH \n\t\tHave you lost interest in our game?\n \nThe KNIGHT'S eyes become alarmed. DEATH looks at him intently.", "DEATH \n\t\tThat's what they all say. I grant no reprieves. \n\n\t\t\t\tKNIGHT \n\t\tYou play chess, don't you?", "MIA does what JOF has told her. At the same moment, the KNIGHT looks up from\nhis game. \n\n\t\t\t\tDEATH \n\t\tIt is your move, Antonius Block.", "DEATH \n\t\tWhy do you want to play chess with me? \n\n\t\t\t\tKNIGHT \n\t\tI have my reasons.", "MIA \n\t\tWhat do you see?\n\n\t\t\t\tJOF \n\t\tThe knight is sitting over there playing chess.", "DEATH \n\t\tYou're rather arrogant. \n\n\t\t\t\tKNIGHT \n\t\tOur game amuses me.", "KNIGHT \n\t\tYes, I do.\n \n\t\t\t\tDEATH \n\t\tWhat are you waiting for? \n\n\t\t\t\tKNIGHT \n\t\tI want knowledge.", "The KNIGHT is kneeling before a small altar. It is dark and quiet around him.\nThe air is cool and musty. Pictures of saints look down on him with stony", "that easily.\n \nDEATH leans over the board and rearranges the pieces. The KNIGHT looks past", "KNIGHT \n\t\tThe condition is that I may live as long as I \n\t\thold out against you. If I win, you will \n\t\trelease me. Is it agreed?" ], [ "JOF \n\t\tMia!\n \n\t\t\t\tMIA \n\t\tYes, what is it?", "JOF \n\t\tMia, wake up. Wake up! Mia, I've just seen \n\t\tsomething. I've got to tell you about it!", "JOF stretches his arms and legs. MIA dries the wagon seat and sits down next\nto her husband. MIKAEL crawls between JOF'S knees.", "MIA \n\t\tYes, this is my husband, Jof. \n\n\t\t\t\tJOF \n\t\tGood evening.", "JOF comes to life. He rushes into the wagon and shakes MIA awake.", "MIA \n\t\tOh, so you've had a vision again!\n\nMIA's voice is filled with gentle irony. JOF shakes his head and grabs her by \nthe shoulders.", "JOF \n\t\tGet into the wagon, Mia. Crawl in quickly. \n\t\tWe'll lie down, Mia, with Mikael between us.", "JOF \n\t\tThe Virgin Mary.\n\nMIA can't help being impressed by her husband's fervor. She lowers her voice.", "JOF gets up carefully and disappears into the darkness behind the trees. MIA \nremains standing, as if paralyzed by fear. She stares fixedly at the KNIGHT", "mound. Someone collapses, gets up and runs. It is JOF. MIA stretches out her \narms and receives him. He holds his hands in front of his face, moaning like", "KNIGHT \n\t\tDo you do tricks also?\n\n\t\t\t\tMIA \n\t\tWe certainly do. And Jof is a very skillful \n\t\tjuggler.", "other, touch each other's hands. JOF puts his head against MIA'S shoulder and \nsighs.", "JOF is a bit offended and glances over at his son, MIKAEL, but he is also \nsleeping soundly in the high grass. JONAS SKAT comes out from the wagon. He", "JOF lifts his head and wakes up. He has been asleep with his arms around \nMIA's shoulders. The KNIGHT is sharply silhouetted against the tree trunks.", "JOF has dozed off for a few moments, but suddenly he wakens. Then he sees the \nKNIGHT and DEATH together. He becomes very frightened and awakens MIA.", "In the meantime JOF and MIA play their tragedy; it is not, however, received \nwith great acclaim. SKAT suddenly discovers that someone is watching him as", "Their son MIKAEL crawls over to them. JOF lies down on the ground and pulls \nhis son on top of him. MIA gets down on her hands and knees and playfully \nsniffs at MIKAEL.", "JOF \n\t\tOuch, it hurts.\n\n\t\t\t\tMIA\n\t\tWhy did you have to go there? And of course you \n\t\tdrank.", "JOF \n\t\tBut I did see her! \n\n\t\t\t\tMIA \n\t\tWhom did you see?", "JOF \n\t\tNot yet, Mia. In any case, not yet. \n\n\t\t\t\tMIA \n\t\tI'm so afraid. I'm so afraid." ], [ "His words seem to please her. She puts her arms around the actor's neck and \npulls him to her with such fierceness that both of them lose their balance", "In the meantime JOF and MIA play their tragedy; it is not, however, received \nwith great acclaim. SKAT suddenly discovers that someone is watching him as", "no one appears he enters. It is very dark inside and his foot touches a soft \nobject. He looks down. Beside the whitewashed fireplace, a woman is lying \nwith her face to the ground.", "SKAT frowns, toys with his small dagger and occasionally throws a roguish but \nfiery glance at the beautiful visitor. She suddenly discovers that one of her", "He places his leg in front of JOF as if to trip him, raises MIA's skirt, \nmakes a face as if he could see all the wonders of the world underneath it, \nand disappears behind the gaudily patched curtains.", "The two lovers discover PLOG and it's too late. They cannot retreat. SKAT \nimmediately takes to his heels. PLOG chases him, swinging his sledge and \nbellowing like a wild boar.", "The woman quietly bites into a chicken leg dripping with fat. At this moment \nthe actor is stricken by a radiant glance full of lustful appetites.", "She becomes weak and faint from his nearness, looks at him with a glassy \nglance and breathes heavily. SKAT doesn't neglect to press kisses on her", "mound. Someone collapses, gets up and runs. It is JOF. MIA stretches out her \narms and receives him. He holds his hands in front of his face, moaning like", "He nods resignedly and walks away. The young woman starts to moan as though \nshe were having a horrible nightmare. The sound of her cries follows the two \nriders for a considerable distance down the road.", "SKAT hesitates momentarily, but he is still the strategist. He lets the \nchicken leg fall to the grass, and murmurs in the woman's rosy ear.", "JOF stands in the hot sun with a flickering lantern in his hand. MIA pretends \nto be asleep on a bench which has been pulled forward on the stage.", "At the sound of approaching steps, JONS quickly hides behind the door. A man \ncomes down a ladder from the loft. He is broad and thick-set. His eyes are", "She nods energetically and the KNIGHT smiles seriously. Now the shrieks and \nthe noise from the inn become louder. Black figures flicker across the grass", "The travelers silently observe this confused performance. LISA screams once \nin a while, more out of duty than out of impulse.", "He embraces her and tries to kiss her, but she holds herself back. Almost \nimmediately he loses interest, hoists the waterbag on his shoulder and pats \nthe GIRL on the cheek.", "She yawns. The sun, has made her a bit drowsy and she lies down on the grass.\nJOF does likewise and puts one arm around his wife's shoulders.", "This opinion causes mirth in the audience. JOF becomes slightly confused and \ngoes out of character, but MIA keeps her head and begins snoring.", "He makes a fist of his hand and lifts it to his temple.\n\n\n\nMeanwhile, JONS and the PAINTER have got drunk and are talking animatedly \ntogether.", "another silently.\n \n\t\t\t\tKNIGHT \n\t\tI have just told your wife that you have a" ], [ "KNIGHT \n\t\tThe plague has spread in that direction, \n\t\tfollowing the coast line south. It's said that \n\t\tpeople are dying by the tens of thousands.", "The KNIGHT walks by, calls to his squire and goes out into the bright \nsunshine. JONS manages to set himself down from the scaffolding.", "The KNIGHT slowly rides away from the sea, into the forest near the beach and \nup towards the road. He pretends not to hear the morning prayers of his \nsquire. JONS soon overtakes him.", "His voice sticks in his throat and he suddenly walks away. The KNIGHT mounts\nhis horse. The travelers depart from the crossroads. TYAN finally closes her \neyes.", "She nods energetically and the KNIGHT smiles seriously. Now the shrieks and \nthe noise from the inn become louder. Black figures flicker across the grass", "emerges. They take her down from the cart and lead her towards the ladder and \nthe stake. The KNIGHT turns to the MONK, who remains seated in the cart.", "The KNIGHT has risen and waded into the shallow water, where he rinses his \nsunburned face and blistered lips. JONS rolls over to face the forest and the", "Waves of heat envelop the gray stone church in a strange white mist. The \nKNIGHT dismounts and enters. After tying up the horses, JONS slowly follows", "The Embarrassment Inn lies in the eastern section of the province. The plague \nhas not yet reached this area on its way along the coast.", "JONS and the KNIGHT stop and watch in silence. The soldiers are working \nquickly and skillfully, but they seem frightened and dejected. The monk", "When they have fastened her, they walk over to light the pyre. The KNIGHT \nsteps up and leans over her.", "She begins walking towards him, her head bent. He doesn't wait for her but \nwalks towards the KNIGHT, who patiently awaits his squire.", "MERCHANT\n\t\tAnd people are acting crazy, I'd say. They flee \n\t\tthe country and carry the plague with them \n\t\twherever they go.", "The SOLDIER nods sourly. Hesitantly, the travelers follow. The KNIGHT guides \nhis horse over to the side of the cart. The WITCH seems to be half-conscious, \nbut her eyes are wide open.", "The KNIGHT is kneeling before a small altar. It is dark and quiet around him.\nThe air is cool and musty. Pictures of saints look down on him with stony", "She puts the child down on the ground and half rises to shake out her red \nskirt. When she sits down again, the KNIGHT steps closer.", "The KNIGHT hands his squire a piece of bread, which keeps him quiet for a \nwhile. The sun burns down on them cruelly, and beads of perspiration trickle", "They walk across an open meadow. Here it is a little brighter and the moon \nshimmers behind a thin sky. Suddenly PLOG points a large finger towards the \nedge of the forest.", "stands a bulging wagon covered with a mottled canvas. A horse whinnies nearby \nand is answered by the KNIGHT'S horse. The two travelers do not stop to rest", "It is dark in the forest.\n \nFirst comes the KNIGHT on his large horse. Then JOF and MIA follow, sitting" ], [ "DEATH straightens his back and squints up at him. SKAT cries out in terror.", "He pretends to be clumsy and knocks the chess pieces over with the hem of his \ncoat. He looks up at DEATH.", "DEATH \n\t\tSo you haven't got time. \n\n\t\t\t\tSKAT \n\t\tNo, I have my performance.", "him towards the road. MIA has just climbed up on the wagon. JOF takes the \nhorse by the bridle and leads it down the road. DEATH notices nothing; he is", "He peers through the foliage. Below him stands a dark figure diligently \nsawing away at the base of the tree. SKAT becomes frightened and angry.", "KNIGHT \n\t\tYour move!\n\nDEATH raises his hand and strikes the KNIGHT'S queen. Antonius Block looks at \nDEATH.", "JOF gets up on the table and stands on his head. A hand pushes him forward so\nthat he collapses on the floor. PLOG rises, pulls him to his feet with one \nhand.", "DEATH \n\t\tOh, no reason at all.\n \nThe KNIGHT suddenly stops smiling. DEATH looks at him scornfully.", "The KNIGHT holds out his two fists to DEATH, who smiles at him suddenly. \nDEATH points to one of the KNIGHT'S hands; it contains a black pawn.", "At the sound of approaching steps, JONS quickly hides behind the door. A man \ncomes down a ladder from the loft. He is broad and thick-set. His eyes are", "DEATH begins to saw again. The tree creaks. \n\n\t\t\t\tSKAT \n\t\tIsn't there any way to get off? Aren't there \n\t\tany special rules for actors?", "stop their games and stand with gaping mouths and frightened eyes.\n \nJOF steps out in front of the curtain. His painted face bears an expression", "The room becomes silent. JOF looks around, but there is no exit, no way to \nescape. He puts his hands on the table. Suddenly a knife flashes through the \nair and sinks into the table top between his fingers.", "JONS raises his knife and cuts RAVAL from forehead to cheek. RAVAL staggers \ntowards the wall.", "DEATH is about to answer him but stops and leans over the board. The KNIGHT \nsmiles.", "He has picked up the juggling balls and slowly begins to toss them. Then he \nstands on his head and cackles like a hen. Suddenly he stops and sits down", "JOF leans over his colleague.\n\n\t\t\t\tJOF \n\t\tHe's dead, totally, enormously dead. In fact, \n\t\tI've never seen such a dead actor.", "each other's hands and then they must tread the \n\t\tdance in a long row. And first goes the master \n\t\twith his scythe and hourglass, but Skat dangles", "black and his face is pale and puffy. His clothes are well cut but dirty and \nin rags. He carries a cloth sack. Looking around, he goes into the inner", "spying on a miserable human being. The KNIGHT hears a sound from the \nconfession booth and approaches it. The face of DEATH appears behind the" ] ]

[ "What is being painted in a church?", "Why does Antonius want the woman to summon Satan?", "What does the squire draw?", "When does the juggler decide to flee with his family?", "What does Raval plead for?", "What does Death ask Antonius?", "Who is the only occupant of Antonius' castle?", "What does Antonius give the woman who summoned Satan as she falls in pain?", "What was Sweden being ravaged with upon the Knight and Squires return?", "The Knight asks the girl to summon who?", "Raval forced the juggler to do what?", "The Knight enjoyed a picnic containing what?", "Jof who is also a juggler, has visions of what?", "The Theolgonian pled for what while on his death bed?", "Who was the Knight joined by in the confessional?", "Who does not see death in the end?", "The Squire saves who?", "What did the Squire draw in the church?", "What does Antonius discover is ravaging Sweden in the Middle Ages?", "What has Antonius been fighting before returning to Sweden?", "What is death disguised as?", "What type of game does the Knight challenge death to?", "What does the Knight hope to prolong by playing chess?", "What is Jof's relationship to Mia?", "With whom does the entertainers' manager have an affair?", "Where does the Knight take the entertainers to escape the plague?", "What does death cut down to get to the entertainers' manager?" ]

[ [ "A watercolor painting on the Dance of Death.", "A fresco of the Dance of Death " ], [ "To ask Satan about God.", "So he can ask Satan about God." ], [ "A figure of himself.", "himself in the fresco" ], [ "When he sees Death is busy.", "While Death is preoccupied." ], [ "Water.", "Water." ], [ "If Antonius has succeeded in his \"one meaningful deed.\"", "Did he accomplish his meaningful deed." ], [ "His wife.", "Karin" ], [ "Herbs.", "Herbs " ], [ "The Plague", "the plague" ], [ "Satan", "Satan" ], [ "Dance on the tabled like a bear.", "Dance on the tables at a public house." ], [ "Milk and wild strawberries", "milk and strawberries" ], [ "God and Mary", "Jesus and Mary " ], [ "Water", "water" ], [ "Death in the robe of a priest.", "death" ], [ "Everyone except for Jof", "all but Jof and the Juggler" ], [ "A servant girl from being raped by a man robbing a corpse", "the servant girl" ], [ "A small figure of himself", "a figure of himself" ], [ "The plague.", "the plague" ], [ "The Crusades.", "the crusades" ], [ "A monk.", "a priest" ], [ "A Chess Match.", "chess" ], [ "His own death.", "his death" ], [ "Jof is Mia's husband.", "they are married" ], [ "Lisa, the blacksmith's wife.", "The Blacksmith's wife." ], [ "The Knight's castle.", "His castle " ], [ "A tree.", "a tree" ] ]

[ [ "Linda is bedside with Earl. She cries her eyes out. She\n speaks to him in mumbles about \"...sorry...\" \"...my love...\"", "LINDA \n No, no....no, you see...I never loved him.\n I never loved him, Earl. When I started,", "EXTREME CLOSE UP 2-SHOT. Linda and Earl. He opens his eyes just a bit.\n She bends in and gives him a kiss on the forehead.", "LINDA \n -- that can't happen. Earl doesn't\n want him to have the money, the things.", "EARL \n And do good things with her...share \n the thing...all that bullshit is true,\n y'know...find someone and hold on all\n that...Where's Linda?", "PHIL\n Earl asked me, Linda, please, Linda,\n I'm sorry -- Earl asked me --", "CAMERA moves with Linda as she comes down the stairs, walks \n over towards Earl's bed, trying to hide her state. Phil stands\n up and looks to her.", "is now, Linda. I mean, any sign of the \n recognizable Earl will pretty much go away --", "<u>INT. EARL'S HOUSE - THAT MOMENT</u>\n\n Linda screaming at Phil.", "Earl comes out of it a bit, pets her head, mumbles a few words that \n don't make sense. Phil in the b.g. Linda can't administer the drops,\n she turns quickly to Phil;", "EARL \n Do you know Lily? Phil..do you know her? \n\n PHIL\n No.", "DR. LANDON \n Ok. Linda: Earl is not gonna make it.\n He's dying. He is. He is dying very,\n very rapidly --", "EARL \n She's a good girl. She's a little \n nuts, but she's a good girl I think.\n She's a little daffy.", "EARL\n ...Lily...? \n\n PHIL\n No.", "Earl begins to talk. (<u>Director's Note</u>: Following is the story\n Earl tells, it is to be more broken and elliptical, factoring", "CUT TO: \n\n <u>INT. EARL'S HOUSE - THAT MOMENT</u>", "CUT TO: \n\n <u>INT. EARL'S HOUSE - THAT MOMENT</u>", "CUT TO: \n\n <u>INT. EARL'S HOUSE - THAT MOMENT</u>", "EARL \n She's my love...my life...love of it...\n In school when you're 12 years old.", "<u>INT. EARL'S HOUSE - THAT MOMENT</u>\n\n Frank and Earl. Earl opens his eyes a bit." ], [ "LINDA \n No, no....no, you see...I never loved him.\n I never loved him, Earl. When I started,", "Linda is bedside with Earl. She cries her eyes out. She\n speaks to him in mumbles about \"...sorry...\" \"...my love...\"", "LINDA \n -- that can't happen. Earl doesn't\n want him to have the money, the things.", "EXTREME CLOSE UP 2-SHOT. Linda and Earl. He opens his eyes just a bit.\n She bends in and gives him a kiss on the forehead.", "EARL \n And do good things with her...share \n the thing...all that bullshit is true,\n y'know...find someone and hold on all\n that...Where's Linda?", "PHIL\n Earl asked me, Linda, please, Linda,\n I'm sorry -- Earl asked me --", "CAMERA moves with Linda as she comes down the stairs, walks \n over towards Earl's bed, trying to hide her state. Phil stands\n up and looks to her.", "DR. LANDON \n Ok. Linda: Earl is not gonna make it.\n He's dying. He is. He is dying very,\n very rapidly --", "<u>INT. EARL'S HOUSE - THAT MOMENT</u>\n\n Linda screaming at Phil.", "Earl comes out of it a bit, pets her head, mumbles a few words that \n don't make sense. Phil in the b.g. Linda can't administer the drops,\n she turns quickly to Phil;", "is now, Linda. I mean, any sign of the \n recognizable Earl will pretty much go away --", "EARL \n She's my love...my life...love of it...\n In school when you're 12 years old.", "EARL \n She's a good girl. She's a little \n nuts, but she's a good girl I think.\n She's a little daffy.", "EARL \n This is so boring...so goddamn...\n and dying wish and all that, old \n man on a bed...fuck...wants one thing:", "EARL'S VOICE \n ...The attachment....I loved her so much.\n And I didn't treat her and the goddamn", "PHIL\n She loves you. \n\n EARL \n ...ah...maybe...yeah...she's a good one...", "Earl begins to talk. (<u>Director's Note</u>: Following is the story\n Earl tells, it is to be more broken and elliptical, factoring", "EARL\n ...Lily...? \n\n PHIL\n No.", "EARL \n ...no...no goddamn use.\n (beat) \n I have a son, y'know? \n\n PHIL\n You do?", "EARL \n Do you know Lily? Phil..do you know her? \n\n PHIL\n No." ], [ "JIMMY \n I don't know what I've done. \n\n ROSE\n Yes you do.", "ROSE\n Jimmy, did you touch her? \n\n JIMMY \n I don't know.\n\n Rose starts to cry a bit. So does Jimmy.", "JIMMY\n I love you so much.\n\n ROSE\n I'm not through asking my questions.\n\n Jimmy laughs a bit, smiles.", "ROSE\n I don't hate you, Jimmy. But I have\n a couple questions that I wanna ask....\n\n JIMMY \n I'll answer anything.", "Jimmy finishes cleaning himself up and he looks to Mary: \n\n JIMMY GATOR\n I have Cancer, Mary.\n\n She doesn't know what to say.", "JIMMY (to Nurse)\n ...Jimmy Gator... \n\n CUT TO:", "ROSE \n Yes you do....you do and you won't say. \n\n JIMMY\n ...I don't know...", "JIMMY\n Why, well I think we've, we both\n don't know...what do you mean?\n\n ROSE\n I think that you know.", "CUT TO:\n\n <u>INT. JIMMY GATOR'S HOUSE - THAT MOMENT/EVENING</u>", "JIMMY\n Will that help? \n\n ROSE\n Yeah. \n\n CUT TO:", "ROSE \n -- did she talk to you? \n\n JIMMY \n She went crazy. She went crazy, Rose.", "JIMMY \n What? No, Rose, jesus, no -- \n\n ROSE\n Well maybe.", "<u>INT. JIMMY GATOR'S HOUSE - THAT MOMENT</u>", "ROSE \n Did you ever touch her? \n\n JIMMY\n ...No.... \n\n HOLD. BEAT. Rose asks again;", "ROSE \n What about now? \n\n JIMMY \n It's over. I talked to her\n this morning.", "JIMMY \n I'm a bad person. \n\n ROSE\n No. No.", "JIMMY\n I don't. \n\n ROSE \n Do you feel better now that you've said this?", "JIMMY \n Stay here, please don't leave me,\n please, please, if I said I knew\n would you stay? \n\n ROSE\n No.", "ROSE \n Was there anyone that I know? \n\n JIMMY\n Yes. \n\n ROSE\n Who?", "(Note: Jimmy's speech is starting to slur a bit more at this \n point. His motor skills seem to be fading quickly.)" ], [ "Jim Kurring opens the door for Claudia and she gets in. \n He runs around and they drive off. \n\n CUT TO:", "CLAUDIA \n You wanna go on a date with me? \n\n JIM KURRING\n Please, yes.", "CLAUDIA \n I don't have a boyfriend. \n\n BEAT. Jim Kurring looks at Claudia and she looks back. HOLD.", "JIM KURRING\n Well, that's a natural thing, two people\n go out on a date, something. They want", "CAMERA tracks with Claudia as she walks back to the table...she\n comes up from behind Jim Kurring and leans in quick...KISSES\n HIM ON THE CHEEK and then quickly sits down across from him;", "She looks through her peep-hole, sees Jim Kurring. She turns looks\n at her coffee table: It's full of coke, pills and pot, etc.", "CAMERA PUSHES in slowly on Jim Kurring. He sits on the bed, dressed up\n and ready to go. He starts to sing along to the song as well.", "...Jim Kurring turns his head and sees Donnie, fallen flat face\n and bloody on the pavement....he gets out of his car and runs over", "CAMERA tracks with Jim Kurring to his car. He gets behind the wheel.\n\n CUT TO:", "Jim Kurring looks over his shoulder and sees that she's gone.\n He quickly moves to the kitchen and dumps the coffee in the sink\n and then quickly sits back down. End Carmen Que.", "The door opens and Claudia looks really nice. Jim Kurring smiles \n and says hello. \n\n CUT TO:", "in and sits on the edge of the bed....from the back it is clear \n that it's Jim Kurring. She tears a bit and looks at him...HOLD....", "JIM KURRING \n Go. Hurry up. Let's go. \n\n Dixon places his box of candy down and starts dancing around.\n Jim Kurring stands beside his squad car.", "CAMERA pushes in on Jim Kurring, in civilian clothes now, filling \n out a Loss Report. CU's on the form. OC voices of officers making", "In a secluded table in this dark steak place. Jim Kurring and\n Claudia. CAMERA does a slow push in on a 2-shot.", "Claudia and Jim Kurring talking. She's rubbing her jaw, blabbing \n away and he's listening with a grin;", "Jim Kurring and Donnie sitting together at the loading dock. \n Donnie, mouth full of blood, holding a kleenex to it, crying a bit.\n Kurring listens. HOLD.", "CAMERA pushes in on Jim Kurring then WHIP to Claudia as they\n talk and he snoops, etc. (Director's Note: Ref. note pages)", "JIM KURRING \n You don't have a boyfriend? \n\n CLAUDIA\n No.", "CLAUDIA \n Yes. I will. It was nice to meet you\n Officer Jim. \n\n JIM KURRING\n Just Jim." ], [ "<u>INT. JIM KURRING'S APARTMENT - THAT MOMENT</u>", "CUT TO: \n\n <u>INT. JIM KURRING'S APARTMENT - DAY</u>", "She looks through her peep-hole, sees Jim Kurring. She turns looks\n at her coffee table: It's full of coke, pills and pot, etc.", "Jim Kurring snoops a bit, she rubs her nose, nervous. Jim Kurring\n heads closer to bedroom --\n\n JIM KURRING\n You mind if I check things back here?", "Claudia turns the music down, turns back and sees that he is gone.\n\n Jim Kurring grabs his billy club from the bottom of the steps and\n bounces back up and into the apartment as if nothing happend;", "A very LOUD GUNSHOT IS HEARD and HITS on the side wall of the\n apartment, right next to Jim Kurring's FACE --", "CAMERA PUSHES in slowly on Jim Kurring. He sits on the bed, dressed up\n and ready to go. He starts to sing along to the song as well.", "CAMERA pushes in on Jim Kurring, in civilian clothes now, filling \n out a Loss Report. CU's on the form. OC voices of officers making", "in and sits on the edge of the bed....from the back it is clear \n that it's Jim Kurring. She tears a bit and looks at him...HOLD....", "...Jim Kurring turns his head and sees Donnie, fallen flat face\n and bloody on the pavement....he gets out of his car and runs over", "CLAUDIA\n It's fine. \n\n Jim Kurring heads into the bedroom, looks around, stands by the \n laundry basket --", "Jim Kurring stands outside the door for a moment. He hesitates\n a moment, then....he's about to knock....His RADIO goes off...he turns\n it down real quick --", "A very straight ahead apartment in Reseda where JIM KURRING (30s) lives.\n SOUND of a 1-900 PERSONAL DATING SERVICE plays over following quick", "Claudia finishes throwing her drugs into a dirty t-shirt and throwing\n that dirty t-shirt into her laundry basket. Jim Kurring bangs away at\n the door.", "Jim Kurring opens the door for Claudia and she gets in. \n He runs around and they drive off. \n\n CUT TO:", "CAMERA tracks with Jim Kurring to his car. He gets behind the wheel.\n\n CUT TO:", "CAMERA pushes in past DETECTIVES and OFFICERS who are exchanging\n information...CAMERA moves towards Jim Kurring, standing off a bit", "Jim Kurring and Donnie sitting together at the loading dock. \n Donnie, mouth full of blood, holding a kleenex to it, crying a bit.\n Kurring listens. HOLD.", "Jim Kurring and Clauida continued. He walks into the KITCHEN area\n and sees a pot of coffee.\n\n JIM KURRING \n got some coffee brewing, huh?", "Kurring moves into the BEDROOM now and sees that the CLOSET is\n closed and probably the only place for someone to be hiding;" ], [ "CUT TO:\n\n <u>INT. GAME SHOW SET - THAT MOMENT</u>\n\n Jimmy asks questions. Stanley is visibly uncomfortable;", "CAMERA DOLLIES in towards the televison again. A quick highlight \n clip shows a ten year old kid named STANLEY SPECTOR answering question", "<u>INT. GAME SHOW SET - THAT MOMENT</u>\n\n Stanley is continuing. He's hyperventilating.", "on him. He glances around, up the television, sees Stanley. BEAT.", "CUT TO: \n\n <u>INT. GAME SHOW STAGE - THAT MOMENT</u>\n\n Back to Stanley and Jimmy. Jimmy repeats himself;", "ON THE MONITOR. \n Stanley is crying....\n\n CUT TO:\n\n <u>INT. GAME SHOW SET - THAT MOMENT</u>", "<u>INT. GAME SHOW SET - THAT MOMENT</u>\n\n Stanley doesn't move. He says to Jimmy:", "Richard and Julia glance at Stanley, like \"why the fuck aren't you\n answering these questions?\" He looks straight ahead. \n\n JIMMY\n For 500 and the Third Set Of Notes:", "<u>INT. GAME SHOW SET - THAT MOMENT</u>\n\n Stanley doesn't move. Jimmy tries to hold it all together;", "Stanley moves his arms down to his sides to cover his crotch \n and pull at his pants -- <u>and his BUZZER goes off with a brush</u>\n <u>of the side of his arm</u> --", "Stanley notices and he RUNS from the podium, towards backstage...\n\n ...Jimmy is standing next to Mim he holds on to her a moment.....\n loosing his balance again....", "to Stanley who watches Jimmy closely and sees him stumble a bit,\n recognizes that something is wrong. Floor Director counts, 3-2-1 --", "STANLEY \n I was saying...thinking maybe I'd get\n my own quiz show someday, Jimmy.\n Just like you!", "Stanley begins to piss his pants. He trembles and shakes and \n holds back tears as the wet stain gets bigger.\n\n OC through this we hear the Adults answer the question:", "Jimmy stumbles over to a corner a bit; \n\n ANGLE, GAME SHOW SET.\n Stanley is trying to flag down Cynthia, who stands off in the\n wings, she finally comes over;", "Stanley breaks a window. Stanley reaches in and unlocks a lock.\n Stanley rummages around the dark school library. He's soaking", "Stanley gets out of the car and walks away, out of sight of all\n the officer's and people around...he just walks down the street....\n\n CUT TO:", "...CAMERA pushes over to Stanley, who's crying and shaking....", "....Burt and Cynthia rush the stage....\n\n Stanley dissapears from the stage...\n\n CUT TO:", "STANLEY\n I don't know. \n\n RICHARD \n He pissed his pants." ], [ "Jimmy finishes cleaning himself up and he looks to Mary: \n\n JIMMY GATOR\n I have Cancer, Mary.\n\n She doesn't know what to say.", "JIMMY \n I'm dying, Claudia. I have cancer.\n I have cancer and I'm dying, soon. \n It's metastasized in my bones and I --", "JIMMY (to Nurse)\n ...Jimmy Gator... \n\n CUT TO:", "CAMERA pushes in on Jimmy Gator. A BELL is ringing.", "JIMMY GATOR\n \"You're sure there's a cure and you\n have finally found it\"\n\n CUT TO:", "of it -- I mean, like I said, he's\n dying, y'know. Dying of Cancer.", "JIMMY GATOR\n I have about two months, I have no time. \n It's in my bones and I don't have a chance.", "(Note: Jimmy's speech is starting to slur a bit more at this \n point. His motor skills seem to be fading quickly.)", "CUT TO:\n\n <u>INT. JIMMY GATOR'S HOUSE - THAT MOMENT/EVENING</u>", "JIMMY GATOR \n Sure, sure...that's fine, then...there...with.....\n \n Jimmy starts to loose his grip on the proceedings a bit, slows\n his pace down....Stanley notices....", "<u>INT. JIMMY GATOR'S HOUSE - THAT MOMENT</u>", "<u>EXT. JIMMY GATOR'S HOUSE - THAT MOMENT/EVENING</u>", "JIMMY \n Now STOP IT and LISTEN to me right now.\n I AM DYING, I GOT SICK...now I fell\n down and I'm Not...DON'T --", "They pass CAMERA which picks up now with a woman MARY (40s)\n This is Jimmy Gator's assistant...she walks to his dressing\n room door and knocks --", "MIDDLE AGED GUY \n You're Jimmy Gator, right? \n\n JIMMY \n Yes. What's your name?", "JIMMY GATOR (OC)\n And let me say: With these three kids \n right here, I wouldn't be surprised if", "very thin and bald and he is on his last legs, dying from cancer.", "FRANK\n He passed away. \n\n GWEN \n I'm sorry. \n\n FRANK\n people die.", "JIMMY GATOR \n -- kids at school must be real\n excited for you, eh? \n\n JULIA \n Oh, yeah...yeah...", "DR. LANDON \n Ok. Linda: Earl is not gonna make it.\n He's dying. He is. He is dying very,\n very rapidly --" ], [ "see ROSE behind the wheel....She's in tears....", "Rose calming her and petting her head, \"It's ok.\"\n\n CUT TO:", "CAMERA pushes in on Rose, sitting in the kitchen, watching the \n television. She holds her breath and tears a bit, noticing\n Jimmy start to fade.", "ROSE \n -- did she talk to you? \n\n JIMMY \n She went crazy. She went crazy, Rose.", "ROSE\n Jimmy, did you touch her? \n\n JIMMY \n I don't know.\n\n Rose starts to cry a bit. So does Jimmy.", "..Rose puts the Jaguar in reverse and tries to back away from the \n smashed parked car.....<u>the bumper's are stuck</u>....\n\n CUT TO:", "The FROGS are falling sort of heavy now....Rose's JAGUAR comes\n through it....skids and SMASHES into a PARKED CAR....", "CAMERA BOOMS down on her Mercedes as it peel out and off -- \n\n CUT TO:", "Rose takes a long moment, then:", "ROSE \n What about now? \n\n JIMMY \n It's over. I talked to her\n this morning.", "Jimmy and Mary pull up in the pouring rain. Rose comes out and\n they help him in the house.", "Claudia jumps up and goes to her door in the darkness and\n opens it up -- Rose comes in quick, scared shitless...they fall down\n and hold onto each other, sweatin/crying/shaking....", "ROSE \n Did you ever touch her? \n\n JIMMY\n ...No.... \n\n HOLD. BEAT. Rose asks again;", "ROSE \n How long with Paula? \n\n JIMMY\n Two years...three years...", "JIMMY\n Will that help? \n\n ROSE\n Yeah. \n\n CUT TO:", "Jim Kurring opens the door for Claudia and she gets in. \n He runs around and they drive off. \n\n CUT TO:", "Rose doesn't move much. Hold.", "Linda is on life support stuff in the ambulance. Looking past her,\n we see the view of the road through the windshield -- the amubulance \n driver going real fast and just about to pull into the hospital\n emergency entrance....", "ROSE \n Was there anyone that I know? \n\n JIMMY\n Yes. \n\n ROSE\n Who?", "She leaves in tears. He watches her walk.\n\n CUT TO: \n\n <u>EXT. VENTURA BLVD. - THAT MOMENT</u>" ], [ "He gives Phil make an imaginary object and falls asleep. BEAT. \n Stay with Phil a moment as he turns his head, looking around the\n house a moment, looks back to Earl.", "Phil leans in closer to Earl.", "<u>INT. EARL'S HOUSE - THAT MOMENT</u>\n\n CAMERA on Phil on the phone. He sits watching Earl. 30fps. PUSH IN.", "EARL \n I wanna see this...where is he,\n do you know? \n\n PHIL\n Who?", "EARL \n I'm onna need your help, Phil. \n ...you gotta help me something today... \n\n CAMERA PANS over quick to PHIL.", "Phil hangs up, looks to Earl. CU - EARL. He's asleep, uncomfortably.\n CAMERA moves inside his chest.\n\n QUICK DISSOLVE TO:", "PHIL\n It's ok. \n\n Earl hallucinates a bit, cries a little, tries to form the sentences;", "PHIL\n Yeah. \n\n EARL \n \"yeah.\" the fuck do you know?", "EARL\n ...ah... \n\n PHIL\n Where is he?", "Earl tries to grab something near Phil's head that is not there.\n He's hallucinating more now, falls asleep a bit, mumbling;", "Through the following Phil tries to give Earl a cigarette,\n which Earl can't get to his mouth, but then mimes that he's\n smoking as he starts to get more and more delusional, etc.", "Phil comes over and takes a seat next to him.\n\n EARL \n I'm onna try and talk...I'm atryan\n say some thing some thing...", "Earl in bed, pretty out of it, but once in a while a couple clear\n moments. Phil sits next to the bed, paper and coffee nearby.", "EARL \n ...I can't hold onto this anymore... \n\n PHIL \n I'll get you another pain pill.\n Another morphine pill --", "PHIL\n Earl asked me, Linda, please, Linda,\n I'm sorry -- Earl asked me --", "EARL \n ...no...no goddamn use.\n (beat) \n I have a son, y'know? \n\n PHIL\n You do?", "A young MEXICAN NURSE sits next to Earl, motions to Phil and his post\n is relieved. Phil moves in next to the bed, pets Earl's head;", "Phil is in tears....he dips the baby dropper in the bottle.....\n\n Earl is out of breath, painfully....Phil hesitates, then:", "CAMERA LANDS CU ON PHIL. Earl's voice continues over the following:\n\n CUT TO:", "CAMERA on Earl. He opens his eyes a bit....looks over to Phil. \n\n EARL \n Phil...Phil..." ], [ "JIM KURRING\n Yeah. \n\n CLAUDIA \n Can I tell you something?", "Jim Kurring opens the door for Claudia and she gets in. \n He runs around and they drive off. \n\n CUT TO:", "Claudia finishes throwing her drugs into a dirty t-shirt and throwing\n that dirty t-shirt into her laundry basket. Jim Kurring bangs away at\n the door.", "CLAUDIA \n I don't have a boyfriend. \n\n BEAT. Jim Kurring looks at Claudia and she looks back. HOLD.", "CAMERA tracks with Claudia as she walks back to the table...she\n comes up from behind Jim Kurring and leans in quick...KISSES\n HIM ON THE CHEEK and then quickly sits down across from him;", "Claudia turns the music down, turns back and sees that he is gone.\n\n Jim Kurring grabs his billy club from the bottom of the steps and\n bounces back up and into the apartment as if nothing happend;", "JIM KURRING\n Claudia What?\n\n CLAUDIA\n Wilson.", "Claudia and Jim Kurring talking. She's rubbing her jaw, blabbing \n away and he's listening with a grin;", "CAMERA pushes in on Jim Kurring then WHIP to Claudia as they\n talk and he snoops, etc. (Director's Note: Ref. note pages)", "CLAUDIA\n It's fine. \n\n Jim Kurring heads into the bedroom, looks around, stands by the \n laundry basket --", "CLAUDIA \n Oh my god, Jim. Jim, that was so -- \n\n JIM KURRING\n I'm sorry --", "The door opens and Claudia looks really nice. Jim Kurring smiles \n and says hello. \n\n CUT TO:", "CLAUDIA \n Yes. I will. It was nice to meet you\n Officer Jim. \n\n JIM KURRING\n Just Jim.", "JIM KURRING\n What's your name?\n\n CLAUIDA\n Claudia.", "CLAUDIA\n Great, bye. \n\n JIM KURRING\n Bye.\n\n She closes the door.", "JIM KURRING \n No. No. Don't joke about that. \n That's not funny, Claudia. Please, now.", "CLAUDIA \n I wanted to do that. \n\n Jim Kurring smiles, shaken a bit.", "CLAUDIA \n Really?\n\n JIM KURRING\n Yeah.", "JIM KURRING \n No one else in there with you? \n\n CLAUIDA\n No, what's wrong?", "JIM KURRING\n You alone in there? \n\n CLAUDIA\n Yes." ], [ "JIMMY (to Nurse)\n ...Jimmy Gator... \n\n CUT TO:", "DICK JENNINGS (VO)\n Please say hello and welcome\n to the always ready host of\n \"What Do Kids Know?\" Your favorite:\n and my boss: Jimmy Gator!", "PROMO ANNOUNCER \n For over thirty years, America has hung \n out and answered questions with Jimmy Gator.", "This is a promo for a game show called, \"WHAT DO KIDS KNOW?\" featuring\n the host JIMMY GATOR (60s) We see various clips of him over the years,", "CAMERA pushes in on Jimmy Gator. A BELL is ringing.", "CUT TO:\n\n <u>INT. JIMMY GATOR'S HOUSE - THAT MOMENT/EVENING</u>", "JIMMY GATOR (OC)\n Back again, again, again! I'm Jimmy Gator\n and believe it or not we are at the end", "<u>INT. JIMMY GATOR'S HOUSE - THAT MOMENT</u>", "MIDDLE AGED GUY \n You're Jimmy Gator, right? \n\n JIMMY \n Yes. What's your name?", "They pass CAMERA which picks up now with a woman MARY (40s)\n This is Jimmy Gator's assistant...she walks to his dressing\n room door and knocks --", "JIMMY GATOR \n Sure, sure...that's fine, then...there...with.....\n \n Jimmy starts to loose his grip on the proceedings a bit, slows\n his pace down....Stanley notices....", "TELEVISION CLIP continues and we see DONNIE and two other KIDS receive\n a check from the younger JIMMY GATOR in the amount of 100,000 dollars", "RIGHT. There's a podium for Jimmy Gator. One panel holds \"The Kids,\"\n and one panel holds, \"The Adults.\" There are chaser-lights all around", "JIMMY GATOR \n -- kids at school must be real\n excited for you, eh? \n\n JULIA \n Oh, yeah...yeah...", "CAMERA pulls back from the TELEVISION above the bar, playing\n the show. We see Jimmy start to chat w/and do intro's for the adults.", "<u>INT. JIMMY GATOR'S OFFICE - DAY</u>", "Blind's closed, door locked. Jimmy and a YOUNG SHOWGIRL from some\n other show are having sex on his couch. CAMERA DOLLIES IN FAST.", "Jimmy Gator's opening bit continues OC over the following;", "<u>EXT. JIMMY GATOR'S HOUSE - THAT MOMENT/EVENING</u>", "JIMMY GATOR\n \"You're sure there's a cure and you\n have finally found it\"\n\n CUT TO:" ], [ "on him. He glances around, up the television, sees Stanley. BEAT.", "<u>INT. SPECTOR HOUSE - RICK'S BEDROOM - DAWN</u>\n\n Stanley enters Rick's bedroom. Rick is asleep.", "WORM \n ....you have it...easy....you know? \n You have a father who loves you, huh? \n\n STANLEY\n Yes.", "CAMERA DOLLIES in towards the televison again. A quick highlight \n clip shows a ten year old kid named STANLEY SPECTOR answering question", "STANLEY\n Dad...Dad. \n\n Rick opens his eyes, but doesn't move.", "CAMERA is HAND HELD and moving around a small apartment, watching a \n ten year old kid STANLEY SPECTOR (dressed in a suit) as he dumps dog", "JIMMY\n Stanley, passing to one of the other kids -- \n\n RICHARD \n We want Stanley to go, Jimmy.", "STANLEY \n I think that you have to be nicer to me.\n\n RICK\n Go to bed.\n\n Stanley exits.", "STANLEY\n You have to be nicer to me, Dad. \n\n RICK\n Go to bed.", "Stanley breaks a window. Stanley reaches in and unlocks a lock.\n Stanley rummages around the dark school library. He's soaking", "CUT TO:\n\n <u>INT. GAME SHOW SET - THAT MOMENT</u>\n\n Jimmy asks questions. Stanley is visibly uncomfortable;", "STANLEY \n I'm going to pass, Jimmy.\n\n ANGLE, JIMMY. He doesn't know what to do and he's a bit out of it.", "STANLEY \n I don't want to go. \n\n BEAT. \n\n CUT TO:", "Richard and Julia glance at Stanley, like \"why the fuck aren't you\n answering these questions?\" He looks straight ahead. \n\n JIMMY\n For 500 and the Third Set Of Notes:", "STANLEY \n I don't want to play. I always\n play, I always answer the questions \n and I don't wanna do it anymore --", "CAMERA pushes in, (light coming up from the book he reads) \n optical, glimpse what he reads....then pulls back from STANLEY.", "<u>INT. GAME SHOW SET - THAT MOMENT</u>\n\n Stanley is continuing. He's hyperventilating.", "CAMERA lands in CU on Stanley. HOLD. BEAT. THEN: \n\n CUT TO:", "STANLEY \n ....Why does he do it...?\n\n WORM \n Cause he hates me....he hates me so much.", "Stanley begins to piss his pants. He trembles and shakes and \n holds back tears as the wet stain gets bigger.\n\n OC through this we hear the Adults answer the question:" ], [ "DONNIE SMITH, aged 40, is reclined back in a dentist chair.\n He has spiky hair, a small stud earing and a bad grey suit.", "CAMERA pushes in as Donnie Smith runs in the door, brushes his\n hair back, etc. This is a \"Good Guys\" type electronics place.\n He rushes towards the back.", "DONNIE\n Fuck. \n\n CUT TO:", "DONNIE\n I'm Quiz Kid Donnie Smith. \n\n THURSTON\n ...like you said...", "CUT TO:\n\n <u>INT. DONNIE SMITH'S APARTMENT - THAT MOMENT/EVENING</u>", "DONNIE \n My name is Donnie Smith and I have\n lot's of love to give. \n\n BEAT.", "DONNIE \n You know, you know, you know. Go,go,go. \n\n CUT TO:", "Donnie is changed into his Solomon and Solomon Electronics vest\n and name tag. He brushes himself up, sweating a bit. (Note:ON HIS BACK)", "TITLE CARD reads: Quiz Kid Donnie Smith - 1968 \n\n CUT TO:", "LAND ECU. DONNIE. He smiles a little bit. \n\n CUT TO:", "Donnie starts to climb up a ladder attached to the side \n of the building....near the loading dock area....\n\n CUT TO:", "Donnie looks up at Brad. Brad smiles with his braces, Donnie looks\n away quick --", "DONNIE \n Hello, dear...I need a favor. \n\n CUT TO:", "DONNIE \n This is going to be ok. This is. This is.\n\n CUT TO:", "...Jim Kurring turns his head and sees Donnie, fallen flat face\n and bloody on the pavement....he gets out of his car and runs over", "Donnie in a back corridor. He walks down through some BOXES\n and assorted MERCHANDISE towards another door. He pulls his\n hat down some more, moves swiftly.", "Thurston and the other folks around chat away, etc;\n\n DONNIE\n ...I'm sick....I'm sick here now.....", "THURSTON\n That's right. \n\n DONNIE \n I used to be smart but now I'm just stupid.", "CAMERA BOOMS DOWN and PUSHES IN on Donnie Smith's Honda Accord,\n with damaged front end, as it pulls into a parking space.", "Donnie has backed away, close to the bathroom. He heaves a bit,\n cries, turns and runs for the bathroom -- \n\n CUT TO:" ], [ "CHAD \n What kind of Cancer? \n\n PHIL\n Brain and Lung.\n\n CHAD \n My mother had breast cancer.", "JIMMY \n I'm dying, Claudia. I have cancer.\n I have cancer and I'm dying, soon. \n It's metastasized in my bones and I --", "Jimmy finishes cleaning himself up and he looks to Mary: \n\n JIMMY GATOR\n I have Cancer, Mary.\n\n She doesn't know what to say.", "And I have this son. And she has cancer. \n And I'm not there. And he's forced to take \n care of her. He's fourteen years old to take", "of it -- I mean, like I said, he's\n dying, y'know. Dying of Cancer.", "CAMERA roams around a bit, watching the CANCER eat away at Earl's lungs.\n CAMERA MOVES BACKWARDS, pulling out;", "very thin and bald and he is on his last legs, dying from cancer.", "FRANK \n When did he go off chemo? \n\n PHIL\n About three weeks ago.", "Thurston and the other folks around chat away, etc;\n\n DONNIE\n ...I'm sick....I'm sick here now.....", "And I Live My Life. And I'm Not Fair. \n Thirty eight years and she has cancer and\n I'm gone...I leave...I walk out, I can't", "EARL \n She had cancer...from her...in her \n stomach and I didn't go anywhere", "FRANK\n He passed away. \n\n GWEN \n I'm sorry. \n\n FRANK\n people die.", "care of your mother as she struggled with Cancer....\n (beat) \n And Miss Simms became your caretaker after", "JIMMY GATOR\n I have about two months, I have no time. \n It's in my bones and I don't have a chance.", "DR. LANDON \n Ok. Linda: Earl is not gonna make it.\n He's dying. He is. He is dying very,\n very rapidly --", "Linda is bedside with Earl. She cries her eyes out. She\n speaks to him in mumbles about \"...sorry...\" \"...my love...\"", "care of his mother and watch her die on him. \n Little Kid. And I'm not there. And She Dies.", "She sits up a bit, covers herself, looks past him and sees the\n Middle Aged Guy, sitting in his underwear in the living room,\n watching them. She looks back to Jimmy;", "ROSE\n Jimmy, did you touch her? \n\n JIMMY \n I don't know.\n\n Rose starts to cry a bit. So does Jimmy.", "THURSTON \n Why don't you run along now friend,\n your dessert is getting cold. \n\n DONNIE\n I'm sick." ], [ "DONNIE SMITH, aged 40, is reclined back in a dentist chair.\n He has spiky hair, a small stud earing and a bad grey suit.", "CAMERA pushes in as Donnie Smith runs in the door, brushes his\n hair back, etc. This is a \"Good Guys\" type electronics place.\n He rushes towards the back.", "DONNIE\n Fuck. \n\n CUT TO:", "DONNIE \n My name is Donnie Smith and I have\n lot's of love to give. \n\n BEAT.", "CUT TO:\n\n <u>INT. DONNIE SMITH'S APARTMENT - THAT MOMENT/EVENING</u>", "Donnie is changed into his Solomon and Solomon Electronics vest\n and name tag. He brushes himself up, sweating a bit. (Note:ON HIS BACK)", "Donnie has backed away, close to the bathroom. He heaves a bit,\n cries, turns and runs for the bathroom -- \n\n CUT TO:", "Donnie looks up at Brad. Brad smiles with his braces, Donnie looks\n away quick --", "DONNIE\n I'm Quiz Kid Donnie Smith. \n\n THURSTON\n ...like you said...", "Thurston and the other folks around chat away, etc;\n\n DONNIE\n ...I'm sick....I'm sick here now.....", "DONNIE \n You know, you know, you know. Go,go,go. \n\n CUT TO:", "Donnie sits in his booth after two tequila's. He's slightly fucked up. \n He gets up, stumbles over to the bar and takes a seat uncomfortably", "DONNIE \n I love you. I love you and I'm sick.\n (beat)", "DONNIE \n Is it real love?\n\n THURSTON\n Well --", "LAND ECU. DONNIE. He smiles a little bit. \n\n CUT TO:", "THURSTON\n That's right. \n\n DONNIE \n I used to be smart but now I'm just stupid.", "DONNIE\n What am I doing? What am I doing? \n What the fuck am I doing?", "Donnie looks to the television for a moment, starts to tear up, \n CAMERA pushes in slow to an EXTREME CLOSE UP. He repeats line's from", "...Jim Kurring turns his head and sees Donnie, fallen flat face\n and bloody on the pavement....he gets out of his car and runs over", "DONNIE \n This is going to be ok. This is. This is.\n\n CUT TO:" ], [ "LINDA \n -- that can't happen. Earl doesn't\n want him to have the money, the things.", "Linda is bedside with Earl. She cries her eyes out. She\n speaks to him in mumbles about \"...sorry...\" \"...my love...\"", "LINDA \n No, no....no, you see...I never loved him.\n I never loved him, Earl. When I started,", "PHIL\n Earl asked me, Linda, please, Linda,\n I'm sorry -- Earl asked me --", "LINDA\n What does that mean? \n\n KLIGMAN \n The money would go to Frank. The court \n would put the money in the hands of a relative --", "Earl comes out of it a bit, pets her head, mumbles a few words that \n don't make sense. Phil in the b.g. Linda can't administer the drops,\n she turns quickly to Phil;", "EARL \n And do good things with her...share \n the thing...all that bullshit is true,\n y'know...find someone and hold on all\n that...Where's Linda?", "DR. LANDON \n Ok. Linda: Earl is not gonna make it.\n He's dying. He is. He is dying very,\n very rapidly --", "EXTREME CLOSE UP 2-SHOT. Linda and Earl. He opens his eyes just a bit.\n She bends in and gives him a kiss on the forehead.", "is now, Linda. I mean, any sign of the \n recognizable Earl will pretty much go away --", "CAMERA moves with Linda as she comes down the stairs, walks \n over towards Earl's bed, trying to hide her state. Phil stands\n up and looks to her.", "<u>INT. EARL'S HOUSE - THAT MOMENT</u>\n\n Linda screaming at Phil.", "KLIGMAN\n You can't change his will. Only \n Earl can change his will.", "EARL \n This is so boring...so goddamn...\n and dying wish and all that, old \n man on a bed...fuck...wants one thing:", "LINDA \n Hang up the phone. \n\n PHIL \n No, Linda, you don't understan --", "EARL \n ...no...no goddamn use.\n (beat) \n I have a son, y'know? \n\n PHIL\n You do?", "EARL\n ...Lily...? \n\n PHIL\n No.", "is Earl Partridge,) that he left you and \n your mother and you were forced to take care\n of her during her illness...that you took", "EARL \n She had cancer...from her...in her \n stomach and I didn't go anywhere", "He gives Phil make an imaginary object and falls asleep. BEAT. \n Stay with Phil a moment as he turns his head, looking around the\n house a moment, looks back to Earl." ], [ "DONNIE\n Fuck. \n\n CUT TO:", "to Donnie, through the Frogs that rain down, and picks him/drags\n him out of harm and under shelter in the LOADING DOCK AREA.", "...Jim Kurring turns his head and sees Donnie, fallen flat face\n and bloody on the pavement....he gets out of his car and runs over", "DONNIE \n This is going to be ok. This is. This is.\n\n CUT TO:", "Donnie puts the money back in the floor safe. CU. DONNIE.", "Donnie starts to climb up a ladder attached to the side \n of the building....near the loading dock area....\n\n CUT TO:", "Donnie has backed away, close to the bathroom. He heaves a bit,\n cries, turns and runs for the bathroom -- \n\n CUT TO:", "Donnie gets in the Buick Regal and drives away. \n\n CUT TO:", "DONNIE \n You know, you know, you know. Go,go,go. \n\n CUT TO:", "<u>EXT. DONNIE'S APARTMENT - CAR PORT - THAT MOMENT</u>\n\n Donnie comes down and gets in the little old lady's\n Buick Regal and starts it up.", "Jim Kurring and Donnie sitting together at the loading dock. \n Donnie, mouth full of blood, holding a kleenex to it, crying a bit.\n Kurring listens. HOLD.", "CAMERA pushes in on Donnie and some people running over to see\n what's happend....\n\n DONNIE\n What the hell? What the hell?", "Donnie looks to the television for a moment, starts to tear up, \n CAMERA pushes in slow to an EXTREME CLOSE UP. He repeats line's from", "...Donnie enters into the warehouse area and heads for\n the door to outside....", "Donnie in a back corridor. He walks down through some BOXES\n and assorted MERCHANDISE towards another door. He pulls his\n hat down some more, moves swiftly.", "DONNIE \n Hello, dear...I need a favor. \n\n CUT TO:", "Donnie sits in his booth after two tequila's. He's slightly fucked up. \n He gets up, stumbles over to the bar and takes a seat uncomfortably", "DONNIE \n Make it happen, make it happen and go,go,go. \n\n He gets out of the car real quick --", "<u>INT. DONNIE'S APARTMENT - THAT MOMENT</u>\n\n Donnie takes the KEYS and puts on big dark coat and looks\n in the mirror.", "Donnie is changed into his Solomon and Solomon Electronics vest\n and name tag. He brushes himself up, sweating a bit. (Note:ON HIS BACK)" ], [ "Claudia finishes throwing her drugs into a dirty t-shirt and throwing\n that dirty t-shirt into her laundry basket. Jim Kurring bangs away at\n the door.", "...Jim Kurring turns his head and sees Donnie, fallen flat face\n and bloody on the pavement....he gets out of his car and runs over", "CAMERA pushes in on Jim Kurring, in civilian clothes now, filling \n out a Loss Report. CU's on the form. OC voices of officers making", "Other OFFICERS assist in the search for the missing gun. They are out\n with flashlights, etc. A severe search of the area is underway. Jim \n Kurring is clearly getting a lot of shit from the other officers, etc.", "(Note: Jimmy's speech is starting to slur a bit more at this \n point. His motor skills seem to be fading quickly.)", "CAMERA PUSHES in slowly on Jim Kurring. He sits on the bed, dressed up\n and ready to go. He starts to sing along to the song as well.", "Jim Kurring and Donnie sitting together at the loading dock. \n Donnie, mouth full of blood, holding a kleenex to it, crying a bit.\n Kurring listens. HOLD.", "JIM'S POV - THAT MOMENT - MOVING \n he sees the parked Buick Regal and Donnie (in shadow) get out \n and head for the back door....", "Light turns from RED to GREEN.\n\n CUT TO: \n\n <u>INT. JIMMY'S HOUSE - THAT MOMENT</u>", "She looks through her peep-hole, sees Jim Kurring. She turns looks\n at her coffee table: It's full of coke, pills and pot, etc.", "<u>EXT. STREET - THAT MOMENT</u>\n\n Jim Kurring's POLICE CAR makes a U-turn.\n\n CUT TO:", "in and sits on the edge of the bed....from the back it is clear \n that it's Jim Kurring. She tears a bit and looks at him...HOLD....", "CAMERA tracks with Jim Kurring to his car. He gets behind the wheel.\n\n CUT TO:", "Jim Kurring on the radio of his squad car, reports the gun missing.\n (Technical language here.)", "Claudia turns the music down, turns back and sees that he is gone.\n\n Jim Kurring grabs his billy club from the bottom of the steps and\n bounces back up and into the apartment as if nothing happend;", "JIM KURRING \n Go. Hurry up. Let's go. \n\n Dixon places his box of candy down and starts dancing around.\n Jim Kurring stands beside his squad car.", "It is on FIRE now....CU image of Jimmy on the floor of the kitchen\n with shards of glass around him...and FROGS...a few of them \n still alive and jumping around...the FIRE moving closer and closer...", "Inside the house,\n Jimmy about to pull the trigger...SOUND DROPS OUT.\n\n The falling FROG comes STRAIGHT THROUGH THE SKYLIGHT, SMASHING\n THROUGH....", "Jim Kurring opens the door for Claudia and she gets in. \n He runs around and they drive off. \n\n CUT TO:", "MARCIE\n THAT'S NOT MINE. \n\n Jim swings the aim of his gun back at the dead body.\n\n CUT TO:" ], [ "CLAUDIA\n I was...he's gone...I mean it's not.\n It's over, y'know --", "Claudia cries to her Mom. Rose holds her and they rock back\n and forth.... Claudia cries loud and over and over --\n\n \"Mommy...mommy...mom.\"", "CLAUDIA\n Good bye.\n\n She closes the door. HOLD. \n\n CUT TO:", "<u>INT. CLAUDIA'S APARTMENT - LATER</u>", "Claudia turns the music down, turns back and sees that he is gone.\n\n Jim Kurring grabs his billy club from the bottom of the steps and\n bounces back up and into the apartment as if nothing happend;", "CLAUDIA \n Oh my god, Jim. Jim, that was so -- \n\n JIM KURRING\n I'm sorry --", "CLAUDIA\n ok. \n\n She goes. HOLD with him for a moment. \n\n CUT TO:", "CLAUDIA \n I don't have a boyfriend. \n\n BEAT. Jim Kurring looks at Claudia and she looks back. HOLD.", "CLAUDIA \n FUCK YOU. YOU GET THE FUCK OUT OF HERE.\n\n JIMMY\n baby, please, please --", "ROSE\n Why doesn't Claudia talk to you, Jimmy?", "She sits down, ready to talk, lights a cigarette. \n\n CLAUDIA \n What do you wanna talk about? \n\n CUT TO:", "Claudia jumps up and goes to her door in the darkness and\n opens it up -- Rose comes in quick, scared shitless...they fall down\n and hold onto each other, sweatin/crying/shaking....", "CAMERA moves in on a young woman CLAUDIA (20s) sitting alone, bit drunk.\n A vaguely creepy looking MIDDLE AGED GUY (40s) takes a seat next to her:", "CLAUDIA\n I'm sorry. \n\n BEAT.", "JIMMY\n Honey. \n\n CLAUDIA\n GET OUT. \n\n BEAT. He stands a moment.", "CLAUDIA\n Great, bye. \n\n JIM KURRING\n Bye.\n\n She closes the door.", "JIMMY \n I have something, so much -- I'm sick, Claudia.\n I'm sick.", "Claudia is asleep. Jimmy enters, stands near the edge of the bed.\n After a moment, Claudia's eyes open, look over and see Jimmy.", "MIDDLE AGED GUY\n It's alright. \n\n Jimmy exits. Claudia is shaking and crying and holding herself\n in the covers of the bed.", "She starts to move towards tears, nervousness;\n\n CLAUDIA \n What the fuck do you want?" ], [ "DONNIE SMITH, aged 40, is reclined back in a dentist chair.\n He has spiky hair, a small stud earing and a bad grey suit.", "DONNIE\n Yes I do. \n\n SOLOMON \n Your teeth are fine. \n\n AVI\n Your teeth are straight.", "...Jim Kurring turns his head and sees Donnie, fallen flat face\n and bloody on the pavement....he gets out of his car and runs over", "Jim Kurring and Donnie underneath the shelter area. Donnie's\n MOUTH IS FULL OF BLOOD and his TEETH ARE BROKEN...", "Donnie sits in his booth after two tequila's. He's slightly fucked up. \n He gets up, stumbles over to the bar and takes a seat uncomfortably", "Donnie looks to the television for a moment, starts to tear up, \n CAMERA pushes in slow to an EXTREME CLOSE UP. He repeats line's from", "DONNIE\n Fuck. \n\n CUT TO:", "Donnie looks up at Brad. Brad smiles with his braces, Donnie looks\n away quick --", "...Donnie looks past Kurring and now sees the FROGS FALLING\n in a 50 x 50 area in the street....\n\n ...Donnie looks up...", "DONNIE\n My teeff...my teeef....\n\n JIM KURRING \n YOU'RE OK...you're gonna be ok....", "CAMERA WHIPS from the TELEVISION above the bar which is playing\n the quiz show and pushes over Donnie, staring at the monitor.\n He shots another Tequila.", "Jim Kurring and Donnie sitting together at the loading dock. \n Donnie, mouth full of blood, holding a kleenex to it, crying a bit.\n Kurring listens. HOLD.", "SOLOMON\n What is that? \n\n DONNIE\n Braces. \n\n SOLOMON\n Braces?", "THURSTON\n That's right. \n\n DONNIE \n I used to be smart but now I'm just stupid.", "The TELEVISION above the bar holds this moment where Stanley won't \n move. DONNIE is seriously fucked up now and the CAMERA pushes in", "Donnie is changed into his Solomon and Solomon Electronics vest\n and name tag. He brushes himself up, sweating a bit. (Note:ON HIS BACK)", "Donnie has backed away, close to the bathroom. He heaves a bit,\n cries, turns and runs for the bathroom -- \n\n CUT TO:", "THURSTON \n This sounds Sad as a Weeping Willow. \n\n DONNIE \n I used to be smart but now I'm just stupid.", "BEAT. Donnie tries to calm himself, hold back tears, stands up. \n He struggles with his KEY CHAIN and finally after a bunch\n of moments, hands over six or seven keys.", "DONNIE \n You know, you know, you know. Go,go,go. \n\n CUT TO:" ], [ "CLAUDIA \n Oh my god, Jim. Jim, that was so -- \n\n JIM KURRING\n I'm sorry --", "Claudia is asleep. Jimmy enters, stands near the edge of the bed.\n After a moment, Claudia's eyes open, look over and see Jimmy.", "Claudia and Jim Kurring talking. She's rubbing her jaw, blabbing \n away and he's listening with a grin;", "JIM KURRING\n Yeah. \n\n CLAUDIA \n Can I tell you something?", "JIMMY \n I have something, so much -- I'm sick, Claudia.\n I'm sick.", "Claudia finishes throwing her drugs into a dirty t-shirt and throwing\n that dirty t-shirt into her laundry basket. Jim Kurring bangs away at\n the door.", "CLAUDIA \n I don't have a boyfriend. \n\n BEAT. Jim Kurring looks at Claudia and she looks back. HOLD.", "CLAUDIA \n I wanted to do that. \n\n Jim Kurring smiles, shaken a bit.", "Jim Kurring opens the door for Claudia and she gets in. \n He runs around and they drive off. \n\n CUT TO:", "JIMMY \n She thinks terrible things that \n somehow got in her head...that I might\n have done something. She said that", "CLAUDIA \n FUCK YOU. YOU GET THE FUCK OUT OF HERE.\n\n JIMMY\n baby, please, please --", "Claudia jumps up and goes to her door in the darkness and\n opens it up -- Rose comes in quick, scared shitless...they fall down\n and hold onto each other, sweatin/crying/shaking....", "Claudia cries to her Mom. Rose holds her and they rock back\n and forth.... Claudia cries loud and over and over --\n\n \"Mommy...mommy...mom.\"", "CLAUDIA\n Great, bye. \n\n JIM KURRING\n Bye.\n\n She closes the door.", "JIMMY \n I want to sit. I want to talk to you. \n\n CLAUDIA\n Don't sit down.", "The door opens and Claudia looks really nice. Jim Kurring smiles \n and says hello. \n\n CUT TO:", "CLAUDIA \n FUCK YOU. FUCK YOU, YOU GET OUT. \n\n JIMMY \n I'm not lying to you, I'm not --", "CLAUDIA\n I'm sorry.\n\n JIM KURRING\n ...nothing. I'm sorry...", "CLAUDIA \n Yes. I will. It was nice to meet you\n Officer Jim. \n\n JIM KURRING\n Just Jim.", "JIM KURRING \n No. No. Don't joke about that. \n That's not funny, Claudia. Please, now." ], [ "FRANK\n Is Linda here?", "LINDA\n What does that mean? \n\n KLIGMAN \n The money would go to Frank. The court \n would put the money in the hands of a relative --", "Linda is bedside with Earl. She cries her eyes out. She\n speaks to him in mumbles about \"...sorry...\" \"...my love...\"", "EXTREME CLOSE UP 2-SHOT. Linda and Earl. He opens his eyes just a bit.\n She bends in and gives him a kiss on the forehead.", "FRANK \n ...and it's paw was sticking out... \n and it was too late. It was too late. \n\n She moves in and hugs him.", "JANET\n Doc, go get Frank and put him on the phone.\n\n CUT TO:", "LINDA \n No, no....no, you see...I never loved him.\n I never loved him, Earl. When I started,", "FRANK (VO) \n You wait until about nine o'clock\n and you ring the doorbell.\n\n She opens the door and sees FRANK, crying and hysterical.", "LINDA \n Hang up the phone. \n\n PHIL \n No, Linda, you don't understan --", "Linda is on life support stuff in the ambulance. Looking past her,\n we see the view of the road through the windshield -- the amubulance \n driver going real fast and just about to pull into the hospital\n emergency entrance....", "LINDA \n He has Phil right now.\n\n DR. LANDON \n Phil's one of the nurses from the service?", "LINDA\n I'm here and I need to see him.\n\n CUT TO:", "Janet clicks Frank over and there's a MOMENT of BLUR/NOISE (Linda and\n Phil, screaming and static) and then it's gone --\n\n CUT TO:", "LINDA \n Well, you're his doctor and that's \n why -- well tell me something -- tell\n me something --", "FRANK \n My mother's name, actually. \n Good question. You've done you're research. \n\n GWEN\n And \"Frank?\"", "GWEN\n Does you mother still work?\n\n FRANK\n She's retired. \n\n GWEN\n Are you close?", "LINDA \n I just, I just -- I just -- I'm just\n in a fucking state, I know he's", "Frank gets out of his car and walks up to the house.\n He rings the doorbell.\n\n CUT TO:", "CAMERA leads/follows Linda as she enters, approaches Phil; \n\n PHIL\n Linda -- \n\n LINDA \n What are you doing?", "CAMERA pulls back as Linda exits some elevators, heads down a hall --\n\n CUT TO:" ], [ "<u>INT. EARL'S HOUSE - THAT MOMENT</u>\n\n Frank and Earl. Earl opens his eyes a bit.", "FRANK \n ...Dad...Dad...hey...Earl? \n\n He tries to wake him a bit, but Earl is not moving.", "Frank walks slowly into the Living Room and over to Earl's\n bedside. He's holding back his tears. He sits. Earl\n is eyes closed, breathing a bit irregular....HOLD.", "The DOGS go crazy barking. Phil walks away from Earl and answers\n the door. Frank standing there. Phil looks a bit surprised and\n fumbles a moment...They stand in doorway and speak very quietly;", "All SOUND DROPS OUT except for the breathing of Frank and Earl.\n\n EARL \n You are not what you think you are. \n\n Frank breaks down.", "<u>INT. EARL'S HOUSE - THAT MOMENT</u>\n\n Frank and Phil stand in the foyer. They're quiet a moment, then:", "Earl begins to talk. (<u>Director's Note</u>: Following is the story\n Earl tells, it is to be more broken and elliptical, factoring", "The CAMERA holds on Earl and Frank. Frank has his head buried \n in Earl's bed holding his hand, crying....it's very quiet....", "Earl can barely make it but he touches Frank....Frank holds\n his Dad's hand....Phil steps up closer....", "EARL \n ...no...no goddamn use.\n (beat) \n I have a son, y'know? \n\n PHIL\n You do?", "EARL\n ...find him on the...Frank. His name's\n Frank Mackey -- \n\n PHIL \n Frank Mackey. That's your son?", "EARL \n .....fuck...fuck...fuck... \n\n Earl is in PAIN and his hallucination make him a bit angry.", "EARL \n This is so boring...so goddamn...\n and dying wish and all that, old \n man on a bed...fuck...wants one thing:", "<u>INT. EARL'S HOUSE - THAT MOMENT</u>\n\n CAMERA on Phil on the phone. He sits watching Earl. 30fps. PUSH IN.", "EARL \n I wanna see this...where is he,\n do you know? \n\n PHIL\n Who?", "He gives Phil make an imaginary object and falls asleep. BEAT. \n Stay with Phil a moment as he turns his head, looking around the\n house a moment, looks back to Earl.", "PHIL\n It's ok. \n\n Earl hallucinates a bit, cries a little, tries to form the sentences;", "WIDER ANGLE, THAT MOMENT. \n Reveal that Frank's car is sitting out front of Earl's house.", "Phil hangs up, looks to Earl. CU - EARL. He's asleep, uncomfortably.\n CAMERA moves inside his chest.\n\n QUICK DISSOLVE TO:", "Phil leans in closer to Earl." ], [ "CAMERA follows Dixon as he walks towards an old beat up PARKED CAR.\n He stops, hesitates, looks across the way --\n\n LINDA'S MERCEDES is parked.", "Linda is on life support stuff in the ambulance. Looking past her,\n we see the view of the road through the windshield -- the amubulance \n driver going real fast and just about to pull into the hospital\n emergency entrance....", "AT LINDA'S CAR. Dixon sees that she's passed out, knocks on\n the window...", "DIXON \n Hello? Hello? I have an emergency\n situation -- this lady -- this lady", "The AMBULANCE arrives at Linda's Mercedes and the PARAMEDICS\n hop out, open the doors, call direction and try to speak with", "CU - Dixon as he gets into the old beat up car with Worm. \n Their call pulls away and drives off. Dixon looks at Linda's Mercedes\n which is still parked way across the lot -- they exit FRAME.", "CAMERA pans off him, and over to a room, looking through the door\n jam onto Linda in bed. Her eyes a bit open, respiratory equipment\n attached to her. A DOCTOR standing over her, calmly asking questions;", "DIXON \n Lady...hey Lady...Lady....you ok?\n you alive...huh...hey?", "LINDA \n Thank you Doctor Diane -- \n\n SHRINK\n Good luck with everything.\n\n ECU - Door slammed.", "Linda is bedside with Earl. She cries her eyes out. She\n speaks to him in mumbles about \"...sorry...\" \"...my love...\"", "A small, comfortable office space. Linda is crying, talking,\n pacing. The psychologist is a middle aged woman, DR. DIANE.\n As they talk, Dr. Diane writes a perscription;", "Dixon reaches down and takes her PURSE, takes the MONEY out of the\n WALLET and then reaches for her CEL PHONE and dials 911.", "Dixon starts to lower the gun a bit, crying and shaking....He lowers\n the gun and hands it over to his Father....Dixon is sort of \n flinching....the possibility that his Father may strike him...", "LINDA\n I'm here and I need to see him.\n\n CUT TO:", "LINDA \n -- he's fucking dying, he's dying\n as we're sitting here and there", "Worm looks back to Dixon, subtle mumbles and gestures and\n few moments later, Dixon stands from the booth and exits the\n coffee shop.", "Quick shots get them in the room: DR. LANDON (40s) sits\n across from LINDA, who's in semi-hysterics, pacing;", "DR. LANDON \n Ok. Linda: Earl is not gonna make it.\n He's dying. He is. He is dying very,\n very rapidly --", "parked car, watching the paramedics. All the while he counts\n the money from Linda's wallet.", "...Stanley is frozen...Dixon is hyperventilating...." ], [ "Linda takes some pills. Then she takes some more...then she takes \n some more....then she swallows a whole bottle of pills...she \n drinks from a small bottle of Vodka....swallows every last pill.....", "A small, comfortable office space. Linda is crying, talking,\n pacing. The psychologist is a middle aged woman, DR. DIANE.\n As they talk, Dr. Diane writes a perscription;", "Linda is bedside with Earl. She cries her eyes out. She\n speaks to him in mumbles about \"...sorry...\" \"...my love...\"", "Linda is on life support stuff in the ambulance. Looking past her,\n we see the view of the road through the windshield -- the amubulance \n driver going real fast and just about to pull into the hospital\n emergency entrance....", "CU's on Linda. She pops three or four more DEXADRINE. \n\n CUT TO:", "LINDA snaps. She starts to tremble and cry and build --", "Linda rolls down the windows in the closed garage with the engine\n running...<u>fumes start to fill the garage</u>...she starts to cry and\n lights a cigarrette...the bag of perscriptions sits next to her...", "LINDA (contd.) \n And he needs more pills, then.\n (beat)", "NARRATOR\n The coroner ruled that the unsuccessful\n suicide had suddenly become a succesful\n homicide. To explain:\n\n CUT TO:", "LINDA \n -- you don't understand: it's more pain \n than before and the fucking morphine pills", "LINDA \n -- he's fucking dying, he's dying\n as we're sitting here and there", "Linda in CU. She hesitates a moment. THEN: She quickly\n shuts off the engine, GRABS the bag of LIQUID MORPHINE --", "She hands over the perscriptions (x2) and is about to say another\n word -- but Linda SNATCHES the two small pieces of paper from\n her hand and heads for the door --", "LINDA \n No...I just...(starts crying a bit)\n I'm so fucked up here Alan, I don't \n know...there's so much...so many things --", "LINDA \n I just, I just -- I just -- I'm just\n in a fucking state, I know he's", "LINDA \n This is so over-the-top and fucked-up\n I can hardly stand it.", "LINDA \n I don't know what's gonna happen,\n I really don't -- I'm so fucking, \n I feel so over the top with everything.", "CUT TO: \n\n <u>INT. LINDA'S MERCEDES - MOMENTS LATER</u>", "LINDA \n No, no....no, you see...I never loved him.\n I never loved him, Earl. When I started,", "LINDA \n I hate doing this, coming here\n and not being able to talk --" ], [ "JIMMY \n I don't know what I've done. \n\n ROSE\n Yes you do.", "ROSE\n Jimmy, did you touch her? \n\n JIMMY \n I don't know.\n\n Rose starts to cry a bit. So does Jimmy.", "JIMMY\n Why, well I think we've, we both\n don't know...what do you mean?\n\n ROSE\n I think that you know.", "JIMMY \n Stay here, please don't leave me,\n please, please, if I said I knew\n would you stay? \n\n ROSE\n No.", "JIMMY \n I don't know what I've done. \n\n ROSE \n You should know better.\n\n She leaves.", "JIMMY\n I love you so much.\n\n ROSE\n I'm not through asking my questions.\n\n Jimmy laughs a bit, smiles.", "JIMMY \n What? No, Rose, jesus, no -- \n\n ROSE\n Well maybe.", "JIMMY\n Will that help? \n\n ROSE\n Yeah. \n\n CUT TO:", "JIMMY\n No. \n\n ROSE \n How long with Ellen? \n\n JIMMY\n Just once.", "ROSE \n Yes you do....you do and you won't say. \n\n JIMMY\n ...I don't know...", "JIMMY\n I don't. \n\n ROSE \n Do you feel better now that you've said this?", "<u>INT. JIMMY'S HOUSE - THAT MOMENT</u>\n\n Jimmy and Rose. HOLD. THEN:", "ROSE \n What about now? \n\n JIMMY \n It's over. I talked to her\n this morning.", "CAMERA pushes in on Rose, sitting in the kitchen, watching the \n television. She holds her breath and tears a bit, noticing\n Jimmy start to fade.", "ROSE\n I don't hate you, Jimmy. But I have\n a couple questions that I wanna ask....\n\n JIMMY \n I'll answer anything.", "Jimmy and Rose. They're on the couch. Lights dim. Sitting, talking. \n She hands him a pill from a bottle with a drink.", "ROSE \n Did you ever touch her? \n\n JIMMY\n ...No.... \n\n HOLD. BEAT. Rose asks again;", "JIMMY \n Thirty fuckin' years I've been with\n Rose, don't -- y'know -- with \n this, and I know what you think --", "She sits up a bit, covers herself, looks past him and sees the\n Middle Aged Guy, sitting in his underwear in the living room,\n watching them. She looks back to Jimmy;", "JIMMY\n As fast as I can. \n\n ROSE \n Come home soon after the show." ], [ "Donnie starts to climb up a ladder attached to the side \n of the building....near the loading dock area....\n\n CUT TO:", "DONNIE\n Fuck. \n\n CUT TO:", "Donnie is changed into his Solomon and Solomon Electronics vest\n and name tag. He brushes himself up, sweating a bit. (Note:ON HIS BACK)", "Kurring's HEADLIGHTS catch a glimpse of Donnie starting to climb...\n\n ...Donnie gets scared and FREEZES....", "Donnie walks out and gets in his car -- he goes to start it,\n but it won't start. HOLD outtside the car. Rain pouring down.", "DONNIE \n You know, you know, you know. Go,go,go. \n\n CUT TO:", "...Donnie enters into the warehouse area and heads for\n the door to outside....", "Donnie has backed away, close to the bathroom. He heaves a bit,\n cries, turns and runs for the bathroom -- \n\n CUT TO:", "DONNIE \n Make it happen, make it happen and go,go,go. \n\n He gets out of the car real quick --", "Donnie sits in his booth after two tequila's. He's slightly fucked up. \n He gets up, stumbles over to the bar and takes a seat uncomfortably", "Donnie looks to the television for a moment, starts to tear up, \n CAMERA pushes in slow to an EXTREME CLOSE UP. He repeats line's from", "...Jim Kurring turns his head and sees Donnie, fallen flat face\n and bloody on the pavement....he gets out of his car and runs over", "Donnie gets in the Buick Regal and drives away. \n\n CUT TO:", "<u>EXT. DONNIE'S APARTMENT - CAR PORT - THAT MOMENT</u>\n\n Donnie comes down and gets in the little old lady's\n Buick Regal and starts it up.", "DONNIE\n What am I doing? What am I doing? \n What the fuck am I doing?", "Donnie in a back corridor. He walks down through some BOXES\n and assorted MERCHANDISE towards another door. He pulls his\n hat down some more, moves swiftly.", "CAMERA pushes in on Donnie and some people running over to see\n what's happend....\n\n DONNIE\n What the hell? What the hell?", "...Donnie looks past Kurring and now sees the FROGS FALLING\n in a 50 x 50 area in the street....\n\n ...Donnie looks up...", "CAMERA lands in close. Donnie sits a moment. He plays his tape,\n \"Dreams,\" sings along a bit, pep talks himself, does some deep \n breathing, says;", "DONNIE \n This is going to be ok. This is. This is.\n\n CUT TO:" ] ]

[ "Who is Linda to Earl?", "Why did Linda marry Earl?", "What did Jimmy Gator confess to Rose?", "Who goes on a date with Jim Kurring?", "When Jim Kurring enters an apartment what does he find?", "What happen to Stanley Spector during the quiz show?", "Besides Jimmy Gator, who is also dying of cancer?", "Where does Rose crash her car? ", "Earl asks Phil Pharma to help him find what? ", "What is the secret Claudia keeps from Jim Kurring?", "What is the name of Jimmy Gator's TV show?", "What does Stanley Spector's father want?", "Who is Donnie Smith?", "Which two characters have cancer?", "What is Donnie Smith's sexual orientation? ", "Why doesn't Earl's wife Linda want the money in his will?", "Who saves Donnie?", "What symbolizes Jim finally achieving success at his law enforcement job?", "Why is Claudia estranged from her father?", "What is ironic about Donnie's teeth being knocked out when he falls from the pole?", "Why does Claudia think her past will cause problems for her and Jim?", "How are Frank and Linda related?", "Why are Frank and Earl estranged?", "What did Dixon do before calling an ambulance for Linda?", "How does Linda try to commit suicide?", "Why is it implied that Jimmy confesses his unfaithfulness to Rose?", "Why was Donnie climbing a utility pole?" ]

[ [ "His trophy wife. ", "Linda is Earl's wife." ], [ "For his money. ", "for money" ], [ "He cheated on her. ", "that he cheated on her" ], [ "Claudia Wilson. ", "Claudia Wilson." ], [ "A dead body. ", "a body in a closet" ], [ "He wets himself and freezes. ", "He wets himself and is frozen in front of an audience." ], [ "Earl Partridge. ", "Earl Partridge" ], [ "In front of Claudia's apartment. ", "In front of Claudia's apartment." ], [ "Frank Mackey. ", "his son" ], [ "Claudia is addicted to cocaine.", "That she is a drug addict." ], [ "What do Kids Know?", "What Do Kids Know is the name of Jimmy Gator's TV show." ], [ "Stanley's father expects Stanley to give him the prize money.", "he pressures him to win What Do Kids Know? because he wants the prize money" ], [ "Donnie smith is a former winner on \"What do Kids Know?\" whose parents spent his prize money.", "a former What Do Kids Know? champion whose parents spent his prize money" ], [ "Jimmy Gator and Earl Partridge both have cancer.", "Earl and Jimmy" ], [ "Donnie Smith is homosexual.", "Gay" ], [ "Linda now loves Earl, and the money doesn't mean anything to Linda.", "She loves Earl." ], [ "Jim saves Donnie and helps Donnie return the money he stole from Solomon & Solomon.", "Jim" ], [ "The gun falling from the sky back to him.", "he councils Donnie and helps him return the money" ], [ "She believes Jimmy molested her.", "she believes he molested her as a child" ], [ "He no longer has to worry about getting braces on his teeth.", "He was seeking money from his job for braces and oral surgery." ], [ "Jim doesn't know she's a drug addict.", "Because she is a drug addict and he is a cop." ], [ "Linda is Frank's stepmother.", "Linda would be Frank's step mother." ], [ "Because Earl left Frank's mother when she was dying.", "Frank was forced to take care of his dying mother when Earl left." ], [ "He stole money from her wallet.", "He takes money from her purse before he does." ], [ "By overdosing on Earl's prescription medication.", "booze and perscription pills" ], [ "He is dying of cancer and has only a few months to live.", "because he went home and told her that he had cheated on her" ], [ "To access the roof of Solomon & Solomon.", "He is trying to reach the roof." ] ]

[ [ "She holds up her burned hand, showing it to him.\n\t\n\t LILLY\n\t You asked me about this. You really", "and the view, followed by Bobo, neither looking out. Lilly\n\tturns to Bobo, who abruptly punches her hard in the stomach.\n\tShe falls to the floor.", "her in seven years!\n\t\n\tLilly enters, smiling in self-confidence. A large ugly burn\n\tis on the back of her right hand.", "BOBO (CONT'D)\n\t While you put those in the towel.\n\t\n\tLilly's very scared. She drops to her knees, spreads the", "He puts the cigar back in the ashtray as she rises, cradling\n\ther burnt hand. Not looking toward Bobo, hobbling with knees\n\ttogether, she starts from the room.", "TWO SHOT, closer, as Lilly turns, bending toward the oranges,\n\tand Bobo picks up his cigar, then lifts a foot and kicks her", "Bobo gets into the passenger seat, while Lilly nods\n\tconvulsive agreement and hurries around to get behind the\n\twheel. The car jolts forward, then smooths, and heads for the", "Lilly appears in the doorway, wearing a too-large man's\n\traincoat. Bobo doesn't seem to notice her at first, then nods\n\tto her.", "ANOTHER ANGLE as Bobo steps across her and goes over to close\n\tthe drapes over the view. Lilly sits up, watching him,\n\twaiting obediently. Bobo looks at her.", "Lilly drives along the highway, weeping, shaking, teeth\n\tchattering. Her hands are both high on the wheel, the back of\n\tthe right hand developing a large red burn.", "throat with both hands, retching as he tries to inhale. Lilly\n\tlooks up at the astonished waitress.", "AN ANGLE on Bobo, catching a bad smell, looking back down\n\tbehind himself at Lilly's body. This is the result he wanted,", "the supermarket bag. He takes out and lights a cigar. Lilly\n\tcomes back with a large white bath towel.\n\t\n\t BOBO (CONT'D)", "LILLY \n\t And to survive, my way, I need\n\t money.\n\t Bobo knows about the stash in the", "LILLY \n\t I will. So long, Bobo.", "Lilly's eyes briefly close, her shoulders sag. Then she goes\n\tback to the silent alert person she'd been. Bobo nods.\n\t\n\t BOBO", "AN ANGLE close on Lilly on the floor, Bobo's knees grinding\n\tback and forth into her back.", "BOBO\n\t (impatient)\n\t What's that, Lilly?\n\t\n\tLilly pauses, bent over, tightly holding an orange.", "The door opens and Lilly enters, followed by Bobo. The thugs\n\timmediately rise and switch off the TV.\n\t\n\t BOBO", "LILLY\n\t (begging)\n\t It'll never happen again. I swear.\n\t\n\t BOBO" ], [ "Roy's eyes open, he looks toward the voices.\n\t\n\t MYRA (O.S.)\n\t I'm Roy's friend.", "Roy doesn't like this; he's feeling pressured. Myra sees it,\n\tbut believes she's got him anyway, so she can let up. She\n\tpats his hand.", "ROY \n\t I've heard the name.\n\t\n\t MYRA \n\t It was beautiful. And getting", "Roy will not talk about this, with anyone. His response is\n\tcold, closing the subject.\n\t\n\t ROY\n\t Her job.", "She hesitates, then stalks out, shutting the door.\n\t\n\tHearing the door close, Roy spins around in the wheelchair to", "Roy lies supine on the bed, semi-conscious, half-covered by a\n\tsheet. Myra, casual, not noticing his condition, leans her", "Roy? He's always crying.\n\t\n\t CLERK\n\t (sympathetic to Roy)\n\t The kids beat him up, because his", "Roy, looking stunned, is among the deplaning passengers\n\tspreading out across the terminal. He's met by PIERSON, a\n\tplainclothes detective, and a uniformed COP.", "Roy's, her door slamming behind her.\n\t\n\tINT. HOTEL ROOM - NIGHT", "Roy's place. Dark. SOUNDS of lock being picked. The door\n\topens, showing only blackness outside, Lilly enters and shuts\n\tthe door, then switches on the main light.", "roper you'll ever see.\n\t\n\tRoy laughs, genuinely pleased by her and also tacitly letting\n\this questions drop.", "Roy turns his head, gives Lilly an ironic smile. Lilly waits,\n\tholding herself in.\n\t\n\t ROY", "and one on the floor. She looks around at everything, awkward\n\tand embarrassed. But Roy hasn't said anything. And he's\n\tbetween her and the door.", "The women, startled, both move toward Roy, one on each side\n\tof the bed.", "ROY \n\t Why?\n\t\n\t LILLY (CONT'D)\n\t (faint smile)", "her raised arms. He settles down, becomes heavily calm.\n\t\n\t ROY \n\t That's why we wouldn't work", "Roy walks toward Lilly's room as the two thugs pass him, on\n\ttheir way out. Roy knocks on Lilly's door, waits, knocks\n\tagain.", "She stands, putting the attache case on the sofa next to\n\twhere she was sitting. Roy, with a faint smile, watches her\n\tleave the room.", "LILLY\n\t Oh! Roy! You scared me.\n\t\n\tRoy enters the room and shuts the door.", "ROY\n\t You always say that!\n\t\n\tLilly won't take him seriously, but she relents enough to" ], [ "AN ANGLE on the soldiers as Roy starts by. The train lurches,\n\tand Roy falls heavily against their table, slopping their\n\tdrinks and spilling some of his own on the table.", "ROY (CONT'D)\n\t One of you fellows drop this?\n\t\n\tINT. TRAIN - DAY", "SHILL beside him, Roy facing the dealer, a ROPER next to Roy.\n\tOn a briefcase on the dealer's lap are three cards, face up:", "ROY\n\t (whispered)\n\t Dark in here.\n\t\n\tINT. PASSENGER TRAIN - DAY", "AN ANGLE on the group. Roy squints at the cards, light and\n\tdark playing on his face.\n\t\n\t ROY", "He looks away, right hand moving minimally on left hand.\n\t\n\t ROY\n\t Heads.", "INT. BAR CAR - DAY\n\t\n\tRoy now sits with the soldiers, eagerly listening to them\n\ttalk. There are plastic glasses enough on the table for three", "card tricks for his own pleasure. Roy watches, then moves\n\tcloser.\n\t\n\t ROY\n\t Let me see how you did that one.", "The dealer turns aside, allowing himself to be distracted. He\n\tand the shill ARGUE nonsensically. The roper nudges Roy, then", "WIDE SHOT. Roy throws. They all look at the die. Roy spreads\n\this hands; the good sport.\n\t\n\t ROY", "Weary bored people sit around waiting. Roy, 17, lugging a big\n\tsuitcase, walks through, takes a seat near Mintz, who's doing", "five of spades, shows it to Roy, puts it back in the deck,\n\tshuffles, shows Roy the deck.\n\t\n\t MINTZ", "How much can I bet?\n\t\n\tINT. PASSENGER TRAIN - DAY\n\t\n\tThe train runs through a forest, tree shadows making a light", "into Roy's solar plexus, driving the air out of him and\n\tpropelling him back away from the bar, leaving the ten. The\n\tnearest CUSTOMERS on both sides become aware that something", "Myra's POV: Roy and the soldiers rolling the die for money.\n\t\n\tECU, Myra, absorbed, watching.", "b.g., in consternation as Roy puts on the glasses and looks\n\tdown at the cards.\n\t\n\t ROY", "play with the mark.\n\t\n\t ROY \n\t And when he got serious?\n\t\n\t MYRA", "ROY\n\t Tails.\n\t\n\tRight again. He prepares to flip the coin, but then his hand", "Whoever finds the ace, wins.\n\t\n\tECU, the dealer's hands, shuffling the cards at lightning\n\tspeed. He deals the cards out face down.", "TWO SHOT, within the train. Myra looks questioningly at Roy\n\tas he stands.\n\t\n\t ROY" ], [ "ROY \n\t Running your broker scam, you mean.\n\t\n\t MYRA\n\t (enthusiastic)", "MYRA \n\t He retired, and that's it. But I\n\t didn't. I'm still the best long-con", "Myra, dressed expensively and fashionably, sits with\n\tGLOUCESTER HEBBING, a stocky businessman, sixtyish. Their\n\tmanner suggests intimacy.", "MYRA\n\t You're on the grift. Same as me.\n\t\n\t ROY", "Myra sits in the client's chair, while at the desk sits the\n\tJEWELER, a pleasant but overweight man of 40, who studies a", "MYRA\n\t (suddenly evasive)\n\t He retired.\n\t\n\t ROY", "TWO SHOT, Myra and a BUSINESSMAN, sitting across the way,\n\tgrinning at her. Myra registers him.", "ROY \n\t I've heard the name.\n\t\n\t MYRA \n\t It was beautiful. And getting", "MYRA \n\t No, no, Roy, just cash poor. They\n\t had savings accounts, stocks to\n\t sell, houses to mortgage. Sell", "Roy lies supine on the bed, semi-conscious, half-covered by a\n\tsheet. Myra, casual, not noticing his condition, leans her", "In gesturing, Myra \"accidentally\" loses the towel, then wraps\n\tit around herself again as the manager stares nervously away.\n\tShe smiles, knowing she's got him.", "MYRA (V.O.) \n\t All over the southwest, you've got\n\t these businessmen, they were making\n\t money when everybody was making", "MYRA (CONT'D)\n\t Wait. Hold it.\n\t\n\t DRIVER\n\t That's the guy we're following.", "INT. JEWELER'S OFFICE - DAY\n\t\n\tMyra sits as before. The jeweler enters with a check, which", "Roy doesn't like this; he's feeling pressured. Myra sees it,\n\tbut believes she's got him anyway, so she can let up. She\n\tpats his hand.", "MANAGER\n\t My wife sent me here, Myra. For the\n\t money. She's waiting.\n\t\n\t MYRA", "the similarity between herself and Myra, this could be Myra.)\n\t\n\t LILLY\n\t (hesitant)\n\t Roy?", "MYRA \n\t Oh, Roy, it was great! We were\n\t rolling in dough, lived wherever we", "apparently-prosperous skyscrapers. Cole, a plausible rich\n\tbusinessman, happily greets Myra.\n\t\n\t COLE", "(screams at Myra)\n\t You! You and your goddamn big\n\t mouth!\n\t\n\t KYRA" ], [ "ROY \n\t No, its -- Why did she--?\n\t\n\tHe forces himself to look at the body again, his own face", "from the motel. The door to Lilly's room is visible in b.g.\n\tRoy walks toward the street from Lilly's room.\n\t\n\t DRIVER", "ROY \n\t Not that it matters.\n\t (looks out)\n\t This is the morgue?", "Roy's, her door slamming behind her.\n\t\n\tINT. HOTEL ROOM - NIGHT", "Roy's room. He has one of the clown pictures face down on the\n\tcoffee table. He takes money from his jacket pockets, crams", "Roy lies supine on the bed, semi-conscious, half-covered by a\n\tsheet. Myra, casual, not noticing his condition, leans her", "Reaching the sidewalk, Roy turns to an empty cab parked on\n\tthat side of the street, in front of the motel. Myra's driver\n\tshifts into gear.", "INT. BATHROOM - DAY\n\t\n\tA small crowded old-fashioned bathroom. Roy, shirt open and", "They embrace.\n\t\n\tINT. MOTEL ROOM - DAY", "Roy's POV: CU, the body's hands, crossed over the stomach,\n\tthe wrists crossed, the palms down, the clear backs of both\n\thands visible.", "pistol and puts the pistol under the pillow of the other bed.\n\t\n\tINT. MOTEL OFFICE - NIGHT", "INT. BEDROOM - DAY\n\t\n\tAgain, anonymous hotel furniture. Roy and Myra naked in bed,", "Roy, looking stunned, is among the deplaning passengers\n\tspreading out across the terminal. He's met by PIERSON, a\n\tplainclothes detective, and a uniformed COP.", "AN ANGLE on Roy, arms folded across his torso, staring in\n\tshock toward the bar, where the space he filled has already", "INT. HOTEL ROOM - NIGHT\n\t\n\tOnce he's alone, Roy stops trying to look like a good sport.", "fifty yards short of the motel.\n\t\n\tINT. CADILLAC - NIGHT", "INT. BEDROOM - DAY\n\t\n\tCU, Roy's sweat-covered face, eyelids fluttering.", "The car full of money. He's --\n\t Lilly?\n\t\n\tINT. MOTEL ROOM - NIGHT", "under the bar with his right. He comes up with a sawed-off\n\tbaseball bat. Roy, seeing it, throws his free arm up to", "Roy walks toward Lilly's room as the two thugs pass him, on\n\ttheir way out. Roy knocks on Lilly's door, waits, knocks\n\tagain." ], [ "They embrace.\n\t\n\tINT. MOTEL ROOM - DAY", "Damn.\n\t\n\tINT. MOTEL ROOM - NIGHT\n\t\n\tEmpty; as before. The door opens and the two thugs we saw", "pistol and puts the pistol under the pillow of the other bed.\n\t\n\tINT. MOTEL OFFICE - NIGHT", "Empty. The phone receiver dangles off the table on its cord.\n\tThe door finishes closing.\n\t\n\tEXT. MOTEL - NIGHT", "You'll get yours, Mama. Oh, yes.\n\t\n\tINT. MOTEL ROOM - DAY", "Full of cash.\n\t\n\tThey leave the room.\n\t\n\tEXT. MOTEL - NIGHT", "fifty yards short of the motel.\n\t\n\tINT. CADILLAC - NIGHT", "INT. ROOM 131 - NIGHT\n\t\n\tA clean anonymous motel room, with two beds. Lilly enters,", "small bags from her motel room, puts them on the back seat of\n\tthe Cadillac, gets behind the wheel, drives away.\n\t\n\tINT. BATHROOM - DAY", "The car full of money. He's --\n\t Lilly?\n\t\n\tINT. MOTEL ROOM - NIGHT", "from the motel. The door to Lilly's room is visible in b.g.\n\tRoy walks toward the street from Lilly's room.\n\t\n\t DRIVER", "EXT. ROAD - NIGHT\n\t\n\tMotel in b.g. The blue Cadillac, having turned around and\n\tcome back, pulls off onto the shoulder of the road about", "with.\n\t\n\tINT. MORGUE VIEWING ROOM - DAY", "Roy's, her door slamming behind her.\n\t\n\tINT. HOTEL ROOM - NIGHT", "look into the room. Phone RINGS. At last, he goes back into\n\tthe room.\n\t\n\tINT. HOTEL ROOM - NIGHT", "INT. MOTEL ROOM - NIGHT\n\t\n\tLilly comes out of the bathroom, putting her lipstick away in", "INT. HOTEL ROOM - DAY\n\t\n\tExpensive room. Cole, naked, expression haunted and crazed,", "ROY \n\t No, its -- Why did she--?\n\t\n\tHe forces himself to look at the body again, his own face", "visible through the open doorway.\n\t\n\tEXT. ARIZONA MOTEL - NIGHT", "INT. MOTEL OFFICE - NIGHT\n\t\n\tThe CLERK, an elderly woman, turns away from a small TV set\n\twhen Lilly enters." ], [ "AN ANGLE DOWN at Roy, face up, expression horrified, hands to\n\this throat. A large triangle of glass is in his throat. Blood", "Glass will cut glass, Mrs. Langtry.\n\t Do you know where it was purchased?\n\t\n\tINT. HOTEL ROOM - DAY", "Myra slaps her hand to her breast; blood spurts between her\n\tfingers. In terror, she turns toward Hebbing, who stares at", "of blood diagonally across his jacket, shirt and tie. She\n\ttopples forward. Hebbing tries to hold her, but she slips to\n\tthe floor.", "into the glass and into his face. Roy SCREAMS and topples off\n\tthe chair, as the one remaining clasp on the case lets go and\n\tmoney goes flying, filling the air.", "the blood seeping down her white blouse. She tries to speak,\n\tcan't. She reaches out, her bloody hand sliding down\n\tHebbing's front without getting any purchase, leaving a swath", "Cole stands behind a pillar, watching. Across the way,\n\tHebbing comes out of the office, staring around, trying to\n\twipe the blood from his clothes. In obvious panic, he runs to", "picks up the attache case. Roy, lifting the glass to drink,\n\tturns forward again as Lilly spins forward, swinging the\n\tattache case at his head with all her might. The case crashes", "The drunk's friend arrives and helps Lilly get the drunk to\n\this feet. The drunk is breathing now, but shaken. He looks at", "MYRA\n\t But they must be! They cut glass!\n\t\n\t JEWELER\n\t (wry)", "down. Her hands abruptly clamp on Lilly's throat. QUICK CUT.\n\t\n\tEXT. PHOENIX AIRPORT - DAY", "already dying. Blood spurts less forcefully. His hands fall\n\tto his sides, eyes stare upward, mouth still moves slightly.\n\tLilly, shoving money away with her hands now, stares at him,", "He slaps her openhanded but hard, and she staggers back. He\n\tpursues her.\n\t\n\t ROY", "They both turn away at the same instant. Roy turns to the\n\tside to pick up the glass of water, to break the spell and\n\tthe tension. Lilly turns back toward the coffee table and", "She hesitates, then stalks out, shutting the door.\n\t\n\tHearing the door close, Roy spins around in the wheelchair to", "Go away, Lilly. Go away.\n\t\n\tRoy's eyes close. He looks dead. SLOW FADE.", "and the view, followed by Bobo, neither looking out. Lilly\n\tturns to Bobo, who abruptly punches her hard in the stomach.\n\tShe falls to the floor.", "still, his face slack. The fever Mintz fades and disappears.\n\t\n\tEXT. HIGHWAY - DAY", "the desk. Myra, stripped to the waist (unconcerned about the\n\tothers present) cleans blood from her breasts with damp\n\ttowels. He and Myra look at one another across the room,", "upward, straight-arm, the gun moving up OUT OF FRAME. SOUND\n\tof shot. Blood sprays Lilly's face. Myra's body drops down" ], [ "ROY\n\t (full laugh)\n\t Oh, that's it! You're stealing my", "into the glass and into his face. Roy SCREAMS and topples off\n\tthe chair, as the one remaining clasp on the case lets go and\n\tmoney goes flying, filling the air.", "Roy's room. He has one of the clown pictures face down on the\n\tcoffee table. He takes money from his jacket pockets, crams", "Roy, looking stunned, is among the deplaning passengers\n\tspreading out across the terminal. He's met by PIERSON, a\n\tplainclothes detective, and a uniformed COP.", "Roy? He's always crying.\n\t\n\t CLERK\n\t (sympathetic to Roy)\n\t The kids beat him up, because his", "ROY \n\t You must have some money.\n\t\n\t LILLY\n\t Just a few bucks.", "I'm sorry. I hated to take your\n\t money, but --\n\t\n\t ROY", "That's that, then.\n\t\n\t ROY\n\t (starting to grin)\n\t Oh, yeah. That's that.", "ROY \n\t And a month later, the sucker calls\n\t the cops and you're on the run.", "do with it is up to you.\n\t\n\t ROY\n\t (his back turned)\n\t That's right.", "She hesitates, then stalks out, shutting the door.\n\t\n\tHearing the door close, Roy spins around in the wheelchair to", "Roy walks toward Lilly's room as the two thugs pass him, on\n\ttheir way out. Roy knocks on Lilly's door, waits, knocks\n\tagain.", "MYRA\n\t Just wait.\n\t\n\tRoy enters the other cab, which drives away, as Lilly comes", "ROY \n\t Running your broker scam, you mean.\n\t\n\t MYRA\n\t (enthusiastic)", "Lilly takes the second picture from the wall, puts it face\n\tdown on the coffee table, opens the back, transfers the money\n\tto the case. She closes the case, attaches the one clasp that", "Go away, Lilly. Go away.\n\t\n\tRoy's eyes close. He looks dead. SLOW FADE.", "when he wins. ECU, Roy's hand scoops money.\n\t\n\tECU, Myra, smiling, pleased.", "Roy's place. Dark. SOUNDS of lock being picked. The door\n\topens, showing only blackness outside, Lilly enters and shuts\n\tthe door, then switches on the main light.", "ROY \n\t And Myra's stuff?\n\t\n\t LILLY\n\t (scornful)", "wanted, only pulled two or three\n\t scams a year.\n\t\n\t ROY \n\t What happened to Cole?" ], [ "from the motel. The door to Lilly's room is visible in b.g.\n\tRoy walks toward the street from Lilly's room.\n\t\n\t DRIVER", "Reaching the sidewalk, Roy turns to an empty cab parked on\n\tthat side of the street, in front of the motel. Myra's driver\n\tshifts into gear.", "get out. Roy pays the driver, who opens the trunk to take out\n\tseveral pieces of luggage. Myra leans hesitantly out, as\n\tthough afraid it's raining out there.", "MYRA\n\t Just wait.\n\t\n\tRoy enters the other cab, which drives away, as Lilly comes", "Roy drives down a San Diego street, is stopped by a red\n\tlight, looks at his watch. He's late.\n\t\n\t ROY", "She stands, putting the attache case on the sofa next to\n\twhere she was sitting. Roy, with a faint smile, watches her\n\tleave the room.", "ROY \n\t Thank you.\n\t\n\tINT. POLICE CAR - DAY", "the office over there, gets into the Chrysler, backs it up,\n\tdrives it out of sight past the motel. Myra puts the Cadillac\n\tin gear.", "it's out of sight among all the other cars. LONG BEAT.\n\t\n\tINT. BEDROOM - DAY", "A baby blue Cadillac parks in front of a jeweler.\n\t\n\tAN ANGLE on the driver's door as MYRA LANGTRY, 36, beautiful", "She hesitates, then stalks out, shutting the door.\n\t\n\tHearing the door close, Roy spins around in the wheelchair to", "EXT. STREET - DAY\n\t\n\tRoy has been throwing up but is finished now. He's sprawled\n\tlike a shot deer across the hood of his Honda, still", "and he slams the door.\n\t\n\tEXT. ROY'S APARTMENT - DAY", "The uniformed cop drives. Pierson and Roy sit in back.\n\t\n\t PIERSON \n\t I realize this is a shock.", "Roy's, her door slamming behind her.\n\t\n\tINT. HOTEL ROOM - NIGHT", "Lilly's Chrysler jounces out to the street, moving too fast,\n\tmaking the turn, racing away. CAMERA PANS to Myra's Cadillac,", "in an impersonal calculating way, gets out, carrying a small\n\tjewelry care, and locks the car. At first glance, Myra looks", "MYRA (CONT'D)\n\t Wait. Hold it.\n\t\n\t DRIVER\n\t That's the guy we're following.", "separated. The white Chrysler is one of these. Lilly walks to\n\tit from the track entrance.", "He tries to look through a crack in the drapes into the room,\n\tthen turns to look at the empty place where Lilly's Chrysler" ], [ "from the table, leaving their betting tickets behind. Lilly\n\tpasses by, smoothly and casually scoops up the tickets, moves\n\ton along a row of tables, and there finding more tickets.", "ECU, Lilly's bag, compartmented, with stacks of money, small\n\tenvelopes and notes on notepaper in each compartment. Lilly\n\tcarefully files the betting slips.", "AN ANGLE on Lilly looking out at the tote board.\n\t\n\tEXT. TOTE BOARD - DAY", "AN ANGLE on a high-dollar betting window, as Lilly\n\tapproaches, taking bank-banded wads of bills from her bag.", "AN ANGLE on the Chrysler as Lilly opens the trunk, puts her\n\tbag inside.\n\t\n\tCLOSE UP, Lilly and the trunk. She takes betting tickets from", "AN ANGLE on Lilly, not satisfied. She turns and goes back.\n\t\n\tAN ANGLE at the betting window as Lilly arrives and makes\n\tmore bets.", "ROY\n\t Sure.\n\t\n\t LILLY\n\t The first day of the Delmar meet,", "EXT. RUIDOSO DOWNS - DAY\n\t\n\tLilly moves away from the betting window, tucking betting\n\ttickets into her bag.", "notebook at the ready. The racetrack is visible in the b.g.\n\t\n\t LILLY\n\t I'm done here. Do I come back to", "A clean anonymous Holiday Inn. Lilly, dressed for the track,\n\tsits at the round table under the swag light, sorting through\n\ther business purse. There's a folded newspaper on the table.", "AN ANGLE on Lilly, frowning at the tote board. She carries a\n\tlarge heavy shoulder-bag, which she opens, looking in it as\n\tthough it were a file drawer.", "LILLY \n\t And to survive, my way, I need\n\t money.\n\t Bobo knows about the stash in the", "Lilly.\n\t\n\tShe looks at him, attentive without hope.\n\t\n\t ROY", "This is Lilly making the best of the situation. She listens a\n\tbit more, GRUNTS a farewell, hangs up, moves to her car.", "AN ANGLE on Myra, on a different level, watching Lilly.\n\t\n\tAN ANGLE on Lilly at the betting windows.", "Lilly drives, holding herself together.\n\t\n\tEXT. HOTEL DURANDO - DAY", "SIMULTANEOUSLY:\n\t\n\tSCENE ONE: Lilly enters the track.\n\t\n\tSCENE TWO: Roy enters the bar.", "LILLY \n\t Fine.\n\t\n\tShe starts to fill in the registration card.", "works, picks up the case.\n\t\n\t ROY (O.S.)\n\t Hello, Lilly.", "LILLY\n\t She was in her nightgown, you know,\n\t the old grifter's dodge, nightgown" ], [ "Roy's place. Dark. SOUNDS of lock being picked. The door\n\topens, showing only blackness outside, Lilly enters and shuts\n\tthe door, then switches on the main light.", "Roy walks toward Lilly's room as the two thugs pass him, on\n\ttheir way out. Roy knocks on Lilly's door, waits, knocks\n\tagain.", "Roy, your mother's here.\n\t\n\tRoy, 10, comes reluctantly out to Lilly, sniffling and\n\trubbing his arm.", "ROY\n\t Sure I am. What made you turn up,\n\t after all these years?\n\t\n\t LILLY", "LILLY\n\t Oh! Roy! You scared me.\n\t\n\tRoy enters the room and shuts the door.", "from the motel. The door to Lilly's room is visible in b.g.\n\tRoy walks toward the street from Lilly's room.\n\t\n\t DRIVER", "HOLDS. SOUND of water running in sink. SOUND STOPS. Lilly\n\treappears. She does not again look toward Roy. She picks up", "works, picks up the case.\n\t\n\t ROY (O.S.)\n\t Hello, Lilly.", "AN ANGLE across the unmoving unconscious Roy toward the\n\tdoorway. The apartment door beyond the living room opens,\n\tthrowing light on Roy, who doesn't react. Lilly enters, in", "LILLY\n\t You, too, Roy.\n\t\n\tRoy finds this parting unsatisfactory, but has nothing to", "Roy turns his head, gives Lilly an ironic smile. Lilly waits,\n\tholding herself in.\n\t\n\t ROY", "back down. Roy watches her, unmoving, expressionless. Lilly\n\tfrowns, not quite looking at him.\n\t\n\t LILLY", "other bed sleeps through the scene.) Neither woman is yet\n\taware that Roy's awake. Lilly looks Myra up and down, with\n\tobvious contempt.", "LILLY \n\t A future. The only future I've got.\n\t\n\t ROY", "Lilly.\n\t\n\tShe looks at him, attentive without hope.\n\t\n\t ROY", "TWO SHOT, as Lilly gets to her feet and takes a step toward\n\thim. Roy's pressed back into his chair, trying to maintain a\n\tcold facade.", "TWO SHOT, as Lilly whirls around, terrified and then\n\trelieved. Roy stands in the open apartment doorway, blackness\n\tbehind him.", "ROY \n\t No. I mean, I don't believe it.\n\t Lilly is not a suicide. I know my", "ROY\n\t (bewildered)\n\t What?\n\t\n\tLilly leans back again, but this time her manner is", "LILLY\n\t (calm maternal advice)\n\t Get off the grift, Roy." ], [ "Roy's eyes open, he looks toward the voices.\n\t\n\t MYRA (O.S.)\n\t I'm Roy's friend.", "Roy doesn't like this; he's feeling pressured. Myra sees it,\n\tbut believes she's got him anyway, so she can let up. She\n\tpats his hand.", "Roy will not talk about this, with anyone. His response is\n\tcold, closing the subject.\n\t\n\t ROY\n\t Her job.", "Roy's, her door slamming behind her.\n\t\n\tINT. HOTEL ROOM - NIGHT", "Roy lies supine on the bed, semi-conscious, half-covered by a\n\tsheet. Myra, casual, not noticing his condition, leans her", "She hesitates, then stalks out, shutting the door.\n\t\n\tHearing the door close, Roy spins around in the wheelchair to", "Roy's place. Dark. SOUNDS of lock being picked. The door\n\topens, showing only blackness outside, Lilly enters and shuts\n\tthe door, then switches on the main light.", "Roy? He's always crying.\n\t\n\t CLERK\n\t (sympathetic to Roy)\n\t The kids beat him up, because his", "and one on the floor. She looks around at everything, awkward\n\tand embarrassed. But Roy hasn't said anything. And he's\n\tbetween her and the door.", "The women, startled, both move toward Roy, one on each side\n\tof the bed.", "Roy walks toward Lilly's room as the two thugs pass him, on\n\ttheir way out. Roy knocks on Lilly's door, waits, knocks\n\tagain.", "roper you'll ever see.\n\t\n\tRoy laughs, genuinely pleased by her and also tacitly letting\n\this questions drop.", "Roy, looking stunned, is among the deplaning passengers\n\tspreading out across the terminal. He's met by PIERSON, a\n\tplainclothes detective, and a uniformed COP.", "her raised arms. He settles down, becomes heavily calm.\n\t\n\t ROY \n\t That's why we wouldn't work", "ROY \n\t Why?\n\t\n\t LILLY (CONT'D)\n\t (faint smile)", "glowers at Roy instead.\n\t\n\t MYRA\n\t Get well soon.\n\t\n\t ROY", "ROY \n\t I've heard the name.\n\t\n\t MYRA \n\t It was beautiful. And getting", "LILLY\n\t Oh! Roy! You scared me.\n\t\n\tRoy enters the room and shuts the door.", "She stands, putting the attache case on the sofa next to\n\twhere she was sitting. Roy, with a faint smile, watches her\n\tleave the room.", "Roy turns his head, gives Lilly an ironic smile. Lilly waits,\n\tholding herself in.\n\t\n\t ROY" ], [ "LILLY \n\t And to survive, my way, I need\n\t money.\n\t Bobo knows about the stash in the", "This is Lilly making the best of the situation. She listens a\n\tbit more, GRUNTS a farewell, hangs up, moves to her car.", "ROY\n\t (bewildered)\n\t What?\n\t\n\tLilly leans back again, but this time her manner is", "The drunk's friend arrives and helps Lilly get the drunk to\n\this feet. The drunk is breathing now, but shaken. He looks at", "Lilly wrestles the rear seat out of position, reaches down\n\tinto the space under and behind it, and brings out a soft", "Lilly sits back, showing that relief again.\n\t\n\t LILLY \n\t It is, isn't it? And maybe it's a", "to get to him, how to get through him or around him. She\n\tsighs, licks her lips.\n\t\n\t LILLY", "LILLY\n\t She was in her nightgown, you know,\n\t the old grifter's dodge, nightgown", "him, then shrugs and lets him go. The drunk makes his way to\n\tLilly's table, leans on it.\n\t\n\t DRUNK", "(to the thugs)\n\t Take a walk.\n\t\n\tThe thugs leave the room as Lilly crosses to stand between US", "AN ANGLE on Lilly, frustrated, feeling the need to move, the\n\tpressure of pursuit. Her head turns back and forth, her body\n\tstarts false gestures. Finally, abruptly, she gets to her", "she HISSES. Then, slowly, she regains control.\n\t\n\tWIDE SHOT as Lilly gets to her feet. She seems dazed now,", "understand. The doctor hangs up, turns to Lilly.\n\t\n\t DOCTOR\n\t (lugubrious)", "throat with both hands, retching as he tries to inhale. Lilly\n\tlooks up at the astonished waitress.", "He hesitates. It hadn't occurred to him Lilly might try to\n\tpoison him or knock him out. He grins at her and takes a\n\tglass.", "ROY\n\t You always say that!\n\t\n\tLilly won't take him seriously, but she relents enough to", "INT. ROOM 131 - NIGHT\n\t\n\tA clean anonymous motel room, with two beds. Lilly enters,", "Lilly chances taking a step out onto the balcony. It's vital\n\tthat she encourage this forgive-and-forget dialogue.\n\t\n\t LILLY", "Lilly's white Chrysler is parked next to an open-air phone.\n\tTraffic whizzes by. Lilly talks on the phone, with pen and", "pulls a chair over so it's directly between Lilly and the\n\tdoor. He sits, looking at her with polite interest.\n\t\n\t ROY" ], [ "Myra, dressed expensively and fashionably, sits with\n\tGLOUCESTER HEBBING, a stocky businessman, sixtyish. Their\n\tmanner suggests intimacy.", "In gesturing, Myra \"accidentally\" loses the towel, then wraps\n\tit around herself again as the manager stares nervously away.\n\tShe smiles, knowing she's got him.", "TWO SHOT, Myra and a BUSINESSMAN, sitting across the way,\n\tgrinning at her. Myra registers him.", "Roy doesn't like this; he's feeling pressured. Myra sees it,\n\tbut believes she's got him anyway, so she can let up. She\n\tpats his hand.", "Myra sits in the client's chair, while at the desk sits the\n\tJEWELER, a pleasant but overweight man of 40, who studies a", "MYRA (V.O.) \n\t All over the southwest, you've got\n\t these businessmen, they were making\n\t money when everybody was making", "if she can borrow them for a minute. Men are always happy to\n\tdo Myra favors; the man gives her the binoculars. She looks\n\tat the field briefly, then turns and looks through the", "MYRA (V.O.)\n\t And now they're hurting. Everything\n\t they had was because of oil.", "INT. JEWELER'S OFFICE - DAY\n\t\n\tMyra sits as before. The jeweler enters with a check, which", "Myra slaps her hand to her breast; blood spurts between her\n\tfingers. In terror, she turns toward Hebbing, who stares at", "Sure.\n\t\n\tINT. HOTEL CORRIDOR - NIGHT\n\t\n\tA little drunk and happy, Roy and Myra come down the corridor", "Roy lies supine on the bed, semi-conscious, half-covered by a\n\tsheet. Myra, casual, not noticing his condition, leans her", "ROY \n\t Running your broker scam, you mean.\n\t\n\t MYRA\n\t (enthusiastic)", "She crosses to the door, pulls it open. The APARTMENT MANAGER\n\tenters; a sullen, nervous, heavyset man.\n\t\n\t MYRA", "you -- well, five hundred dollars.\n\t\n\tMyra expected -- and needed -- a lot more. She's worried,\n\ttense, but stuck. She nods.", "MYRA\n\t (suddenly evasive)\n\t He retired.\n\t\n\t ROY", "apparently-prosperous skyscrapers. Cole, a plausible rich\n\tbusinessman, happily greets Myra.\n\t\n\t COLE", "Myra's POV: Roy and the soldiers rolling the die for money.\n\t\n\tECU, Myra, absorbed, watching.", "locked. He crosses to the main door, looks out, cautiously\n\tcreeps from the room.\n\t\n\tMyra sits up.", "Cole ignores him, staring in frantic hatred at Myra.\n\t\n\t COLE \n\t You ruined me! You destroyed me!" ], [ "ROY \n\t And Myra's stuff?\n\t\n\t LILLY\n\t (scornful)", "ROY\n\t That's just Lilly's way.\n\t\n\t MYRA", "other bed sleeps through the scene.) Neither woman is yet\n\taware that Roy's awake. Lilly looks Myra up and down, with\n\tobvious contempt.", "Lilly has nothing but contempt for Myra. To be humiliated in\n\tfront of Myra -- and by her son -- is the worst thing that", "the similarity between herself and Myra, this could be Myra.)\n\t\n\t LILLY\n\t (hesitant)\n\t Roy?", "MYRA \n\t And you don't even know it.\n\t\n\tAngry again, Roy steps forward. She hastily steps outside,", "Roy lies supine on the bed, semi-conscious, half-covered by a\n\tsheet. Myra, casual, not noticing his condition, leans her", "MYRA\n\t Just wait.\n\t\n\tRoy enters the other cab, which drives away, as Lilly comes", "THREE SHOT, Myra and Lilly both leaning over to look down at\n\tRoy's sleepy face.\n\t\n\t MYRA", "Roy doesn't like this; he's feeling pressured. Myra sees it,\n\tbut believes she's got him anyway, so she can let up. She\n\tpats his hand.", "ROY \n\t No. I mean, I don't believe it.\n\t Lilly is not a suicide. I know my", "ROY \n\t I've heard the name.\n\t\n\t MYRA \n\t It was beautiful. And getting", "Myra moves one pace to the side, studying Lilly's face.\n\t\n\t MYRA\n\t Oh, of course, now that I see you", "MYRA\n\t (suddenly evasive)\n\t He retired.\n\t\n\t ROY", "ROY\n\t (bewildered)\n\t What?\n\t\n\tLilly leans back again, but this time her manner is", "LILLY\n\t Oh! Roy! You scared me.\n\t\n\tRoy enters the room and shuts the door.", "Myra stalks out. Acting as though Myra hadn't existed, Lilly\n\tputs her bag on the bed, takes mail from it.", "Roy's eyes open, he looks toward the voices.\n\t\n\t MYRA (O.S.)\n\t I'm Roy's friend.", "ROY \n\t Why?\n\t\n\t LILLY (CONT'D)\n\t (faint smile)", "Lilly makes a face, but no comment, at Myra's name, as she\n\tcloses the door.\n\t\n\t LILLY" ], [ "LILLY \n\t And to survive, my way, I need\n\t money.\n\t Bobo knows about the stash in the", "and the view, followed by Bobo, neither looking out. Lilly\n\tturns to Bobo, who abruptly punches her hard in the stomach.\n\tShe falls to the floor.", "BOBO (CONT'D)\n\t While you put those in the towel.\n\t\n\tLilly's very scared. She drops to her knees, spreads the", "Bobo gets into the passenger seat, while Lilly nods\n\tconvulsive agreement and hurries around to get behind the\n\twheel. The car jolts forward, then smooths, and heads for the", "Lilly appears in the doorway, wearing a too-large man's\n\traincoat. Bobo doesn't seem to notice her at first, then nods\n\tto her.", "Lilly takes the second picture from the wall, puts it face\n\tdown on the coffee table, opens the back, transfers the money\n\tto the case. She closes the case, attaches the one clasp that", "The door opens and Lilly enters, followed by Bobo. The thugs\n\timmediately rise and switch off the TV.\n\t\n\t BOBO", "The car full of money. He's --\n\t Lilly?\n\t\n\tINT. MOTEL ROOM - NIGHT", "he doesn't steal a little, he's\n\t steeling big.\n\t\n\t BOBO \n\t You know it, Lilly.", "ECU, Lilly's bag, compartmented, with stacks of money, small\n\tenvelopes and notes on notepaper in each compartment. Lilly\n\tcarefully files the betting slips.", "the back, lifts off the back, and reveals stacks of money\n\thidden inside. He takes two wads of money out, counting them,\n\tputting them on the coffee table, then fits the back in", "ANOTHER ANGLE as Bobo steps across her and goes over to close\n\tthe drapes over the view. Lilly sits up, watching him,\n\twaiting obediently. Bobo looks at her.", "Lilly wrestles the rear seat out of position, reaches down\n\tinto the space under and behind it, and brings out a soft", "the supermarket bag. He takes out and lights a cigar. Lilly\n\tcomes back with a large white bath towel.\n\t\n\t BOBO (CONT'D)", "TWO SHOT, closer, as Lilly turns, bending toward the oranges,\n\tand Bobo picks up his cigar, then lifts a foot and kicks her", "Lilly's eyes briefly close, her shoulders sag. Then she goes\n\tback to the silent alert person she'd been. Bobo nods.\n\t\n\t BOBO", "AN ANGLE on Bobo, catching a bad smell, looking back down\n\tbehind himself at Lilly's body. This is the result he wanted,", "Lilly leaves the balcony. Bobo eats more orange, looking out\n\tat the ocean. His expression is stern but calm.\n\t\n\tINT. CHRYSLER - DAY", "LILLY\n\t I never fucked up before, Bobo.\n\t\n\t BOBO\n\t You expect me to buy this?", "LILLY \n\t I will. So long, Bobo." ], [ "Roy's room. He has one of the clown pictures face down on the\n\tcoffee table. He takes money from his jacket pockets, crams", "INT. BEDROOM - DAY\n\t\n\tAgain, anonymous hotel furniture. Roy and Myra naked in bed,", "Roy, looking stunned, is among the deplaning passengers\n\tspreading out across the terminal. He's met by PIERSON, a\n\tplainclothes detective, and a uniformed COP.", "Roy's, her door slamming behind her.\n\t\n\tINT. HOTEL ROOM - NIGHT", "ROY \n\t No, its -- Why did she--?\n\t\n\tHe forces himself to look at the body again, his own face", "SHILL beside him, Roy facing the dealer, a ROPER next to Roy.\n\tOn a briefcase on the dealer's lap are three cards, face up:", "Roy lies supine on the bed, semi-conscious, half-covered by a\n\tsheet. Myra, casual, not noticing his condition, leans her", "feet, looks at Roy, looks away, picks up the attache case.\n\t\n\tCU, Roy, alert. He won't let her reach the door.", "Roy walks toward Lilly's room as the two thugs pass him, on\n\ttheir way out. Roy knocks on Lilly's door, waits, knocks\n\tagain.", "INT. HOTEL ROOM - DAY\n\t\n\tExpensive room. Cole, naked, expression haunted and crazed,", "INT. HOTEL ROOM - NIGHT\n\t\n\tOnce he's alone, Roy stops trying to look like a good sport.", "from the motel. The door to Lilly's room is visible in b.g.\n\tRoy walks toward the street from Lilly's room.\n\t\n\t DRIVER", "look into the room. Phone RINGS. At last, he goes back into\n\tthe room.\n\t\n\tINT. HOTEL ROOM - NIGHT", "You stay down real good.\n\t\n\t ROY\n\t One of my talents.\n\t\n\t BLONDE", "Roy?\n\t\n\tINT. OFFICE - NIGHT\n\t\n\tIrv the accountant's office in Baltimore. He looks secretive", "gray 'A' can be seen on the back of one of the non-crimped\n\tcards. Roy's hand reaches out and flips it over. It's the ace\n\tof spades.", "INT. BEDROOM - DAY\n\t\n\tAN ANGLE across Roy toward the doorway. Roy, eyes closed,", "INT. BATHROOM - DAY\n\t\n\tA small crowded old-fashioned bathroom. Roy, shirt open and", "ROY \n\t Not that it matters.\n\t (looks out)\n\t This is the morgue?", "Roy's place. Dark. SOUNDS of lock being picked. The door\n\topens, showing only blackness outside, Lilly enters and shuts\n\tthe door, then switches on the main light." ], [ "picks up the attache case. Roy, lifting the glass to drink,\n\tturns forward again as Lilly spins forward, swinging the\n\tattache case at his head with all her might. The case crashes", "He hesitates. It hadn't occurred to him Lilly might try to\n\tpoison him or knock him out. He grins at her and takes a\n\tglass.", "upward, straight-arm, the gun moving up OUT OF FRAME. SOUND\n\tof shot. Blood sprays Lilly's face. Myra's body drops down", "Lilly has nothing but contempt for Myra. To be humiliated in\n\tfront of Myra -- and by her son -- is the worst thing that", "towel, swings it forward, lets it drop open. Oranges roll on\n\tthe floor. Lilly stares, wide-eyed, recognizing reprieve.", "Myra stalks out. Acting as though Myra hadn't existed, Lilly\n\tputs her bag on the bed, takes mail from it.", "LILLY (CONT'D)\n\t I shouldn't have hit him that hard.\n\t I guess I don't know my own\n\t strength.", "Glass will cut glass, Mrs. Langtry.\n\t Do you know where it was purchased?\n\t\n\tINT. HOTEL ROOM - DAY", "down. Her hands abruptly clamp on Lilly's throat. QUICK CUT.\n\t\n\tEXT. PHOENIX AIRPORT - DAY", "and the view, followed by Bobo, neither looking out. Lilly\n\tturns to Bobo, who abruptly punches her hard in the stomach.\n\tShe falls to the floor.", "Myra slaps her hand to her breast; blood spurts between her\n\tfingers. In terror, she turns toward Hebbing, who stares at", "already dying. Blood spurts less forcefully. His hands fall\n\tto his sides, eyes stare upward, mouth still moves slightly.\n\tLilly, shoving money away with her hands now, stares at him,", "TWO SHOT, as Lilly whirls around, terrified and then\n\trelieved. Roy stands in the open apartment doorway, blackness\n\tbehind him.", "MYRA'S POV: Foreshortened through the binoculars, Lilly opens\n\tthe Chrysler's trunk, stashes money.", "Lilly appears in the doorway, wearing a too-large man's\n\traincoat. Bobo doesn't seem to notice her at first, then nods\n\tto her.", "FRAME, abruptly clamp on Lilly's throat. Lilly's eyes pop\n\topen wide, staring, her mouth stretches open. Myra's arms are\n\tlocked straight, pressing her weight down onto her hands", "AN ANGLE beside Lilly, inside the car. From the seat beside\n\ther she picks up Myra's large dangly earrings and fixes them", "Roy walks toward Lilly's room as the two thugs pass him, on\n\ttheir way out. Roy knocks on Lilly's door, waits, knocks\n\tagain.", "Go away, Lilly. Go away.\n\t\n\tRoy's eyes close. He looks dead. SLOW FADE.", "sort of accident. He's had an\n\t internal hemorrhage, he's bleeding\n\t to death inside.\n\t\n\t LILLY" ], [ "Lilly's Chrysler jounces out to the street, moving too fast,\n\tmaking the turn, racing away. CAMERA PANS to Myra's Cadillac,", "and the view, followed by Bobo, neither looking out. Lilly\n\tturns to Bobo, who abruptly punches her hard in the stomach.\n\tShe falls to the floor.", "Lilly has nothing but contempt for Myra. To be humiliated in\n\tfront of Myra -- and by her son -- is the worst thing that", "down. Her hands abruptly clamp on Lilly's throat. QUICK CUT.\n\t\n\tEXT. PHOENIX AIRPORT - DAY", "EXT. RUIDOSO DOWNS - DAY\n\t\n\tLilly moves away from the betting window, tucking betting\n\ttickets into her bag.", "This is Lilly making the best of the situation. She listens a\n\tbit more, GRUNTS a farewell, hangs up, moves to her car.", "several lanes of heavy Los Angeles-bound traffic. LONG BEAT.\n\tHundreds of cars rush by. CAMERA PANS with Lilly's white", "AN ANGLE on Lilly looking out at the tote board.\n\t\n\tEXT. TOTE BOARD - DAY", "SIMULTANEOUSLY:\n\t\n\tSCENE ONE: Lilly enters the track.\n\t\n\tSCENE TWO: Roy enters the bar.", "AN ANGLE on the Chrysler as Lilly opens the trunk, puts her\n\tbag inside.\n\t\n\tCLOSE UP, Lilly and the trunk. She takes betting tickets from", "Lilly drives, holding herself together.\n\t\n\tEXT. HOTEL DURANDO - DAY", "from the table, leaving their betting tickets behind. Lilly\n\tpasses by, smoothly and casually scoops up the tickets, moves\n\ton along a row of tables, and there finding more tickets.", "Lilly's white Chrysler is parked next to an open-air phone.\n\tTraffic whizzes by. Lilly talks on the phone, with pen and", "ECU, wads of bills on the floor, getting bloody.\n\t\n\tCU, Lilly, in agony, but looking down, kicking.", "LILLY (CONT'D)\n\t I shouldn't have hit him that hard.\n\t I guess I don't know my own\n\t strength.", "He hesitates. It hadn't occurred to him Lilly might try to\n\tpoison him or knock him out. He grins at her and takes a\n\tglass.", "AN ANGLE on Lilly, not satisfied. She turns and goes back.\n\t\n\tAN ANGLE at the betting window as Lilly arrives and makes\n\tmore bets.", "waitress to solve the problem, but the waitress stands there\n\twith the coffee pot, looking helpless. The drunk bends to\n\tslide onto the seat. Lilly, exasperated, rabbit punches him", "Lilly.\n\t\n\tShe looks at him, attentive without hope.\n\t\n\t ROY", "notebook at the ready. The racetrack is visible in the b.g.\n\t\n\t LILLY\n\t I'm done here. Do I come back to" ], [ "LILLY\n\t Oh! Roy! You scared me.\n\t\n\tRoy enters the room and shuts the door.", "Lilly.\n\t\n\t ROY\n\t (doesn't get it) )\n\t What?", "works, picks up the case.\n\t\n\t ROY (O.S.)\n\t Hello, Lilly.", "Roy walks toward Lilly's room as the two thugs pass him, on\n\ttheir way out. Roy knocks on Lilly's door, waits, knocks\n\tagain.", "from the motel. The door to Lilly's room is visible in b.g.\n\tRoy walks toward the street from Lilly's room.\n\t\n\t DRIVER", "LILLY\n\t You, too, Roy.\n\t\n\tRoy finds this parting unsatisfactory, but has nothing to", "LILLY\n\t (calm maternal advice)\n\t Get off the grift, Roy.", "LILLY \n\t A future. The only future I've got.\n\t\n\t ROY", "ROY\n\t (bewildered)\n\t What?\n\t\n\tLilly leans back again, but this time her manner is", "ROY\n\t (tossing It away)\n\t Oh, yeah?\n\t (very casual, to Lilly)\n\t Thanks.", "ROY \n\t No. I mean, I don't believe it.\n\t Lilly is not a suicide. I know my", "Roy's place. Dark. SOUNDS of lock being picked. The door\n\topens, showing only blackness outside, Lilly enters and shuts\n\tthe door, then switches on the main light.", "ROY \n\t Lilly, I've got a couple things to\n\t think about. Well, kind of job", "ROY \n\t You must have some money.\n\t\n\t LILLY\n\t Just a few bucks.", "ROY \n\t Why?\n\t\n\t LILLY (CONT'D)\n\t (faint smile)", "Roy turns his head, gives Lilly an ironic smile. Lilly waits,\n\tholding herself in.\n\t\n\t ROY", "Lilly.\n\t\n\tShe looks at him, attentive without hope.\n\t\n\t ROY", "pulls a chair over so it's directly between Lilly and the\n\tdoor. He sits, looking at her with polite interest.\n\t\n\t ROY", "are.\n\t\n\tTWO SHOT. Lilly leans forward toward Roy, inviting him.\n\t\n\t LILLY", "ROY\n\t That's just Lilly's way.\n\t\n\t MYRA" ], [ "LILLY \n\t A bad mother. By any standards.\n\t I've thought about it, you know,\n\t from your side, since then. I know", "Lilly sits back, showing that relief again.\n\t\n\t LILLY \n\t It is, isn't it? And maybe it's a", "Lilly has nothing but contempt for Myra. To be humiliated in\n\tfront of Myra -- and by her son -- is the worst thing that", "It's time for Lilly to show tough, and she knows it.\n\t\n\t LILLY", "ROY \n\t No. I mean, I don't believe it.\n\t Lilly is not a suicide. I know my", "she HISSES. Then, slowly, she regains control.\n\t\n\tWIDE SHOT as Lilly gets to her feet. She seems dazed now,", "LILLY \n\t And to survive, my way, I need\n\t money.\n\t Bobo knows about the stash in the", "Lilly.\n\t\n\tShe looks at him, attentive without hope.\n\t\n\t ROY", "understand. The doctor hangs up, turns to Lilly.\n\t\n\t DOCTOR\n\t (lugubrious)", "LILLY \n\t A future. The only future I've got.\n\t\n\t ROY", "CU, Lilly, almost fainting with relief.\n\t\n\tWIDE SHOT. Lilly looks at the other picture, looks again at", "could happen to her. She makes as dignified an exit as she\n\tcan.\n\t\n\t LILLY", "her in seven years!\n\t\n\tLilly enters, smiling in self-confidence. A large ugly burn\n\tis on the back of her right hand.", "This is Lilly making the best of the situation. She listens a\n\tbit more, GRUNTS a farewell, hangs up, moves to her car.", "down. Her hands abruptly clamp on Lilly's throat. QUICK CUT.\n\t\n\tEXT. PHOENIX AIRPORT - DAY", "The drunk's friend arrives and helps Lilly get the drunk to\n\this feet. The drunk is breathing now, but shaken. He looks at", "ROY\n\t (bewildered)\n\t What?\n\t\n\tLilly leans back again, but this time her manner is", "LILLY\n\t (startled)\n\t My God!\n\t\n\tShe turns, hurries back to the living room, looks around for", "money for my own good! How very\n\t motherly of you, Lilly.\n\t\n\tOnce again, Lilly drops back against the sofa back. Another", "She holds up her burned hand, showing it to him.\n\t\n\t LILLY\n\t You asked me about this. You really" ], [ "ROY \n\t No, its -- Why did she--?\n\t\n\tHe forces himself to look at the body again, his own face", "Roy lies supine on the bed, semi-conscious, half-covered by a\n\tsheet. Myra, casual, not noticing his condition, leans her", "MYRA\n\t (reluctant)\n\t Well, no, Roy. Your mother found\n\t you.", "ROY\n\t (hoarse)\n\t What's that all about? Of course\n\t you're my mother. Of course you", "all right. It really is your\n\t mother, Mister Dillon.\n\t\n\t ROY", "ROY\n\t You're dead, Lilly, it worked.\n\t\n\t LILLY", "ROY \n\t Not that it matters.\n\t (looks out)\n\t This is the morgue?", "Roy, looking stunned, is among the deplaning passengers\n\tspreading out across the terminal. He's met by PIERSON, a\n\tplainclothes detective, and a uniformed COP.", "his mother makes her uncomfortable.\n\t\n\t MYRA\n\t Roy... Your mom saved your life.", "Do you have any particular reason\n\t to say that?\n\t\n\t ROY \n\t My mother... Well, I guess it", "MYRA (O.S.)\n\t No, really, you're Roy's mother?\n\t That's impossible!", "Go away, Lilly. Go away.\n\t\n\tRoy's eyes close. He looks dead. SLOW FADE.", "ROY\n\t (truly astonished)\n\t Mama!\n\t\n\t MYRA", "ROY \n\t No. I mean, I don't believe it.\n\t Lilly is not a suicide. I know my", "Roy will not talk about this, with anyone. His response is\n\tcold, closing the subject.\n\t\n\t ROY\n\t Her job.", "TWO SHOT, as Lilly whirls around, terrified and then\n\trelieved. Roy stands in the open apartment doorway, blackness\n\tbehind him.", "ROY \n\t Oh, Jesus.\n\t\n\t PIERSON \n\t No question, huh?", "Roy, your mother's here.\n\t\n\tRoy, 10, comes reluctantly out to Lilly, sniffling and\n\trubbing his arm.", "Perk, remember?\n\t\n\t ROY \n\t Okay, fine. Perk, the truth is, I", "very cold look. He knows, and Roy knows he knows. Roy tries\n\tan innocent smile, which doesn't work. Roy moves." ], [ "Roy doesn't like this; he's feeling pressured. Myra sees it,\n\tbut believes she's got him anyway, so she can let up. She\n\tpats his hand.", "MYRA \n\t And you don't even know it.\n\t\n\tAngry again, Roy steps forward. She hastily steps outside,", "Myra looks back at Roy. Her expression makes it clear she\n\tisn't going to tell him any more than she already has.", "Second time I gave it to you.\n\t\n\tRoy gives her a cold smile, then turns to Myra for the ironic\n\texplanation.", "ROY \n\t What I say is, no. We don't do\n\t partners.\n\t\n\t MYRA (CONT'D)", "glowers at Roy instead.\n\t\n\t MYRA\n\t Get well soon.\n\t\n\t ROY", "ROY \n\t And Myra's stuff?\n\t\n\t LILLY\n\t (scornful)", "Cole ignores him, staring in frantic hatred at Myra.\n\t\n\t COLE \n\t You ruined me! You destroyed me!", "Roy lies supine on the bed, semi-conscious, half-covered by a\n\tsheet. Myra, casual, not noticing his condition, leans her", "MYRA \n\t No! Because I --\n\t\n\t ROY\n\t (pointing at her)", "ROY\n\t She didn't see you, in other words.\n\t\n\t MYRA \n\t I'm not trying to make trouble,", "INT. BEDROOM - DAY\n\t\n\tAgain, anonymous hotel furniture. Roy and Myra naked in bed,", "other bed sleeps through the scene.) Neither woman is yet\n\taware that Roy's awake. Lilly looks Myra up and down, with\n\tobvious contempt.", "Roy's eyes open, he looks toward the voices.\n\t\n\t MYRA (O.S.)\n\t I'm Roy's friend.", "Myra comes out of the cab. She's feeling testy. Roy's in a\n\tgood mood and ignores her bad temper.\n\t\n\t MYRA", "MYRA (CONT'D)\n\t Gangway!\n\t\n\tRoy steps back, holding his door open.", "ROY \n\t I just bet you are, too. And now\n\t you're trying to rope me.\n\t\n\t MYRA", "AN ANGLE directly at the door as Roy opens it, showing Myra's\n\tdoor open across the way, Myra standing in her doorway naked.\n\tShe waves at him to move over.", "his mother makes her uncomfortable.\n\t\n\t MYRA\n\t Roy... Your mom saved your life.", "Sure.\n\t\n\tINT. HOTEL CORRIDOR - NIGHT\n\t\n\tA little drunk and happy, Roy and Myra come down the corridor" ], [ "LILLY\n\t (calm maternal advice)\n\t Get off the grift, Roy.", "ROY \n\t No. I mean, I don't believe it.\n\t Lilly is not a suicide. I know my", "LILLY\n\t You, too, Roy.\n\t\n\tRoy finds this parting unsatisfactory, but has nothing to", "ROY \n\t Why?\n\t\n\t LILLY (CONT'D)\n\t (faint smile)", "ROY\n\t (bewildered)\n\t What?\n\t\n\tLilly leans back again, but this time her manner is", "ROY\n\t No.\n\t\n\tLilly sits back again, brooding at Roy, trying to think how", "ROY\n\t You always say that!\n\t\n\tLilly won't take him seriously, but she relents enough to", "TWO SHOT, as Lilly gets to her feet and takes a step toward\n\thim. Roy's pressed back into his chair, trying to maintain a\n\tcold facade.", "Go away, Lilly. Go away.\n\t\n\tRoy's eyes close. He looks dead. SLOW FADE.", "Roy turns his head, gives Lilly an ironic smile. Lilly waits,\n\tholding herself in.\n\t\n\t ROY", "ROY\n\t (tossing It away)\n\t Oh, yeah?\n\t (very casual, to Lilly)\n\t Thanks.", "ROY\n\t That's just Lilly's way.\n\t\n\t MYRA", "Lilly.\n\t\n\t ROY\n\t (doesn't get it) )\n\t What?", "throat with both hands, retching as he tries to inhale. Lilly\n\tlooks up at the astonished waitress.", "ROY \n\t And Myra's stuff?\n\t\n\t LILLY\n\t (scornful)", "LILLY \n\t A future. The only future I've got.\n\t\n\t ROY", "back down. Roy watches her, unmoving, expressionless. Lilly\n\tfrowns, not quite looking at him.\n\t\n\t LILLY", "Roy walks toward Lilly's room as the two thugs pass him, on\n\ttheir way out. Roy knocks on Lilly's door, waits, knocks\n\tagain.", "(there's no food)\n\t Hah.\n\t\n\tLilly gives him a jaundiced look, walks Roy to the stairs and", "pulls a chair over so it's directly between Lilly and the\n\tdoor. He sits, looking at her with polite interest.\n\t\n\t ROY" ], [ "understand. The doctor hangs up, turns to Lilly.\n\t\n\t DOCTOR\n\t (lugubrious)", "The drunk's friend arrives and helps Lilly get the drunk to\n\this feet. The drunk is breathing now, but shaken. He looks at", "Go away, Lilly. Go away.\n\t\n\tRoy's eyes close. He looks dead. SLOW FADE.", "ROY\n\t You're dead, Lilly, it worked.\n\t\n\t LILLY", "ROY \n\t No. I mean, I don't believe it.\n\t Lilly is not a suicide. I know my", "the similarity between herself and Myra, this could be Myra.)\n\t\n\t LILLY\n\t (hesitant)\n\t Roy?", "AN ANGLE on Bobo, catching a bad smell, looking back down\n\tbehind himself at Lilly's body. This is the result he wanted,", "down. Her hands abruptly clamp on Lilly's throat. QUICK CUT.\n\t\n\tEXT. PHOENIX AIRPORT - DAY", "Lilly.\n\t\n\tShe looks at him, attentive without hope.\n\t\n\t ROY", "CU, Lilly, almost fainting with relief.\n\t\n\tWIDE SHOT. Lilly looks at the other picture, looks again at", "upward, straight-arm, the gun moving up OUT OF FRAME. SOUND\n\tof shot. Blood sprays Lilly's face. Myra's body drops down", "LILLY\n\t (startled)\n\t My God!\n\t\n\tShe turns, hurries back to the living room, looks around for", "throat with both hands, retching as he tries to inhale. Lilly\n\tlooks up at the astonished waitress.", "ROY\n\t (bewildered)\n\t What?\n\t\n\tLilly leans back again, but this time her manner is", "LILLY\n\t She was in her nightgown, you know,\n\t the old grifter's dodge, nightgown", "on the sleeping form of Lilly, she puts the empty ice bucket\n\ton the empty bed, then moves closer to Lilly. CAMERA PANS in,", "and the view, followed by Bobo, neither looking out. Lilly\n\tturns to Bobo, who abruptly punches her hard in the stomach.\n\tShe falls to the floor.", "Lilly sits back, showing that relief again.\n\t\n\t LILLY \n\t It is, isn't it? And maybe it's a", "the door, opens it. Light bathes Lilly. The doctor steps back\n\tacross the threshold, waiting for the ambulance. He looks\n\tback at Lilly, who stares at him.", "works, picks up the case.\n\t\n\t ROY (O.S.)\n\t Hello, Lilly." ], [ "are.\n\t\n\tTWO SHOT. Lilly leans forward toward Roy, inviting him.\n\t\n\t LILLY", "ROY\n\t (bewildered)\n\t What?\n\t\n\tLilly leans back again, but this time her manner is", "Roy turns his head, gives Lilly an ironic smile. Lilly waits,\n\tholding herself in.\n\t\n\t ROY", "LILLY\n\t Oh! Roy! You scared me.\n\t\n\tRoy enters the room and shuts the door.", "TWO SHOT, as Lilly gets to her feet and takes a step toward\n\thim. Roy's pressed back into his chair, trying to maintain a\n\tcold facade.", "pulls a chair over so it's directly between Lilly and the\n\tdoor. He sits, looking at her with polite interest.\n\t\n\t ROY", "other bed sleeps through the scene.) Neither woman is yet\n\taware that Roy's awake. Lilly looks Myra up and down, with\n\tobvious contempt.", "Roy walks toward Lilly's room as the two thugs pass him, on\n\ttheir way out. Roy knocks on Lilly's door, waits, knocks\n\tagain.", "ROY\n\t No.\n\t\n\tLilly sits back again, brooding at Roy, trying to think how", "Roy's place. Dark. SOUNDS of lock being picked. The door\n\topens, showing only blackness outside, Lilly enters and shuts\n\tthe door, then switches on the main light.", "ROY\n\t (tossing It away)\n\t Oh, yeah?\n\t (very casual, to Lilly)\n\t Thanks.", "ROY\n\t You always say that!\n\t\n\tLilly won't take him seriously, but she relents enough to", "INT. LIVING ROOM - NIGHT\n\t\n\tLilly enters with the tray, crosses to Roy, presents the\n\tglasses, speaks as he reaches for one.", "picks up the attache case. Roy, lifting the glass to drink,\n\tturns forward again as Lilly spins forward, swinging the\n\tattache case at his head with all her might. The case crashes", "ROY \n\t Why?\n\t\n\t LILLY (CONT'D)\n\t (faint smile)", "back down. Roy watches her, unmoving, expressionless. Lilly\n\tfrowns, not quite looking at him.\n\t\n\t LILLY", "LILLY\n\t You, too, Roy.\n\t\n\tRoy finds this parting unsatisfactory, but has nothing to", "LILLY\n\t Just for a minute.\n\t\n\tShe backs up, sits on the sofa, puts the case on her lap. Roy", "Lilly.\n\t\n\tShe looks at him, attentive without hope.\n\t\n\t ROY", "on the sleeping form of Lilly, she puts the empty ice bucket\n\ton the empty bed, then moves closer to Lilly. CAMERA PANS in," ], [ "he doesn't steal a little, he's\n\t steeling big.\n\t\n\t BOBO \n\t You know it, Lilly.", "LILLY \n\t And to survive, my way, I need\n\t money.\n\t Bobo knows about the stash in the", "Lilly takes the second picture from the wall, puts it face\n\tdown on the coffee table, opens the back, transfers the money\n\tto the case. She closes the case, attaches the one clasp that", "from the table, leaving their betting tickets behind. Lilly\n\tpasses by, smoothly and casually scoops up the tickets, moves\n\ton along a row of tables, and there finding more tickets.", "Lilly wrestles the rear seat out of position, reaches down\n\tinto the space under and behind it, and brings out a soft", "The car full of money. He's --\n\t Lilly?\n\t\n\tINT. MOTEL ROOM - NIGHT", "Lilly switches on the light as she enters the room. She looks\n\taround, crosses to the closet, goes through the stuff in\n\tthere, finds an old attache case on the shelf. She brings it", "understand. The doctor hangs up, turns to Lilly.\n\t\n\t DOCTOR\n\t (lugubrious)", "works, picks up the case.\n\t\n\t ROY (O.S.)\n\t Hello, Lilly.", "Roy's place. Dark. SOUNDS of lock being picked. The door\n\topens, showing only blackness outside, Lilly enters and shuts\n\tthe door, then switches on the main light.", "Lilly has nothing but contempt for Myra. To be humiliated in\n\tfront of Myra -- and by her son -- is the worst thing that", "LILLY\n\t I never fucked up before, Bobo.\n\t\n\t BOBO\n\t You expect me to buy this?", "LILLY\n\t She was in her nightgown, you know,\n\t the old grifter's dodge, nightgown", "ROY\n\t That's just Lilly's way.\n\t\n\t MYRA", "(to the thugs)\n\t Take a walk.\n\t\n\tThe thugs leave the room as Lilly crosses to stand between US", "LILLY\n\t Oh, well, you know. I just clip a\n\t buck here and a buck there. Not\n\t enough to notice.", "INT. ROOM 131 - NIGHT\n\t\n\tA clean anonymous motel room, with two beds. Lilly enters,", "Lilly.\n\t\n\tShe looks at him, attentive without hope.\n\t\n\t ROY", "Myra stalks out. Acting as though Myra hadn't existed, Lilly\n\tputs her bag on the bed, takes mail from it.", "and the view, followed by Bobo, neither looking out. Lilly\n\tturns to Bobo, who abruptly punches her hard in the stomach.\n\tShe falls to the floor." ], [ "LILLY\n\t Oh! Roy! You scared me.\n\t\n\tRoy enters the room and shuts the door.", "ROY\n\t (bewildered)\n\t What?\n\t\n\tLilly leans back again, but this time her manner is", "Roy turns his head, gives Lilly an ironic smile. Lilly waits,\n\tholding herself in.\n\t\n\t ROY", "pulls a chair over so it's directly between Lilly and the\n\tdoor. He sits, looking at her with polite interest.\n\t\n\t ROY", "TWO SHOT, as Lilly gets to her feet and takes a step toward\n\thim. Roy's pressed back into his chair, trying to maintain a\n\tcold facade.", "Lilly.\n\t\n\tShe looks at him, attentive without hope.\n\t\n\t ROY", "are.\n\t\n\tTWO SHOT. Lilly leans forward toward Roy, inviting him.\n\t\n\t LILLY", "Roy walks toward Lilly's room as the two thugs pass him, on\n\ttheir way out. Roy knocks on Lilly's door, waits, knocks\n\tagain.", "the door, opens it. Light bathes Lilly. The doctor steps back\n\tacross the threshold, waiting for the ambulance. He looks\n\tback at Lilly, who stares at him.", "back down. Roy watches her, unmoving, expressionless. Lilly\n\tfrowns, not quite looking at him.\n\t\n\t LILLY", "ROY \n\t No. I mean, I don't believe it.\n\t Lilly is not a suicide. I know my", "ECU, Lilly's feet kicking the bills away from the blood. \n\t\n\tTWO SHOT, as Lilly drops to her knees beside Roy, who's", "ROY\n\t You always say that!\n\t\n\tLilly won't take him seriously, but she relents enough to", "ROY \n\t Lilly, Jesus, what are you doing?\n\t\n\t LILLY\n\t Is there nothing I can do, Roy,", "works, picks up the case.\n\t\n\t ROY (O.S.)\n\t Hello, Lilly.", "TWO SHOT, as Lilly whirls around, terrified and then\n\trelieved. Roy stands in the open apartment doorway, blackness\n\tbehind him.", "LILLY\n\t Just for a minute.\n\t\n\tShe backs up, sits on the sofa, puts the case on her lap. Roy", "other bed sleeps through the scene.) Neither woman is yet\n\taware that Roy's awake. Lilly looks Myra up and down, with\n\tobvious contempt.", "ROY\n\t (tossing It away)\n\t Oh, yeah?\n\t (very casual, to Lilly)\n\t Thanks.", "LILLY\n\t You, too, Roy.\n\t\n\tRoy finds this parting unsatisfactory, but has nothing to" ] ]

[ "With what does Bobo burn Lilly's hand?", "What is the name of Roy's girlfriend?", "What type of game does Roy play with a group of sailors on the train?", "What was the name of the greedy oil investor Myra conned?", "What did Roy see on the body he identified in the motel room?", "Whose dead body was in the motel room?", "Whose neck was slashed by glass at the end?", "Who stole Roy's money at the end?", "What hue was the person wearing who drove off in Roy's car?", "What bookmaker does Lilly Dillon work for?", "Where does Lilly visit her son Roy who she didn't see in 8 years?", "Who is Roy's girlfriend?", "What does Lilly do to get out of late rent with her landlord?", "What greedy oil investor did Myra take advantage of?", "What does Myra say Roy did to Lilly?", "Where does Lilly hide stashes of money stolen from Bobo?", "Who does the FBI agent ask Roy to identify face down in a hotel room? ", "Who does Lilly unintentionally kill by swinging a suitcase with a glass slashing him?", "How is Lilly punished for missing a race with a big payout in La Jolla?", "What line of business do Lilly and Roy work in?", "When does Lilly redeem herself as a mother?", "How is it known that Roy lied when he identified the dead body as his mother to the FBI?", "What accusation does Myra make of Roy after he turns down her offer?", "Why does Lilly claim Roy literally does not have the stomach for the grift?", "Who was the corpse identified as Lilly?", "How does Lilly try to seduce Roy?", "Who has Lilly been stealing from over the years?", "How does Lilly show her concern for Roy when he's receiving medical assistance?" ]

[ [ "A lit cigar. ", "cigar" ], [ "Myra Langtry.", "Myra Langtry" ], [ "Rigged dice.", "Rigged dice game" ], [ "Gloucester Hebbing.", "Gloucester Hebbing" ], [ "There wasn't a cigar burn on the corpse's hand. ", "No burn on the hand " ], [ "Myra Langtry's body. ", "Myra's Langtry" ], [ "Roy's neck. ", "Roy" ], [ "His mother, Lilly Dillon. ", "Lilly" ], [ "The color red. ", "Red" ], [ "Bobo Justus", "Bobo Justus" ], [ "Los Angeles", "in Los Angeles " ], [ "Myra Langtry", "Myra Langtry" ], [ "She offers sex to forget the rent", "She uses her sex appeal " ], [ "Gloucester Hebbing", "Gloucesterb Hebbing " ], [ "Myra accuses Roy of having an incestuous interest in Lilly", "Have an incestuous interest in her" ], [ "in her car trunk", "The trunk of her car " ], [ "Lilly", "Lilly's body" ], [ "Roy", "Her son, Roy." ], [ "Bobo burns her hand with a cigar?", "She was burned with a cigar on her hand " ], [ "They are grifters.", "Conartists" ], [ "She doesn't.", "She doesn't." ], [ "The corpse did not have a cigar burn to the hand.", "No cigar burn." ], [ "An incestuous interest in Lilly.", "Myra accuses Roy of having an incentuous flame for his mother." ], [ "She is being sarcastic in response to his internal bleeding after being punched in the stomach.", "because they beat him in the stomach" ], [ "Myra Langtry.", "Myra" ], [ "She tells Roy he is not her son.", "By saying he's not her son " ], [ "Bobo Justus.", "Bobo" ], [ "She threatens to kill the doctor if Roy dies.", "She threatens the doctors" ] ]

[ [ "Chuck drapes his neck with the stole he used in slaughtering the hog. Her face goes empty. He gets his razor strop from the shaving basin. She shrinks back in the corner. He looks at her for a moment, then leaves the room.", "</p><p><p ID=\"act\">Bill shrugs, then hits him again, knocking him unconscious, when he reaches for a gun. Abby calls Ursula and they take off running, Bill stopping only to collect some of their laundry off a clothesline.", "Again he throws her aside, and again she keeps after him, desperate to prevent any harm coming to Bill. Finally he picks her up and drags her outside.", "Two POLICEMEN have appeared in the entryway talking with the LANDLADY. Bill edges out the back door and down the steps, as though they might be after him.\nHe walks briskly down the alley without looking back.", "Steve dies. Bullets kick up dust around him. He takes off running. One of the bullets has caught him in the shoulder.\n</p><p><p ID=\"slug\">7\tINT. SEWER", "She takes it back immediately, but he snatches it away from her and, after a brief, giggling scuffle, hops aboard the train, now picking up speed. Ursula runs along behind, cursing and throwing rocks at him.", "Abby looks at Bill, then nods okay. Ursula runs off. Bill opens the door, and she gets in.", "He reaches out to catch her. She breaks away and starts to run. He walks quickly after her, cutting off any escape toward the town.\n</p><p><P ID=\"speaker\">ABBY", "He touches his lips for a fraction of a second to hers, notices another car approaching down the road. He picks her up like a doll and carries her back to the Overland.", "Chuck walks towards him. Suddenly Bill turns and takes off running. Chuck swings at him with the lantern. Bill escapes behind the building wall of flame that springs up between them.", "Bill looks at Chuck's exposed back. Nobody would know. It could be made to seem like a hunting accident. He cocks the hammer of his shotgun. His heart pounds wildly. Chuck talks in a low voice to the dogs.", "Chuck moves in for the kill. Bill gets to his feet. He wants to run but fear makes his knees like water. Suddenly, they are face to face. Chuck swings at Bill with the stool but misses. Bill lifts the spoke above him and", "She withdraws with a shrug. She does not appear to relish \nthis duty. Bill watches her walk back to the buggy she \ncame down in. Benson waits beside it.U", "</p><p><p ID=\"act\">Bill runs through the night, still carrying his lantern. Chuck bears down on him. Abby chases along behind him, screaming for him to stop.", "He keeps running in a panic, not realizing the line is\nstaked to the shore. All at once, he jackknifes in the\nair. The stake twangs loose. The Police now spot him", "</p><p><p ID=\"slug\">13\tEXT. FREIGHT YARDS\n</p><p><p ID=\"act\">They hop a freight train.", "Ahead two MOUNTED POLICE surge into the river, blocking\nhis retreat.\nHe empties his shotgun at them and throws it away. They", "takes off running, though not without first collecting his\nrabbit.\nBenson, meanwhile, bounds down the hill to Chuck's side.\nHis left sleeve has been burned away. The flesh beneath", "</p><p><p ID=\"act\">Bill watches her run her finger slowly around the closed heart of a rose. Suddenly they both look at each other. They have heard the squeals, faint but unmistakable, of a hog being led to slaughter.", "Benson goes running out into the river ahead of the Police.\n</p><p><P ID=\"speaker\">BENSON\n<P ID=\"dia\">Leave him alone. I want him. Leave him alone." ], [ "She does not respond. He yanks the sheet off. She is wearing a nightgown. She looks up and frowns. This is the first time she has ever seen him this way.", "She takes it back immediately, but he snatches it away from her and, after a brief, giggling scuffle, hops aboard the train, now picking up speed. Ursula runs along behind, cursing and throwing rocks at him.", "She giggles her consent. He crushes her in a bear hug until she is just on the verge of passing out, then lets her go. She sinks to the grass, in a daze of sweet intoxication.", "He touches his lips for a fraction of a second to hers, notices another car approaching down the road. He picks her up like a doll and carries her back to the Overland.", "She hasn't really contradicted him. He leans forward as though to kiss her. She lets him. She wishes that she could give herself to him, but she doesn't know what is right. Then, a sudden impulse of panic, she gets up and backs away.", "Again he throws her aside, and again she keeps after him, desperate to prevent any harm coming to Bill. Finally he picks her up and drags her outside.", "Abby rolls her eyes at this improvisation. No sooner does Chuck turn his back than Bill's hand darts out to touch her breast. He snatches it away a moment before Chuck turns back.\nTogether they walk into the living room.", "</p><p><p ID=\"act\">She runs down an alley. A man steps out of the shadows--\nGeorge, the pilot. She throws herself in his arms. This", "She is cold to discourage false expectations in him--and because she feels that she at least owes Bill this. Chuck, however, assumes the fault must be his own. His naivete about women, and the world in general, protects", "</p><p><p ID=\"act\">That evening he watches her from behind as she climbs the stairs to join Chuck at their bedroom door. She nods goodnight, sensing the jealousy that is growing in him.", "She is comfortable with Chuck now. Apparently, he has lost his place in her heart. He wants to rush in and drag her away.\n</p><p><p ID=\"slug\">230\tEXT. BEDROOM WINDOW - NIGHT", "<P ID=\"dia\">Probably that's the first noise down there for thousands of years.\nShe speaks as though she had done it a favor. He puts his hand on hers. She presses it against her chest.", "She rushes up and embraces him, but her warmth just seems a tease to Bill. She is different. She looks different. The tutors and tailors Chuck has brought in over the winter have given her more polish. Her hair is nicely", "She waits to see what he will do. He gets up and after a short chase catches her. He holds her at arm's length for a moment, then kisses her.\n</p><p><P ID=\"speaker\">URSULA", "<P ID=\"dia\">And I let somebody like that get away from me. Redhead. Lost her to a guy named Ed. Just let it happen. Should've gone out there outside the city", "Bill watches Chuck help Abby into the buggy. She is laughing about something or other. His hand lingers for a moment on hers. She does not brush it aside, as once she might have, but to Bill's dismay, presses", "She hesitates a second, then slaps him as hard as she can. Blood glistens on his lip. He does not say a word in protest. She looks at the wound, horrified, then throws her arms tight around him.", "</p><p><p ID=\"act\">Chuck looks on. Something about her captivates hint, not so much her beauty--which only makes her seem beyond his reach--as the way she takes it utterly for granted.", "He throws his coat over Abby's head, picks her up by the waist and crashes through the flame. They have to shout to make themselves understood. The locusts roar like a cyclone.", "</p><p><p ID=\"act\">ABBY, a beautiful woman in her late twenties, attends to Bill's wounds in a big vaulted sewer. Her sister URSULA, a reckless girl of14, stands watch." ], [ "</p><p><p ID=\"act\">ABBY, a beautiful woman in her late twenties, attends to Bill's wounds in a big vaulted sewer. Her sister URSULA, a reckless girl of14, stands watch.", "Ursula, her face caked with a mask of river mud, jumps from the bushes with a shriek, scaring the wits out of her sister.", "Suddenly they look around. The chief domestic at the Belvedere, a churlish lady named MISS CARTER, stands above them with a salver of fruit and roast fowl.", "She rushes up and embraces him, but her warmth just seems a tease to Bill. She is different. She looks different. The tutors and tailors Chuck has brought in over the winter have given her more polish. Her hair is nicely", "She hasn't really contradicted him. He leans forward as though to kiss her. She lets him. She wishes that she could give herself to him, but she doesn't know what is right. Then, a sudden impulse of panic, she gets up and backs away.", "She takes it back immediately, but he snatches it away from her and, after a brief, giggling scuffle, hops aboard the train, now picking up speed. Ursula runs along behind, cursing and throwing rocks at him.", "Again he throws her aside, and again she keeps after him, desperate to prevent any harm coming to Bill. Finally he picks her up and drags her outside.", "She does not respond. He yanks the sheet off. She is wearing a nightgown. She looks up and frowns. This is the first time she has ever seen him this way.", "Abby takes the hat off and gives it to Ursula, who lately\nhas begun to take more trouble with her appearance, comb-\ning her hair free of its usual snarls. They laugh at their reflection", "Luckily they are interrupted as Ursula runs up, pointing over her shoulder. A pair of three-wing airplanes sputters into view low overhead. One seems to be having engine trouble.", "He nods at Miss Carter, who conspicuously lets the screen door clap shut as she goes back inside. She misses no opportunity to express her disdain for these newcomers.", "</p><p><p ID=\"act\">The other GIRLS stand in their nightgowns and wave good-\nbye, amazed at her boldness.\nShe slips off into the night.", "They are silent for a moment.\n</p><p><P ID=\"speaker\">CHUCKI\n<P ID=\"dia\">You seem close to your sister._", "CHUCK: The owner of a vast wheat ranch (\"bonanza\") in the Texas Panhandle.\nURSULA: Abby's younger sister, a reckless child of14.", "</p><p><p ID=\"act\">That evening he watches her from behind as she climbs the stairs to join Chuck at their bedroom door. She nods goodnight, sensing the jealousy that is growing in him.", "Bill watches Chuck help Abby into the buggy. She is laughing about something or other. His hand lingers for a moment on hers. She does not brush it aside, as once she might have, but to Bill's dismay, presses", "</p><p><p ID=\"act\">Bill watches her run her finger slowly around the closed heart of a rose. Suddenly they both look at each other. They have heard the squeals, faint but unmistakable, of a hog being led to slaughter.", "She hesitates a second, then slaps him as hard as she can. Blood glistens on his lip. He does not say a word in protest. She looks at the wound, horrified, then throws her arms tight around him.", "She withdraws with a shrug. She does not appear to relish \nthis duty. Bill watches her walk back to the buggy she \ncame down in. Benson waits beside it.U", "She is cold to discourage false expectations in him--and because she feels that she at least owes Bill this. Chuck, however, assumes the fault must be his own. His naivete about women, and the world in general, protects" ], [ "Abby, passing by, lifts her hat to wipe her face. As she does her hair falls out of the crown. Women are rare in the harvest fields. One so beautiful is unprecedented.", "A cloud of chaff rises over the field, melting the sun down to a cold red bulb.\nAbby is well turned out, in a boater and string tie, as though she were planning any moment to leave for a picnic.", "She waits to see what he will do. He gets up and after a short chase catches her. He holds her at arm's length for a moment, then kisses her.\n</p><p><P ID=\"speaker\">URSULA", "Their faces black with chaff, the hands fall out in silence. They shuffle across the field toward the cookhouse, keeping their feet close to the ground to avoid being spiked by the stubble.", "of a ship. He cuts her loose. The ropes fall at her feet. She is free. \nThey look at each other for a moment.\nThen, in a rush of compassion for them all, she throws", "</p><p><p ID=\"act\">Bill watches her run her finger slowly around the closed heart of a rose. Suddenly they both look at each other. They have heard the squeals, faint but unmistakable, of a hog being led to slaughter.", "She hasn't really contradicted him. He leans forward as though to kiss her. She lets him. She wishes that she could give herself to him, but she doesn't know what is right. Then, a sudden impulse of panic, she gets up and backs away.", "They stand and listen to the birds. There is a sense of the earth stirring back to life. Abby breathes in with a wild joy and hugs Chuck tightly by the waist.", "The harvesters itch madly as the chaff gets into their clothes. The shocks, full of briars, cut their hands; smut and rust make the cuts sting like fire. Nobody talks. From time to time they raise a chant.", "He touches his lips for a fraction of a second to hers, notices another car approaching down the road. He picks her up like a doll and carries her back to the Overland.", "He feels humiliated at not having a stronger excuse. But he loves her. He aches with love. He hoped their last fight was just another storm in the romance. Evidently it was more.", "The huge tractors start up with a bang. Despite Benson's warning a team of Percherons breaks free. Threshing, the separating of the wheat from the chaff, has begun.", "She giggles her consent. He crushes her in a bear hug until she is just on the verge of passing out, then lets her go. She sinks to the grass, in a daze of sweet intoxication.", "Chuck and Abby lead the dancing off, as though to celebrate their agreement. Their giant shadows dance with them. Soon the other harvesters join in.", "Bill watches Chuck help Abby into the buggy. She is laughing about something or other. His hand lingers for a moment on hers. She does not brush it aside, as once she might have, but to Bill's dismay, presses", "She hesitates a second, then slaps him as hard as she can. Blood glistens on his lip. He does not say a word in protest. She looks at the wound, horrified, then throws her arms tight around him.", "She takes it back immediately, but he snatches it away from her and, after a brief, giggling scuffle, hops aboard the train, now picking up speed. Ursula runs along behind, cursing and throwing rocks at him.", "<P ID=\"dia\">As individuals? Very seldom.\nShe kisses him lovingly.\n</p><p><p ID=\"slug\">29\tEXT. WHEAT FIELDS - DAWN", "Again he throws her aside, and again she keeps after him, desperate to prevent any harm coming to Bill. Finally he picks her up and drags her outside.", "</p><p><p ID=\"act\">The planes set their wheels in the furrows, rev their engines and wobble off into the sky. Ursula waves goodbye to George." ], [ "She hasn't really contradicted him. He leans forward as though to kiss her. She lets him. She wishes that she could give herself to him, but she doesn't know what is right. Then, a sudden impulse of panic, she gets up and backs away.", "Abby, passing by, lifts her hat to wipe her face. As she does her hair falls out of the crown. Women are rare in the harvest fields. One so beautiful is unprecedented.", "She waits to see what he will do. He gets up and after a short chase catches her. He holds her at arm's length for a moment, then kisses her.\n</p><p><P ID=\"speaker\">URSULA", "The plowing done, his father sows the seed. Poverty requires that for a harrow he drag a tree branch in back of his ox. Over his shoulder he carries a rifle.", "Chuck and Abby lead the dancing off, as though to celebrate their agreement. Their giant shadows dance with them. Soon the other harvesters join in.", "of a ship. He cuts her loose. The ropes fall at her feet. She is free. \nThey look at each other for a moment.\nThen, in a rush of compassion for them all, she throws", "They stand and listen to the birds. There is a sense of the earth stirring back to life. Abby breathes in with a wild joy and hugs Chuck tightly by the waist.", "She giggles her consent. He crushes her in a bear hug until she is just on the verge of passing out, then lets her go. She sinks to the grass, in a daze of sweet intoxication.", "Their faces black with chaff, the hands fall out in silence. They shuffle across the field toward the cookhouse, keeping their feet close to the ground to avoid being spiked by the stubble.", "The harvesters itch madly as the chaff gets into their clothes. The shocks, full of briars, cut their hands; smut and rust make the cuts sting like fire. Nobody talks. From time to time they raise a chant.", "She nods and draws her last stitch. Chuck musters his courage. It must be now or never.\n</p><p><P ID=\"speaker\">CHUCK", "Bill watches Chuck help Abby into the buggy. She is laughing about something or other. His hand lingers for a moment on hers. She does not brush it aside, as once she might have, but to Bill's dismay, presses", "</p><p><p ID=\"act\">The planes set their wheels in the furrows, rev their engines and wobble off into the sky. Ursula waves goodbye to George.", "A cloud of chaff rises over the field, melting the sun down to a cold red bulb.\nAbby is well turned out, in a boater and string tie, as though she were planning any moment to leave for a picnic.", "She throws a rock at him and runs off. He catches her, repenting of his meanness.\n</p><p><P ID=\"speaker\">BILL", "He feels humiliated at not having a stronger excuse. But he loves her. He aches with love. He hoped their last fight was just another storm in the romance. Evidently it was more.", "</p><p><p ID=\"act\">He looks around at his estate--his barn, his auto, his great house and his granary. None of them is any consolation now. Far a moment it seems to him as though he lived here in some time long past.", "</p><p><p ID=\"act\">Bill watches her run her finger slowly around the closed heart of a rose. Suddenly they both look at each other. They have heard the squeals, faint but unmistakable, of a hog being led to slaughter.", "</p><p><p ID=\"act\">Chuck walks out into the deep of his fields. The wheat, a warm dry gold, is almost ready to take in. He sits down and rests his head against a", "BENSON, a leathery man of fifty, bellows through a megaphone. In the background a NEWCOMER to the harvest talks with a VETERAN.\n</p><p><P ID=\"speaker\">BENSON" ], [ "</p><p><p ID=\"act\">The other GIRLS stand in their nightgowns and wave good-\nbye, amazed at her boldness.\nShe slips off into the night.", "She takes it back immediately, but he snatches it away from her and, after a brief, giggling scuffle, hops aboard the train, now picking up speed. Ursula runs along behind, cursing and throwing rocks at him.", "Two POLICEMEN have appeared in the entryway talking with the LANDLADY. Bill edges out the back door and down the steps, as though they might be after him.\nHe walks briskly down the alley without looking back.", "He reaches out to catch her. She breaks away and starts to run. He walks quickly after her, cutting off any escape toward the town.\n</p><p><P ID=\"speaker\">ABBY", "</p><p><p ID=\"act\">They roar off through the burnt grass of the prairie.\nAbby waves goodbye.", "She withdraws with a shrug. She does not appear to relish \nthis duty. Bill watches her walk back to the buggy she \ncame down in. Benson waits beside it.U", "</p><p><p ID=\"act\">They have run back to the Belvedere. It seems they are safe until Chuck appears on the porch, yawning and stretching. Bill drops to the ground while Abby goes ahead.", "Again he throws her aside, and again she keeps after him, desperate to prevent any harm coming to Bill. Finally he picks her up and drags her outside.", "Chuck walks towards him. Suddenly Bill turns and takes off running. Chuck swings at him with the lantern. Bill escapes behind the building wall of flame that springs up between them.", "time to get away, but she must hurry. She bolts", "YOUNG GIRL who has run away from home. He asks", "Abby runs into the woods.U\n</p><p><P ID=\"speaker\">BILL", "</p><p><p ID=\"act\">Bill watches her run her finger slowly around the closed heart of a rose. Suddenly they both look at each other. They have heard the squeals, faint but unmistakable, of a hog being led to slaughter.", "</p><p><p ID=\"act\">She runs down an alley. A man steps out of the shadows--\nGeorge, the pilot. She throws herself in his arms. This", "</p><p><p ID=\"act\">The planes set their wheels in the furrows, rev their engines and wobble off into the sky. Ursula waves goodbye to George.", "</p><p><p ID=\"act\">Bill runs through the night, still carrying his lantern. Chuck bears down on him. Abby chases along behind him, screaming for him to stop.", "</p><p><p ID=\"slug\">92\tEXT. POST\n</p><p><p ID=\"act\">They pitch rocks at a post and exchange intimacies. Abby has grown more lively.", "</p><p><p ID=\"slug\">13\tEXT. FREIGHT YARDS\n</p><p><p ID=\"act\">They hop a freight train.", "<P ID=\"dia\">I had to let it go. One of them started following me, and I threw\na rock at him. I had a bunch stored in my pocket.\nThey take off running after her.", "He keeps running in a panic, not realizing the line is\nstaked to the shore. All at once, he jackknifes in the\nair. The stake twangs loose. The Police now spot him" ], [ "Arboretum, a tacky Western version of an Eastern finishing\nschool. The steps are painted on the floor as white footprints.\nAbby is apparently enrolling Ursula here. The headmistress,", "He steps forward to inspect the screen, actually just a sheet hung along a clothesline, to see whether the image is coming from behind. Bill and Abby sit rapt as children, nostalgic for Chicago.", "MADAME MURPHY, boasts of the school's achievements. \nUrsula looks trapped. Abby checks her watch.\nShe must go.", "</p><p><p ID=\"act\">Benson drops the hands off at the dormitory, a hundred yards below, a plain clapboard building with a ceiling of exposed joists. Ursula sees Chuck watching them.", "He nods at Miss Carter, who conspicuously lets the screen door clap shut as she goes back inside. She misses no opportunity to express her disdain for these newcomers.", "She rushes up and embraces him, but her warmth just seems a tease to Bill. She is different. She looks different. The tutors and tailors Chuck has brought in over the winter have given her more polish. Her hair is nicely", "</p><p><P ID=\"speaker\">ABBY\n<P ID=\"dia\">They'll teach you poise, too, so you can walk in any room you", "my way into school. They gave me a test. It was ridiculous. I got in fights. Ended up paying for a window. They threw me out. Don't blame them either. Still, I wanted to make something of myself. I mean, guys look at", "up with, riding the rods? The girl's never had a clean shot--\nnever will. She oughta be in school.\n</p><p><P ID=\"speaker\">ABBY", "Luckily they are interrupted as Ursula runs up, pointing over her shoulder. A pair of three-wing airplanes sputters into view low overhead. One seems to be having engine trouble.", "She takes it back immediately, but he snatches it away from her and, after a brief, giggling scuffle, hops aboard the train, now picking up speed. Ursula runs along behind, cursing and throwing rocks at him.", "</p><p><p ID=\"act\">ABBY, a beautiful woman in her late twenties, attends to Bill's wounds in a big vaulted sewer. Her sister URSULA, a reckless girl of14, stands watch.", "<P ID=\"dia\">I never read a whole book till I was fifteen. It was by Caesar.\nThey laugh at her careful pronunciation of \"Caesar.\"", "<P ID=\"dia\">We get split up for any reason, you spend that on school.\n</p><p><p ID=\"slug\">196\tEXT. PRAIRIE", "He touches his lips for a fraction of a second to hers, notices another car approaching down the road. He picks her up like a doll and carries her back to the Overland.", "</p><p><p ID=\"act\">Abby changes bobbins on a huge loom. A pall of lint and\nanonymous toil hangs over the factory. Down the way a", "</p><p><p ID=\"act\">The other GIRLS stand in their nightgowns and wave good-\nbye, amazed at her boldness.\nShe slips off into the night.", "</p><p><p ID=\"act\">Bill watches her run her finger slowly around the closed heart of a rose. Suddenly they both look at each other. They have heard the squeals, faint but unmistakable, of a hog being led to slaughter.", "Abby, passing by, lifts her hat to wipe her face. As she does her hair falls out of the crown. Women are rare in the harvest fields. One so beautiful is unprecedented.", "She waits to see what he will do. He gets up and after a short chase catches her. He holds her at arm's length for a moment, then kisses her.\n</p><p><P ID=\"speaker\">URSULA" ], [ "</p><p><p ID=\"act\">REVISED: 6/2/76\n</p><p><p ID=\"act\">SETTING\nThe story is set in Texas just before the First World War.", "She takes it back immediately, but he snatches it away from her and, after a brief, giggling scuffle, hops aboard the train, now picking up speed. Ursula runs along behind, cursing and throwing rocks at him.", "The huge tractors start up with a bang. Despite Benson's warning a team of Percherons breaks free. Threshing, the separating of the wheat from the chaff, has begun.", "</p><p><p ID=\"act\">ABBY, a beautiful woman in her late twenties, attends to Bill's wounds in a big vaulted sewer. Her sister URSULA, a reckless girl of14, stands watch.", "He touches his lips for a fraction of a second to hers, notices another car approaching down the road. He picks her up like a doll and carries her back to the Overland.", "A cloud of chaff rises over the field, melting the sun down to a cold red bulb.\nAbby is well turned out, in a boater and string tie, as though she were planning any moment to leave for a picnic.", "</p><p><p ID=\"act\">Most of the workers are fast asleep around the strawpile, their bodies radiating out like the spokes of a wheel. A few stay up late to shoot dice in the back of a wagon.", "The harvesters itch madly as the chaff gets into their clothes. The shocks, full of briars, cut their hands; smut and rust make the cuts sting like fire. Nobody talks. From time to time they raise a chant.", "Their faces black with chaff, the hands fall out in silence. They shuffle across the field toward the cookhouse, keeping their feet close to the ground to avoid being spiked by the stubble.", "He steps forward to inspect the screen, actually just a sheet hung along a clothesline, to see whether the image is coming from behind. Bill and Abby sit rapt as children, nostalgic for Chicago.", "<P ID=\"dia\">Probably that's the first noise down there for thousands of years.\nShe speaks as though she had done it a favor. He puts his hand on hers. She presses it against her chest.", "of a ship. He cuts her loose. The ropes fall at her feet. She is free. \nThey look at each other for a moment.\nThen, in a rush of compassion for them all, she throws", "Abby, passing by, lifts her hat to wipe her face. As she does her hair falls out of the crown. Women are rare in the harvest fields. One so beautiful is unprecedented.", "</p><p><p ID=\"act\">The planes set their wheels in the furrows, rev their engines and wobble off into the sky. Ursula waves goodbye to George.", "</p><p><p ID=\"act\">They run down to the barn, where the cars are stored.\nThe saplings in the front yard have been stripped even", "Benson consults the large clock strapped to the back of his buggy, then fires a smoke pistol in the air.", "</p><p><p ID=\"slug\">92\tEXT. POST\n</p><p><p ID=\"act\">They pitch rocks at a post and exchange intimacies. Abby has grown more lively.", "<P ID=\"dia\">First the birds go.\nThe peacocks are crowing outside. They burst out laughing. Bill checks the mussed bedsheets.", "Steve dies. Bullets kick up dust around him. He takes off running. One of the bullets has caught him in the shoulder.\n</p><p><p ID=\"slug\">7\tINT. SEWER", "He breaks open the mantle of his lantern, still unsure what he should do. Some of the flaming kerosene splashes onto the crops nearby, setting them ablaze. Bill drops his rattle and swats the fire out with his coat." ], [ "Chuck walks towards him. Suddenly Bill turns and takes off running. Chuck swings at him with the lantern. Bill escapes behind the building wall of flame that springs up between them.", "Two POLICEMEN have appeared in the entryway talking with the LANDLADY. Bill edges out the back door and down the steps, as though they might be after him.\nHe walks briskly down the alley without looking back.", "</p><p><P ID=\"speaker\">STEVE\n<P ID=\"dia\">Run. Get out of here.\n</p><p><P ID=\"speaker\">BILL", "Again he throws her aside, and again she keeps after him, desperate to prevent any harm coming to Bill. Finally he picks her up and drags her outside.", "</p><p><p ID=\"slug\">309\tEXT. MUD FLAT\n</p><p><p ID=\"act\">Bill runs from the thicket down to the water. The Police", "</p><p><p ID=\"act\">They have run back to the Belvedere. It seems they are safe until Chuck appears on the porch, yawning and stretching. Bill drops to the ground while Abby goes ahead.", "</p><p><p ID=\"act\">Bill runs through the night, still carrying his lantern. Chuck bears down on him. Abby chases along behind him, screaming for him to stop.", "</p><p><p ID=\"act\">Bill watches her run her finger slowly around the closed heart of a rose. Suddenly they both look at each other. They have heard the squeals, faint but unmistakable, of a hog being led to slaughter.", "Bill realizes the lantern is giving his position away He blows it out and vanishes from sight. All we can see is the thundering horseman, sowing fire.", "</p><p><P ID=\"speaker\">BILL\n<P ID=\"dia\">Get a doctor! Fast!\nHow much did he see? Bill does not stay to find out but", "</p><p><p ID=\"act\">Bill shrugs, then hits him again, knocking him unconscious, when he reaches for a gun. Abby calls Ursula and they take off running, Bill stopping only to collect some of their laundry off a clothesline.", "</p><p><P ID=\"speaker\">ABBY\n<P ID=\"dia\">He can see you!\nBill nods; he knows. Abby runs ahead, angry and alarmed.", "Abby looks at Bill, then nods okay. Ursula runs off. Bill opens the door, and she gets in.", "Chuck moves in for the kill. Bill gets to his feet. He wants to run but fear makes his knees like water. Suddenly, they are face to face. Chuck swings at Bill with the stool but misses. Bill lifts the spoke above him and", "</p><p><p ID=\"act\">He runs into Bill on the front porch.\n</p><p><P ID=\"speaker\">BILL", "Benson immediately regrets having spoken so freely. He checks his watch to suggest Bill should get back to work. This uneasiness confirms Bill's sense that Chuck is gravely ill.", "</p><p><p ID=\"act\">Bill finds Abby sitting off by herself, wanting no part of the festivities. This is the first time since their arrival in Texas we have seen her wearing a dress.", "Bill looks at Chuck's exposed back. Nobody would know. It could be made to seem like a hunting accident. He cocks the hammer of his shotgun. His heart pounds wildly. Chuck talks in a low voice to the dogs.", "Bill glares at Ursula, then turns to Chuck and, referring to the dead prairie grass which runs through the front yard right up to the house, continues:\n</p><p><P ID=\"speaker\">BILL", "Bill takes off the shirt, drapes it over a post and walks off, hurt and angry, but with a sad dignity." ], [ "her, then heads off to find Bill. The vaudevillians gorge", "</p><p><p ID=\"act\">Bill finds Abby sitting off by herself, wanting no part of the festivities. This is the first time since their arrival in Texas we have seen her wearing a dress.", "Again he throws her aside, and again she keeps after him, desperate to prevent any harm coming to Bill. Finally he picks her up and drags her outside.", "alone. They all wear bathing suits, Bill a shirt as", "Bill watches Chuck help Abby into the buggy. She is laughing about something or other. His hand lingers for a moment on hers. She does not brush it aside, as once she might have, but to Bill's dismay, presses", "</p><p><p ID=\"act\">While the others pursue their merriment, Bill", "Abby looks at Bill, then nods okay. Ursula runs off. Bill opens the door, and she gets in.", "Chuck goes to his horse. Bill grabs him by the sleeve. Does he really mean to set the fields on fire? Chuck pushes him aside. Bill, frantic, turns to the others for support.", "to heel. The FOURTH stays behind taking potshots at Bill", "</p><p><p ID=\"slug\">15\tEXT. MOVING TRAIN\n</p><p><p ID=\"act\">Abby and Bill sit atop a train racing through the wheat country of the Texas Panhandle.", "Chuck walks towards him. Suddenly Bill turns and takes off running. Chuck swings at him with the lantern. Bill escapes behind the building wall of flame that springs up between them.", "</p><p><P ID=\"speaker\">BILL (o.s.)\n<P ID=\"spkdir\">(continuing)", "Two POLICEMEN have appeared in the entryway talking with the LANDLADY. Bill edges out the back door and down the steps, as though they might be after him.\nHe walks briskly down the alley without looking back.", "She withdraws with a shrug. She does not appear to relish \nthis duty. Bill watches her walk back to the buggy she \ncame down in. Benson waits beside it.U", "They look at each other and smile. It does not appear that she has held what he said by the river against him. Bill stands for a moment and looks up at the Belvedere before passing on.", "Bill realizes the lantern is giving his position away He blows it out and vanishes from sight. All we can see is the thundering horseman, sowing fire.", "fires. At first we think Bill has, but he cannot", "She rushes up and embraces him, but her warmth just seems a tease to Bill. She is different. She looks different. The tutors and tailors Chuck has brought in over the winter have given her more polish. Her hair is nicely", "</p><p><p ID=\"act\">Bill watches her run her finger slowly around the closed heart of a rose. Suddenly they both look at each other. They have heard the squeals, faint but unmistakable, of a hog being led to slaughter.", "Bill looks at Chuck's exposed back. Nobody would know. It could be made to seem like a hunting accident. He cocks the hammer of his shotgun. His heart pounds wildly. Chuck talks in a low voice to the dogs." ], [ "Bill watches Chuck help Abby into the buggy. She is laughing about something or other. His hand lingers for a moment on hers. She does not brush it aside, as once she might have, but to Bill's dismay, presses", "Abby rolls her eyes at this improvisation. No sooner does Chuck turn his back than Bill's hand darts out to touch her breast. He snatches it away a moment before Chuck turns back.\nTogether they walk into the living room.", "</p><p><p ID=\"act\">Chuck and Abby sit in their cozy living room playing Parcheesi. The sound of their voices is muffled. The camera draws back to reveal Bill outside the window, watching.", "</p><p><p ID=\"act\">Bill looks deeply into Abby's eyes by the light of a lantern that night. They have made a shallow cut on their thumbs and press them together mixing their blood like children.", "</p><p><p ID=\"act\">They lie by the river looking at the great dome of stars. Bill wants to believe things are the same between them as before. So does Abby--but she knows better.", "</p><p><p ID=\"act\">As they approach the Belvedere, Bill sees Chuck standing on the front steps. Suddenly angry, he draws Abby to him and in plain view kisses her on the lips.", "</p><p><p ID=\"act\">Abby and Bill have laid their bedrolls out by a stack away from the others. A fire burns nearby. Abby look at the stars. Bill shines his shoes. The straw is fragrant as thyme.", "</p><p><p ID=\"act\">ABBY, a beautiful woman in her late twenties, attends to Bill's wounds in a big vaulted sewer. Her sister URSULA, a reckless girl of14, stands watch.", "Suddenly they hear Chuck's footsteps. They pull back just in time, Abby returning the cigarette to him behind her back. They chat as though nothing had happened.\n</p><p><P ID=\"speaker\">BILL", "</p><p><p ID=\"act\">Bill watches Abby dance--it almost seems in farewell to their innocence. After a moment he turns off into the night.I", "</p><p><p ID=\"act\">They have run back to the Belvedere. It seems they are safe until Chuck appears on the porch, yawning and stretching. Bill drops to the ground while Abby goes ahead.", "He steps forward to inspect the screen, actually just a sheet hung along a clothesline, to see whether the image is coming from behind. Bill and Abby sit rapt as children, nostalgic for Chicago.", "Abby looks at Bill, then nods okay. Ursula runs off. Bill opens the door, and she gets in.", "Abby smokes as Bill checks the radiator. Something in his behavior leads us to suspect he may have staged this stop.\n</p><p><P ID=\"speaker\">BILL", "Abby appears at one side of the house while Bill steals around the other. Luckily, they have come up from the back.\n</p><p><P ID=\"speaker\">CHUCK", "</p><p><p ID=\"act\">Bill has brought Abby into a nearby town", "Bill holds a plate up for Abby to see. Limoges china. Abby rolls her eyes and spits out a cherry pit. They eat like pigs, with no respect for bourgeois manners.", "</p><p><p ID=\"act\">Bill kisses the bride on the cheek. Each believes she is going through with this for the other's sake. They whisper back and forth.\n</p><p><P ID=\"speaker\">ABBY", "</p><p><p ID=\"act\">Bill shrugs, then hits him again, knocking him unconscious, when he reaches for a gun. Abby calls Ursula and they take off running, Bill stopping only to collect some of their laundry off a clothesline.", "</p><p><p ID=\"act\">Bill and Abby sit by themselves in the" ], [ "He steps forward to inspect the screen, actually just a sheet hung along a clothesline, to see whether the image is coming from behind. Bill and Abby sit rapt as children, nostalgic for Chicago.", "<P ID=\"dia\">Did you, sis? Well, there's always something doing. I can't\nbegin to tell you. State and Madison? Mmmm. Lights everywhere.", "of the Chicago they are leaving behind. Pigs roam the", "</p><p><P ID=\"speaker\">ABBY\n<P ID=\"dia\">Chicago.\n</p><p><P ID=\"speaker\">CHUCK", "Suddenly the front door opens and Chuck steps out with a DOCTOR, a stooped old man in a black frock coat. Bill, surprised, crouches behind the wheel. As they draw closer their conversation becomes faintly audible.", "Chuck gasps. Bill seems just as shocked. Chuck sits down to determine the gravity of his injury. Blood jets rhythmically out the end of the spoke, as though from a straw. Bill circles him, unbelieving.", "Michigan Avenue? Bunch of whores! You're better than anyI\nof them. You ever think how they got where they are?\nHe wants to breathe hope into her. He thinks of himself as responding", "Chuck drapes his neck with the stole he used in slaughtering the hog. Her face goes empty. He gets his razor strop from the shaving basin. She shrinks back in the corner. He looks at her for a moment, then leaves the room.", "<P ID=\"dia\">Maybe you should go back to Chicago. We've got enough for a ticket, and I can send you what I make.", "Bill looks at Chuck's exposed back. Nobody would know. It could be made to seem like a hunting accident. He cocks the hammer of his shotgun. His heart pounds wildly. Chuck talks in a low voice to the dogs.", "</p><p><P ID=\"speaker\">CHUCK\n<P ID=\"dia\">He's not your brother, is he?\nHow much does he know? She edges toward the door.", "<P ID=\"dia\">Did you ever have a brother. Then who are you to judge? Maybe if\nyou had, you'd understand. Anyway, times have changed while you've been stuck out in this weed patch. We're", "<P ID=\"dia\">I can't wait to go back to Chicago, bring them down for a visit. Blackie and them. There's a lot of satisfaction in showing up people who thought you'd never amount to anything.", "Benson immediately regrets having spoken so freely. He checks his watch to suggest Bill should get back to work. This uneasiness confirms Bill's sense that Chuck is gravely ill.", "</p><p><p ID=\"act\">WORKERS in a dark Chicago mill pound molten iron out in flaming sheets. The year is 1916.\n</p><p><p ID=\"slug\">2\tEXT. MILL", "</p><p><p ID=\"act\">Chuck, alone in the darkened living room, calms himself down by breathing through a rubber mask into a respirator. Joyful noises reach him from outside.", "</p><p><P ID=\"speaker\">CHUCK\n<P ID=\"dia\">Worked hard, didn't fool around. I never saw a city. Never had\ntime. All I ever did is work.", "<P ID=\"dia\">They shot the shit out of him. My brother. I couldn't believe what I was seeing.\n</p><p><P ID=\"speaker\">ABBY", "</p><p><p ID=\"act\">Chuck and Abby sit in their cozy living room playing Parcheesi. The sound of their voices is muffled. The camera draws back to reveal Bill outside the window, watching.", "</p><p><p ID=\"act\">Chuck looks on from the shadows, no longer just puzzled but angry. He has watched them behave this way a dozen times before, but tonight, with other people around, he must see it more directly." ], [ "Abby, passing by, lifts her hat to wipe her face. As she does her hair falls out of the crown. Women are rare in the harvest fields. One so beautiful is unprecedented.", "Bill watches Chuck help Abby into the buggy. She is laughing about something or other. His hand lingers for a moment on hers. She does not brush it aside, as once she might have, but to Bill's dismay, presses", "A cloud of chaff rises over the field, melting the sun down to a cold red bulb.\nAbby is well turned out, in a boater and string tie, as though she were planning any moment to leave for a picnic.", "Abby and Bill join in, Bill reaping the wheat with a mowing machine called a binder, Abby propping the bound sheaves together to make bunches or \"shocks.\"", "Nobody takes him up on this. Abby leafs through the\nSears catalogue, her mind dancing with visions of splendor.", "trained to farming. Most--Abby and Bill are no exception--have", "Abby looks at Bill, then nods okay. Ursula runs off. Bill opens the door, and she gets in.", "</p><p><p ID=\"act\">The camera moves back to reveal Abby listening in from the other side of the barn. Her eyes are full of tears. How can Bill prize her so lightly?", "He throws his coat over Abby's head, picks her up by the waist and crashes through the flame. They have to shout to make themselves understood. The locusts roar like a cyclone.", "They stand and listen to the birds. There is a sense of the earth stirring back to life. Abby breathes in with a wild joy and hugs Chuck tightly by the waist.", "Abby rolls her eyes at this improvisation. No sooner does Chuck turn his back than Bill's hand darts out to touch her breast. He snatches it away a moment before Chuck turns back.\nTogether they walk into the living room.", "other was run over. Abby laughs. She knows this stunt.", "</p><p><p ID=\"act\">Abby is sewing up her last sacks by the separator that evening when Chuck walks up, still in the flush of McLean's good news.", "Abby, a basket of cucumbers under her arm, waves goodbye, angling her wrist so that Bill and Ursula can see the diamond bracelet Chuck has given her.", "</p><p><p ID=\"act\">Abby and Bill have laid their bedrolls out by a stack away from the others. A fire burns nearby. Abby look at the stars. Bill shines his shoes. The straw is fragrant as thyme.", "He waits to see how she will respond. Half of him wants her to turn him down flat. Abby is bewildered. \n</p><p><P ID=\"speaker\">ABBY", "Chuck and Abby lead the dancing off, as though to celebrate their agreement. Their giant shadows dance with them. Soon the other harvesters join in.", "Abby have come out to the fields with a dozen", "</p><p><p ID=\"act\">Bill helps Abby finish up a row. Thousands of shocks stretch out in the distance. Benson comes up behind her, making a spray of the stalks that she missed.", "Bill looks around in wonder. He knows these may be his\nlast days on earth. Abby throws a sounding line.\nA COUPLE from a local farm seeks privacy in the willows." ], [ "She takes it back immediately, but he snatches it away from her and, after a brief, giggling scuffle, hops aboard the train, now picking up speed. Ursula runs along behind, cursing and throwing rocks at him.", "She rushes up and embraces him, but her warmth just seems a tease to Bill. She is different. She looks different. The tutors and tailors Chuck has brought in over the winter have given her more polish. Her hair is nicely", "</p><p><p ID=\"act\">ABBY, a beautiful woman in her late twenties, attends to Bill's wounds in a big vaulted sewer. Her sister URSULA, a reckless girl of14, stands watch.", "He steps forward to inspect the screen, actually just a sheet hung along a clothesline, to see whether the image is coming from behind. Bill and Abby sit rapt as children, nostalgic for Chicago.", "Arboretum, a tacky Western version of an Eastern finishing\nschool. The steps are painted on the floor as white footprints.\nAbby is apparently enrolling Ursula here. The headmistress,", "</p><p><p ID=\"act\">Benson drops the hands off at the dormitory, a hundred yards below, a plain clapboard building with a ceiling of exposed joists. Ursula sees Chuck watching them.", "<P ID=\"dia\">I never read a whole book till I was fifteen. It was by Caesar.\nThey laugh at her careful pronunciation of \"Caesar.\"", "He nods at Miss Carter, who conspicuously lets the screen door clap shut as she goes back inside. She misses no opportunity to express her disdain for these newcomers.", "</p><p><p ID=\"act\">That evening he watches her from behind as she climbs the stairs to join Chuck at their bedroom door. She nods goodnight, sensing the jealousy that is growing in him.", "He touches his lips for a fraction of a second to hers, notices another car approaching down the road. He picks her up like a doll and carries her back to the Overland.", "She hasn't really contradicted him. He leans forward as though to kiss her. She lets him. She wishes that she could give herself to him, but she doesn't know what is right. Then, a sudden impulse of panic, she gets up and backs away.", "MADAME MURPHY, boasts of the school's achievements. \nUrsula looks trapped. Abby checks her watch.\nShe must go.", "</p><p><p ID=\"act\">Bill watches her run her finger slowly around the closed heart of a rose. Suddenly they both look at each other. They have heard the squeals, faint but unmistakable, of a hog being led to slaughter.", "</p><p><p ID=\"act\">The other GIRLS stand in their nightgowns and wave good-\nbye, amazed at her boldness.\nShe slips off into the night.", "</p><p><p ID=\"slug\">92\tEXT. POST\n</p><p><p ID=\"act\">They pitch rocks at a post and exchange intimacies. Abby has grown more lively.", "Bill watches Chuck help Abby into the buggy. She is laughing about something or other. His hand lingers for a moment on hers. She does not brush it aside, as once she might have, but to Bill's dismay, presses", "Again he throws her aside, and again she keeps after him, desperate to prevent any harm coming to Bill. Finally he picks her up and drags her outside.", "into a bindle. She has lost Chuck forever. Their life", "Suddenly they look around. The chief domestic at the Belvedere, a churlish lady named MISS CARTER, stands above them with a salver of fruit and roast fowl.", "She hesitates a second, then slaps him as hard as she can. Blood glistens on his lip. He does not say a word in protest. She looks at the wound, horrified, then throws her arms tight around him." ], [ "Bill watches Chuck help Abby into the buggy. She is laughing about something or other. His hand lingers for a moment on hers. She does not brush it aside, as once she might have, but to Bill's dismay, presses", "Chuck looks surprised. Bill glances at Abby, worried that he might have said too much.\n</p><p><P ID=\"speaker\">BILL", "Abby rolls her eyes at this improvisation. No sooner does Chuck turn his back than Bill's hand darts out to touch her breast. He snatches it away a moment before Chuck turns back.\nTogether they walk into the living room.", "</p><p><p ID=\"act\">Bill looks deeply into Abby's eyes by the light of a lantern that night. They have made a shallow cut on their thumbs and press them together mixing their blood like children.", "</p><p><P ID=\"speaker\">ABBY\n<P ID=\"dia\">Chuck is suspicious.\n</p><p><P ID=\"speaker\">BILL", "Abby guesses what is going through his mind, and it shocks her.\n</p><p><P ID=\"speaker\">ABBY\n<P ID=\"dia\">Oh, Bill!", "</p><p><p ID=\"act\">Abby, with the look of a child that has wandered into aI\nmagic world, digs in. Bill looks on, suspicious of the_", "</p><p><p ID=\"act\">Chuck and Abby sit in their cozy living room playing Parcheesi. The sound of their voices is muffled. The camera draws back to reveal Bill outside the window, watching.", "He steps forward to inspect the screen, actually just a sheet hung along a clothesline, to see whether the image is coming from behind. Bill and Abby sit rapt as children, nostalgic for Chicago.", "</p><p><p ID=\"act\">Abby has told him of the proposal. Bill broods over an unlit cigarette. Is this a great blessing or a great misfortune which has befallen them?", "</p><p><P ID=\"speaker\">ABBY\n<P ID=\"dia\">He can see you!\nBill nods; he knows. Abby runs ahead, angry and alarmed.", "Bill looks around. Abby would think it impolitic of him to speak so openly with Chuck.\n</p><p><P ID=\"speaker\">BILLI", "Abby smokes as Bill checks the radiator. Something in his behavior leads us to suspect he may have staged this stop.\n</p><p><P ID=\"speaker\">BILL", "Abby appears at one side of the house while Bill steals around the other. Luckily, they have come up from the back.\n</p><p><P ID=\"speaker\">CHUCK", "Suddenly they hear Chuck's footsteps. They pull back just in time, Abby returning the cigarette to him behind her back. They chat as though nothing had happened.\n</p><p><P ID=\"speaker\">BILL", "</p><p><p ID=\"act\">Bill finds Abby sitting off by herself, wanting no part of the festivities. This is the first time since their arrival in Texas we have seen her wearing a dress.", "</p><p><p ID=\"act\">The camera moves back to reveal Abby listening in from the other side of the barn. Her eyes are full of tears. How can Bill prize her so lightly?", "Abby looks at Bill, then nods okay. Ursula runs off. Bill opens the door, and she gets in.", "</p><p><p ID=\"act\">As they approach the Belvedere, Bill sees Chuck standing on the front steps. Suddenly angry, he draws Abby to him and in plain view kisses her on the lips.", "</p><p><P ID=\"speaker\">ABBY\n<P ID=\"dia\">He knows. He must.\n</p><p><P ID=\"speaker\">BILL" ], [ "Their faces black with chaff, the hands fall out in silence. They shuffle across the field toward the cookhouse, keeping their feet close to the ground to avoid being spiked by the stubble.", "The huge tractors start up with a bang. Despite Benson's warning a team of Percherons breaks free. Threshing, the separating of the wheat from the chaff, has begun.", "The harvesters itch madly as the chaff gets into their clothes. The shocks, full of briars, cut their hands; smut and rust make the cuts sting like fire. Nobody talks. From time to time they raise a chant.", "A cloud of chaff rises over the field, melting the sun down to a cold red bulb.\nAbby is well turned out, in a boater and string tie, as though she were planning any moment to leave for a picnic.", "Then, as you listen, a strange new sound begins to rise from them, a wild sea-like singing. As the camera moves over the fields and down into the wheat it swells in a crescendo until...", "against the sky. The waving fields of wheat have given", "</p><p><p ID=\"act\">Chuck walks out into the deep of his fields. The wheat, a warm dry gold, is almost ready to take in. He sits down and rests his head against a", "</p><p><p ID=\"act\">The bald earth has, as though by a mystery, become a sheet of grain, its green already fading to gold. The music dies away, replaced by the whirr of summer crickets.", "The plowing done, his father sows the seed. Poverty requires that for a harrow he drag a tree branch in back of his ox. Over his shoulder he carries a rifle.", "Bill stalls. The fire races toward them through the wheat. They appear as silhouettes against it.\n</p><p><P ID=\"speaker\">BILL", "The wheat changes colors in the wind, like velvet. As", "a large area of wheat is eaten down to stubble.", "The harvesters spit and rub their hands as they wait for the dew to burn off. They have slept in their coats. The dawn has a raw edge, even in summer.", "Abby and Bill join in, Bill reaping the wheat with a mowing machine called a binder, Abby propping the bound sheaves together to make bunches or \"shocks.\"", "</p><p><p ID=\"act\">An ANONYMOUS YOUNG MAN, standing on a carpet \nof new-sprung wheat, looks up with a start. From the", "He breaks open the mantle of his lantern, still unsure what he should do. Some of the flaming kerosene splashes onto the crops nearby, setting them ablaze. Bill drops his rattle and swats the fire out with his coat.", "</p><p><p ID=\"act\">Chuck, asleep in the deep of the wheat, bolts up in slow motion. His hair is seething with them.", "Abby, passing by, lifts her hat to wipe her face. As she does her hair falls out of the crown. Women are rare in the harvest fields. One so beautiful is unprecedented.", "tractor follows, putting in the seed.\nUrsula chases a flock of blackbirds off with a big rattle.\nEvery acre of ground for as far as the eye can see is under cultivation.", "the separating machines, huge rattletrap devices that shell the wheat" ], [ "Bill reels back and cracks his head on the bicycle frame. This time he stays down. Satisfied the struggle is over, Chuck goes back to get some rope.", "Chuck gasps. Bill seems just as shocked. Chuck sits down to determine the gravity of his injury. Blood jets rhythmically out the end of the spoke, as though from a straw. Bill circles him, unbelieving.", "Again he throws her aside, and again she keeps after him, desperate to prevent any harm coming to Bill. Finally he picks her up and drags her outside.", "Bill realizes the lantern is giving his position away He blows it out and vanishes from sight. All we can see is the thundering horseman, sowing fire.", "Bill looks at Chuck's exposed back. Nobody would know. It could be made to seem like a hunting accident. He cocks the hammer of his shotgun. His heart pounds wildly. Chuck talks in a low voice to the dogs.", "fires. At first we think Bill has, but he cannot", "</p><p><P ID=\"speaker\">BILL\n<P ID=\"dia\">Get a doctor! Fast!\nHow much did he see? Bill does not stay to find out but", "</p><p><p ID=\"act\">Bill puts his hand on the ground. Sam drops a keg of roofing nails on it and, his work done, leaves with his gang. Bill sobs with pain.", "She tells him of her hopes, then passes on. Bill", "Benson immediately regrets having spoken so freely. He checks his watch to suggest Bill should get back to work. This uneasiness confirms Bill's sense that Chuck is gravely ill.", "</p><p><P ID=\"speaker\">BILL (o.s.)\n<P ID=\"spkdir\">(continuing)", "There is nothing Bill can say to appease him. This will be a fight to the death. Chuck lashes out with the stool. Bill ducks too late.\n</p><p><P ID=\"speaker\">BILL", "Bill throws a plate of stew at him and they are quickly in a fight. No fists are used, just food. The others pull them apart. Bill storms away, flicking mashed potatoes off his shirt.", "Bill picks up Steve's gun and fires back. Three of", "Chuck moves in for the kill. Bill gets to his feet. He wants to run but fear makes his knees like water. Suddenly, they are face to face. Chuck swings at Bill with the stool but misses. Bill lifts the spoke above him and", "Chuck walks towards him. Suddenly Bill turns and takes off running. Chuck swings at him with the lantern. Bill escapes behind the building wall of flame that springs up between them.", "Bill glares at Ursula, then turns to Chuck and, referring to the dead prairie grass which runs through the front yard right up to the house, continues:\n</p><p><P ID=\"speaker\">BILL", "</p><p><p ID=\"act\">Bill watches her run her finger slowly around the closed heart of a rose. Suddenly they both look at each other. They have heard the squeals, faint but unmistakable, of a hog being led to slaughter.", "alone. They all wear bathing suits, Bill a shirt as", "</p><p><p ID=\"act\">While the others pursue their merriment, Bill" ], [ "</p><p><p ID=\"act\">REVISED: 6/2/76\n</p><p><p ID=\"act\">SETTING\nThe story is set in Texas just before the First World War.", "</p><p><p ID=\"act\">ABBY, a beautiful woman in her late twenties, attends to Bill's wounds in a big vaulted sewer. Her sister URSULA, a reckless girl of14, stands watch.", "The huge tractors start up with a bang. Despite Benson's warning a team of Percherons breaks free. Threshing, the separating of the wheat from the chaff, has begun.", "She takes it back immediately, but he snatches it away from her and, after a brief, giggling scuffle, hops aboard the train, now picking up speed. Ursula runs along behind, cursing and throwing rocks at him.", "A cloud of chaff rises over the field, melting the sun down to a cold red bulb.\nAbby is well turned out, in a boater and string tie, as though she were planning any moment to leave for a picnic.", "of a ship. He cuts her loose. The ropes fall at her feet. She is free. \nThey look at each other for a moment.\nThen, in a rush of compassion for them all, she throws", "The harvesters itch madly as the chaff gets into their clothes. The shocks, full of briars, cut their hands; smut and rust make the cuts sting like fire. Nobody talks. From time to time they raise a chant.", "</p><p><p ID=\"act\">Most of the workers are fast asleep around the strawpile, their bodies radiating out like the spokes of a wheel. A few stay up late to shoot dice in the back of a wagon.", "He touches his lips for a fraction of a second to hers, notices another car approaching down the road. He picks her up like a doll and carries her back to the Overland.", "Their faces black with chaff, the hands fall out in silence. They shuffle across the field toward the cookhouse, keeping their feet close to the ground to avoid being spiked by the stubble.", "He steps forward to inspect the screen, actually just a sheet hung along a clothesline, to see whether the image is coming from behind. Bill and Abby sit rapt as children, nostalgic for Chicago.", "Abby, passing by, lifts her hat to wipe her face. As she does her hair falls out of the crown. Women are rare in the harvest fields. One so beautiful is unprecedented.", "</p><p><p ID=\"act\">The planes set their wheels in the furrows, rev their engines and wobble off into the sky. Ursula waves goodbye to George.", "Benson consults the large clock strapped to the back of his buggy, then fires a smoke pistol in the air.", "<P ID=\"dia\">Probably that's the first noise down there for thousands of years.\nShe speaks as though she had done it a favor. He puts his hand on hers. She presses it against her chest.", "He breaks open the mantle of his lantern, still unsure what he should do. Some of the flaming kerosene splashes onto the crops nearby, setting them ablaze. Bill drops his rattle and swats the fire out with his coat.", "<P ID=\"dia\">First the birds go.\nThe peacocks are crowing outside. They burst out laughing. Bill checks the mussed bedsheets.", "</p><p><p ID=\"act\">He looks around at his estate--his barn, his auto, his great house and his granary. None of them is any consolation now. Far a moment it seems to him as though he lived here in some time long past.", "</p><p><p ID=\"slug\">92\tEXT. POST\n</p><p><p ID=\"act\">They pitch rocks at a post and exchange intimacies. Abby has grown more lively.", "A white picket fence surrounds the house, though its purpose is unclear; where the prairie leaves off and the yard begins is impossible to tell.\nBison drift over the hills like boats on the ocean. Bill shouts at the nearest one." ], [ "She takes it back immediately, but he snatches it away from her and, after a brief, giggling scuffle, hops aboard the train, now picking up speed. Ursula runs along behind, cursing and throwing rocks at him.", "</p><p><p ID=\"act\">REVISED: 6/2/76\n</p><p><p ID=\"act\">SETTING\nThe story is set in Texas just before the First World War.", "The huge tractors start up with a bang. Despite Benson's warning a team of Percherons breaks free. Threshing, the separating of the wheat from the chaff, has begun.", "Their faces black with chaff, the hands fall out in silence. They shuffle across the field toward the cookhouse, keeping their feet close to the ground to avoid being spiked by the stubble.", "He touches his lips for a fraction of a second to hers, notices another car approaching down the road. He picks her up like a doll and carries her back to the Overland.", "</p><p><p ID=\"act\">ABBY, a beautiful woman in her late twenties, attends to Bill's wounds in a big vaulted sewer. Her sister URSULA, a reckless girl of14, stands watch.", "Abby, passing by, lifts her hat to wipe her face. As she does her hair falls out of the crown. Women are rare in the harvest fields. One so beautiful is unprecedented.", "<P ID=\"dia\">Maybe in Cheyenne.\nShe nods okay. They both know they will never see each other again. On a sudden impulse she gives him a love note.", "A cloud of chaff rises over the field, melting the sun down to a cold red bulb.\nAbby is well turned out, in a boater and string tie, as though she were planning any moment to leave for a picnic.", "He steps forward to inspect the screen, actually just a sheet hung along a clothesline, to see whether the image is coming from behind. Bill and Abby sit rapt as children, nostalgic for Chicago.", "A white picket fence surrounds the house, though its purpose is unclear; where the prairie leaves off and the yard begins is impossible to tell.\nBison drift over the hills like boats on the ocean. Bill shouts at the nearest one.", "</p><p><p ID=\"act\">They have brought an organ out into the middle of the fields. Ursula pumps up the bellows. Joey sits in front of the keyboard and shoots his cuffs.\nHis fingers strike the keys.", "They stand and listen to the birds. There is a sense of the earth stirring back to life. Abby breathes in with a wild joy and hugs Chuck tightly by the waist.", "He throws his coat over Abby's head, picks her up by the waist and crashes through the flame. They have to shout to make themselves understood. The locusts roar like a cyclone.", "</p><p><p ID=\"act\">Most of the workers are fast asleep around the strawpile, their bodies radiating out like the spokes of a wheel. A few stay up late to shoot dice in the back of a wagon.", "He breaks open the mantle of his lantern, still unsure what he should do. Some of the flaming kerosene splashes onto the crops nearby, setting them ablaze. Bill drops his rattle and swats the fire out with his coat.", "</p><p><p ID=\"slug\">293\tEXT. SHACK ON RIVER\n</p><p><p ID=\"act\">They have come to a lone shack on the river, a drinking", "The harvesters itch madly as the chaff gets into their clothes. The shocks, full of briars, cut their hands; smut and rust make the cuts sting like fire. Nobody talks. From time to time they raise a chant.", "</p><p><p ID=\"act\">Benson drops the hands off at the dormitory, a hundred yards below, a plain clapboard building with a ceiling of exposed joists. Ursula sees Chuck watching them.", "</p><p><p ID=\"act\">They run down to the barn, where the cars are stored.\nThe saplings in the front yard have been stripped even" ], [ "Chuck walks towards him. Suddenly Bill turns and takes off running. Chuck swings at him with the lantern. Bill escapes behind the building wall of flame that springs up between them.", "of the Chicago they are leaving behind. Pigs roam the", "Benson immediately regrets having spoken so freely. He checks his watch to suggest Bill should get back to work. This uneasiness confirms Bill's sense that Chuck is gravely ill.", "Bill takes off the shirt, drapes it over a post and walks off, hurt and angry, but with a sad dignity.", "Two POLICEMEN have appeared in the entryway talking with the LANDLADY. Bill edges out the back door and down the steps, as though they might be after him.\nHe walks briskly down the alley without looking back.", "He steps forward to inspect the screen, actually just a sheet hung along a clothesline, to see whether the image is coming from behind. Bill and Abby sit rapt as children, nostalgic for Chicago.", "Chuck gasps. Bill seems just as shocked. Chuck sits down to determine the gravity of his injury. Blood jets rhythmically out the end of the spoke, as though from a straw. Bill circles him, unbelieving.", "Chuck nods goodbye and walks off, taking a stool with him. Bill sighs with admiration.\n</p><p><P ID=\"speaker\">BILL", "Bill can see that her interest is only polite. He knows that he should turn around and leave, but he cannot. The sight of him with his confidence gone is painful to behold.\n</p><p><P ID=\"speaker\">BILL", "Again he throws her aside, and again she keeps after him, desperate to prevent any harm coming to Bill. Finally he picks her up and drags her outside.", "Bill realizes the lantern is giving his position away He blows it out and vanishes from sight. All we can see is the thundering horseman, sowing fire.", "Bill reels back and cracks his head on the bicycle frame. This time he stays down. Satisfied the struggle is over, Chuck goes back to get some rope.", "Chuck goes to his horse. Bill grabs him by the sleeve. Does he really mean to set the fields on fire? Chuck pushes him aside. Bill, frantic, turns to the others for support.", "Bill looks at Chuck's exposed back. Nobody would know. It could be made to seem like a hunting accident. He cocks the hammer of his shotgun. His heart pounds wildly. Chuck talks in a low voice to the dogs.", "Chuck shrugs. Bill gives Abby a cold look and goes outside.\n</p><p><P ID=\"speaker\">CHUCK\n<P ID=\"dia\">He's a strange one.", "Suddenly the front door opens and Chuck steps out with a DOCTOR, a stooped old man in a black frock coat. Bill, surprised, crouches behind the wheel. As they draw closer their conversation becomes faintly audible.", "Bill glares at Ursula, then turns to Chuck and, referring to the dead prairie grass which runs through the front yard right up to the house, continues:\n</p><p><P ID=\"speaker\">BILL", "Bill watches Chuck help Abby into the buggy. She is laughing about something or other. His hand lingers for a moment on hers. She does not brush it aside, as once she might have, but to Bill's dismay, presses", "Chuck moves in for the kill. Bill gets to his feet. He wants to run but fear makes his knees like water. Suddenly, they are face to face. Chuck swings at Bill with the stool but misses. Bill lifts the spoke above him and", "She is cold to discourage false expectations in him--and because she feels that she at least owes Bill this. Chuck, however, assumes the fault must be his own. His naivete about women, and the world in general, protects" ], [ "of the Chicago they are leaving behind. Pigs roam the", "Chuck drapes his neck with the stole he used in slaughtering the hog. Her face goes empty. He gets his razor strop from the shaving basin. She shrinks back in the corner. He looks at her for a moment, then leaves the room.", "She takes it back immediately, but he snatches it away from her and, after a brief, giggling scuffle, hops aboard the train, now picking up speed. Ursula runs along behind, cursing and throwing rocks at him.", "He steps forward to inspect the screen, actually just a sheet hung along a clothesline, to see whether the image is coming from behind. Bill and Abby sit rapt as children, nostalgic for Chicago.", "Chuck nods goodbye and walks off, taking a stool with him. Bill sighs with admiration.\n</p><p><P ID=\"speaker\">BILL", "</p><p><p ID=\"act\">They roar off through the burnt grass of the prairie.\nAbby waves goodbye.", "Chuck walks towards him. Suddenly Bill turns and takes off running. Chuck swings at him with the lantern. Bill escapes behind the building wall of flame that springs up between them.", "</p><p><P ID=\"speaker\">ABBY\n<P ID=\"dia\">Chicago.\n</p><p><P ID=\"speaker\">CHUCK", "takes off running, though not without first collecting his\nrabbit.\nBenson, meanwhile, bounds down the hill to Chuck's side.\nHis left sleeve has been burned away. The flesh beneath", "<P ID=\"dia\">All right. I'm going away. You'll never have to see me again.\n</p><p><P ID=\"speaker\">CHUCK", "Suddenly the front door opens and Chuck steps out with a DOCTOR, a stooped old man in a black frock coat. Bill, surprised, crouches behind the wheel. As they draw closer their conversation becomes faintly audible.", "The troupe is packing to leave. Still troubled, he walks to the bed and and stands over Abby.\n</p><p><P ID=\"speaker\">CHUCK", "<P ID=\"dia\">Maybe you should go back to Chicago. We've got enough for a ticket, and I can send you what I make.", "Chuck and Abby lead the dancing off, as though to celebrate their agreement. Their giant shadows dance with them. Soon the other harvesters join in.", "She withdraws with a shrug. She does not appear to relish \nthis duty. Bill watches her walk back to the buggy she \ncame down in. Benson waits beside it.U", "with sores. Chuck wants to embrace him, but the father\nwards him off with a long stick as he passes on some last\ninstructions in Russian.", "</p><p><p ID=\"act\">Benson collects the bases, a job he doubtless feels is beneath him.\nThe Doctor's wagon, unmistakable even at such a great distance, thunders away from the Belvedere.", "into a bindle. She has lost Chuck forever. Their life", "</p><p><p ID=\"slug\">172\tEXT. BELVEDERE\n</p><p><p ID=\"act\">Bill watches the Doctor walk out the front door and down the steps to his wagon. Chuck follows, smiling.", "Chuck goes to his horse. Bill grabs him by the sleeve. Does he really mean to set the fields on fire? Chuck pushes him aside. Bill, frantic, turns to the others for support." ], [ "He steps forward to inspect the screen, actually just a sheet hung along a clothesline, to see whether the image is coming from behind. Bill and Abby sit rapt as children, nostalgic for Chicago.", "Chuck gasps. Bill seems just as shocked. Chuck sits down to determine the gravity of his injury. Blood jets rhythmically out the end of the spoke, as though from a straw. Bill circles him, unbelieving.", "Benson immediately regrets having spoken so freely. He checks his watch to suggest Bill should get back to work. This uneasiness confirms Bill's sense that Chuck is gravely ill.", "Suddenly the front door opens and Chuck steps out with a DOCTOR, a stooped old man in a black frock coat. Bill, surprised, crouches behind the wheel. As they draw closer their conversation becomes faintly audible.", "Bill glares at Ursula, then turns to Chuck and, referring to the dead prairie grass which runs through the front yard right up to the house, continues:\n</p><p><P ID=\"speaker\">BILL", "Chuck walks towards him. Suddenly Bill turns and takes off running. Chuck swings at him with the lantern. Bill escapes behind the building wall of flame that springs up between them.", "</p><p><p ID=\"act\">Bill sits in a cold flophouse trying to write a letter. After a moment he wads it up and throws it away.", "Bill looks at Chuck's exposed back. Nobody would know. It could be made to seem like a hunting accident. He cocks the hammer of his shotgun. His heart pounds wildly. Chuck talks in a low voice to the dogs.", "Two POLICEMEN have appeared in the entryway talking with the LANDLADY. Bill edges out the back door and down the steps, as though they might be after him.\nHe walks briskly down the alley without looking back.", "Bill watches Chuck help Abby into the buggy. She is laughing about something or other. His hand lingers for a moment on hers. She does not brush it aside, as once she might have, but to Bill's dismay, presses", "Bill reels back and cracks his head on the bicycle frame. This time he stays down. Satisfied the struggle is over, Chuck goes back to get some rope.", "Chuck moves in for the kill. Bill gets to his feet. He wants to run but fear makes his knees like water. Suddenly, they are face to face. Chuck swings at Bill with the stool but misses. Bill lifts the spoke above him and", "</p><p><p ID=\"act\">Bill is repairing his motorbike by a rock in the middle of the scorched landscape. The tires are soft as licorice from the heat. Suddenly, he looks up. Chuck has found him.", "</p><p><P ID=\"speaker\">BILL (o.s.)\n<P ID=\"spkdir\">(continuing)", "alone. They all wear bathing suits, Bill a shirt as", "fires. At first we think Bill has, but he cannot", "Bill holds a plate up for Abby to see. Limoges china. Abby rolls her eyes and spits out a cherry pit. They eat like pigs, with no respect for bourgeois manners.", "</p><p><p ID=\"act\">Chuck and Abby sit in their cozy living room playing Parcheesi. The sound of their voices is muffled. The camera draws back to reveal Bill outside the window, watching.", "Abby rolls her eyes at this improvisation. No sooner does Chuck turn his back than Bill's hand darts out to touch her breast. He snatches it away a moment before Chuck turns back.\nTogether they walk into the living room.", "</p><p><p ID=\"act\">Bill puts his hand on the ground. Sam drops a keg of roofing nails on it and, his work done, leaves with his gang. Bill sobs with pain." ], [ "The huge tractors start up with a bang. Despite Benson's warning a team of Percherons breaks free. Threshing, the separating of the wheat from the chaff, has begun.", "Their faces black with chaff, the hands fall out in silence. They shuffle across the field toward the cookhouse, keeping their feet close to the ground to avoid being spiked by the stubble.", "The harvesters itch madly as the chaff gets into their clothes. The shocks, full of briars, cut their hands; smut and rust make the cuts sting like fire. Nobody talks. From time to time they raise a chant.", "Then, as you listen, a strange new sound begins to rise from them, a wild sea-like singing. As the camera moves over the fields and down into the wheat it swells in a crescendo until...", "A cloud of chaff rises over the field, melting the sun down to a cold red bulb.\nAbby is well turned out, in a boater and string tie, as though she were planning any moment to leave for a picnic.", "</p><p><p ID=\"act\">Chuck walks out into the deep of his fields. The wheat, a warm dry gold, is almost ready to take in. He sits down and rests his head against a", "Bill stalls. The fire races toward them through the wheat. They appear as silhouettes against it.\n</p><p><P ID=\"speaker\">BILL", "</p><p><p ID=\"act\">The bald earth has, as though by a mystery, become a sheet of grain, its green already fading to gold. The music dies away, replaced by the whirr of summer crickets.", "He breaks open the mantle of his lantern, still unsure what he should do. Some of the flaming kerosene splashes onto the crops nearby, setting them ablaze. Bill drops his rattle and swats the fire out with his coat.", "The plowing done, his father sows the seed. Poverty requires that for a harrow he drag a tree branch in back of his ox. Over his shoulder he carries a rifle.", "against the sky. The waving fields of wheat have given", "</p><p><p ID=\"act\">Chuck, asleep in the deep of the wheat, bolts up in slow motion. His hair is seething with them.", "Chuck slings fire out of the broken lantern onto the crops next to Bill -- a sudden, hostile gesture that catches them all by surprise. Independent of his will, the truth is forcing its way up, like a great blind fish from the bottom of the sea.", "The wheat changes colors in the wind, like velvet. As", "The harvesters spit and rub their hands as they wait for the dew to burn off. They have slept in their coats. The dawn has a raw edge, even in summer.", "Abby, passing by, lifts her hat to wipe her face. As she does her hair falls out of the crown. Women are rare in the harvest fields. One so beautiful is unprecedented.", "The camera holds and holds on the fields until in their vacant depths, we begin to sense the presence of a deep malevolence, still biding its time but growing every minute.", "</p><p><p ID=\"act\">Animals flee in all directions: birds and deer and rabbits, pigs, buffalo and the horses from the barn. The locusts mill around crazily on the wheat stalks, backlit against the flame.", "He throws his coat over Abby's head, picks her up by the waist and crashes through the flame. They have to shout to make themselves understood. The locusts roar like a cyclone.", "</p><p><p ID=\"act\">The planes set their wheels in the furrows, rev their engines and wobble off into the sky. Ursula waves goodbye to George." ], [ "</p><p><p ID=\"act\">ABBY, a beautiful woman in her late twenties, attends to Bill's wounds in a big vaulted sewer. Her sister URSULA, a reckless girl of14, stands watch.", "Abby rolls her eyes at this improvisation. No sooner does Chuck turn his back than Bill's hand darts out to touch her breast. He snatches it away a moment before Chuck turns back.\nTogether they walk into the living room.", "She is cold to discourage false expectations in him--and because she feels that she at least owes Bill this. Chuck, however, assumes the fault must be his own. His naivete about women, and the world in general, protects", "Again he throws her aside, and again she keeps after him, desperate to prevent any harm coming to Bill. Finally he picks her up and drags her outside.", "She rushes up and embraces him, but her warmth just seems a tease to Bill. She is different. She looks different. The tutors and tailors Chuck has brought in over the winter have given her more polish. Her hair is nicely", "They look at each other and smile. It does not appear that she has held what he said by the river against him. Bill stands for a moment and looks up at the Belvedere before passing on.", "At a shriek from Ursula, Bill turns around. She runs into his arms, and covers him with kisses.\n</p><p><P ID=\"speaker\">URSULA", "Suddenly the front door opens and Chuck steps out with a DOCTOR, a stooped old man in a black frock coat. Bill, surprised, crouches behind the wheel. As they draw closer their conversation becomes faintly audible.", "</p><p><p ID=\"act\">Bill watches her run her finger slowly around the closed heart of a rose. Suddenly they both look at each other. They have heard the squeals, faint but unmistakable, of a hog being led to slaughter.", "Abby looks at Bill, then nods okay. Ursula runs off. Bill opens the door, and she gets in.", "her, then heads off to find Bill. The vaudevillians gorge", "He steps forward to inspect the screen, actually just a sheet hung along a clothesline, to see whether the image is coming from behind. Bill and Abby sit rapt as children, nostalgic for Chicago.", "Bill watches Chuck help Abby into the buggy. She is laughing about something or other. His hand lingers for a moment on hers. She does not brush it aside, as once she might have, but to Bill's dismay, presses", "Bill lifts up the back of her dress and looks under it, testing the breadth of his license. She slaps it back down. He lifts it again, standing on his right to. She glowers at him.", "</p><p><p ID=\"act\">They have run back to the Belvedere. It seems they are safe until Chuck appears on the porch, yawning and stretching. Bill drops to the ground while Abby goes ahead.", "Suddenly they hear Chuck's footsteps. They pull back just in time, Abby returning the cigarette to him behind her back. They chat as though nothing had happened.\n</p><p><P ID=\"speaker\">BILL", "</p><p><p ID=\"act\">Bill finds the others around front. Abby lolls in the hammock writing in her diary and eating a peach. Ursula plays the guitar.", "She shrugs, disengaging her hand to brush aside her hair. She is painfully aware of his suffering but doesn't have the heart to tell him how it all is.\n</p><p><P ID=\"speaker\">BILL", "Chuck, feeling it would be wrong not to enter the spirit of the occasion, does his imitation. The likeness is astonishing. Abby wipes a bit of food off his chin with her napkin. Bill drums on the table with his spoon.", "She withdraws with a shrug. She does not appear to relish \nthis duty. Bill watches her walk back to the buggy she \ncame down in. Benson waits beside it.U" ], [ "Chuck and Abby lead the dancing off, as though to celebrate their agreement. Their giant shadows dance with them. Soon the other harvesters join in.", "Abby, passing by, lifts her hat to wipe her face. As she does her hair falls out of the crown. Women are rare in the harvest fields. One so beautiful is unprecedented.", "A cloud of chaff rises over the field, melting the sun down to a cold red bulb.\nAbby is well turned out, in a boater and string tie, as though she were planning any moment to leave for a picnic.", "The huge tractors start up with a bang. Despite Benson's warning a team of Percherons breaks free. Threshing, the separating of the wheat from the chaff, has begun.", "The plowing done, his father sows the seed. Poverty requires that for a harrow he drag a tree branch in back of his ox. Over his shoulder he carries a rifle.", "trained to farming. Most--Abby and Bill are no exception--have", "The harvesters itch madly as the chaff gets into their clothes. The shocks, full of briars, cut their hands; smut and rust make the cuts sting like fire. Nobody talks. From time to time they raise a chant.", "Their faces black with chaff, the hands fall out in silence. They shuffle across the field toward the cookhouse, keeping their feet close to the ground to avoid being spiked by the stubble.", "Bill watches Chuck help Abby into the buggy. She is laughing about something or other. His hand lingers for a moment on hers. She does not brush it aside, as once she might have, but to Bill's dismay, presses", "</p><p><p ID=\"act\">He looks around at his estate--his barn, his auto, his great house and his granary. None of them is any consolation now. Far a moment it seems to him as though he lived here in some time long past.", "<P ID=\"dia\">What for?\nBill is wondering what might happen if Chuck got interested enough to marry her. Isn't he soon to die, leaving a vast inheritance that will otherwise go to waste?", "Abby and Bill join in, Bill reaping the wheat with a mowing machine called a binder, Abby propping the bound sheaves together to make bunches or \"shocks.\"", "</p><p><p ID=\"act\">The planes set their wheels in the furrows, rev their engines and wobble off into the sky. Ursula waves goodbye to George.", "BENSON, a leathery man of fifty, bellows through a megaphone. In the background a NEWCOMER to the harvest talks with a VETERAN.\n</p><p><P ID=\"speaker\">BENSON", "She rushes up and embraces him, but her warmth just seems a tease to Bill. She is different. She looks different. The tutors and tailors Chuck has brought in over the winter have given her more polish. Her hair is nicely", "</p><p><p ID=\"act\">Chuck walks out into the deep of his fields. The wheat, a warm dry gold, is almost ready to take in. He sits down and rests his head against a", "Abby, a basket of cucumbers under her arm, waves goodbye, angling her wrist so that Bill and Ursula can see the diamond bracelet Chuck has given her.", "She waits to see what he will do. He gets up and after a short chase catches her. He holds her at arm's length for a moment, then kisses her.\n</p><p><P ID=\"speaker\">URSULA", "She takes it back immediately, but he snatches it away from her and, after a brief, giggling scuffle, hops aboard the train, now picking up speed. Ursula runs along behind, cursing and throwing rocks at him.", "The FOREMEN of the surrounding farms wait by their wagons to carry the workers off. A flag pole is planted by each wagon. Those who do not speak English negotiate their wages on a blackboard." ], [ "Chuck moves in for the kill. Bill gets to his feet. He wants to run but fear makes his knees like water. Suddenly, they are face to face. Chuck swings at Bill with the stool but misses. Bill lifts the spoke above him and", "Chuck drapes his neck with the stole he used in slaughtering the hog. Her face goes empty. He gets his razor strop from the shaving basin. She shrinks back in the corner. He looks at her for a moment, then leaves the room.", "The camera holds and holds on the fields until in their vacant depths, we begin to sense the presence of a deep malevolence, still biding its time but growing every minute.", "Bill looks at Chuck's exposed back. Nobody would know. It could be made to seem like a hunting accident. He cocks the hammer of his shotgun. His heart pounds wildly. Chuck talks in a low voice to the dogs.", "Their faces black with chaff, the hands fall out in silence. They shuffle across the field toward the cookhouse, keeping their feet close to the ground to avoid being spiked by the stubble.", "Chuck gasps. Bill seems just as shocked. Chuck sits down to determine the gravity of his injury. Blood jets rhythmically out the end of the spoke, as though from a straw. Bill circles him, unbelieving.", "Steve dies. Bullets kick up dust around him. He takes off running. One of the bullets has caught him in the shoulder.\n</p><p><p ID=\"slug\">7\tINT. SEWER", "Bill throws a plate of stew at him and they are quickly in a fight. No fists are used, just food. The others pull them apart. Bill storms away, flicking mashed potatoes off his shirt.", "Bill reels back and cracks his head on the bicycle frame. This time he stays down. Satisfied the struggle is over, Chuck goes back to get some rope.", "He breaks open the mantle of his lantern, still unsure what he should do. Some of the flaming kerosene splashes onto the crops nearby, setting them ablaze. Bill drops his rattle and swats the fire out with his coat.", "Chuck slings fire out of the broken lantern onto the crops next to Bill -- a sudden, hostile gesture that catches them all by surprise. Independent of his will, the truth is forcing its way up, like a great blind fish from the bottom of the sea.", "</p><p><p ID=\"act\">Bill watches her run her finger slowly around the closed heart of a rose. Suddenly they both look at each other. They have heard the squeals, faint but unmistakable, of a hog being led to slaughter.", "</p><p><p ID=\"slug\">299\tEXT. FARMHOUSE\n</p><p><p ID=\"act\">Four LAWMEN, in pursuit, interrogate some FARMERS. Have", "He jumps behind the handlebars and fishtails off. Chuck breaks into a gallop, rides him down, knocks him to the ground with the stool, dismounts and stamps in the spokes of the front wheel to make sure he goes no further.", "She does not respond. He yanks the sheet off. She is wearing a nightgown. She looks up and frowns. This is the first time she has ever seen him this way.", "</p><p><p ID=\"act\">Bill puts his hand on the ground. Sam drops a keg of roofing nails on it and, his work done, leaves with his gang. Bill sobs with pain.", "Again he throws her aside, and again she keeps after him, desperate to prevent any harm coming to Bill. Finally he picks her up and drags her outside.", "</p><p><p ID=\"act\">He lashes her with a rope to a column of the porch. She struggles vainly to free herself. Does he intend to use the razor on her?", "The harvesters itch madly as the chaff gets into their clothes. The shocks, full of briars, cut their hands; smut and rust make the cuts sting like fire. Nobody talks. From time to time they raise a chant.", "He throws his coat over Abby's head, picks her up by the waist and crashes through the flame. They have to shout to make themselves understood. The locusts roar like a cyclone." ], [ "Bill watches Chuck help Abby into the buggy. She is laughing about something or other. His hand lingers for a moment on hers. She does not brush it aside, as once she might have, but to Bill's dismay, presses", "trained to farming. Most--Abby and Bill are no exception--have", "Abby and Bill join in, Bill reaping the wheat with a mowing machine called a binder, Abby propping the bound sheaves together to make bunches or \"shocks.\"", "<P ID=\"dia\">Maybe you're right.\nAt each hint of consent from Abby, Bill feels he must press on.\n</p><p><P ID=\"speaker\">BILL", "Abby guesses what is going through his mind, and it shocks her.\n</p><p><P ID=\"speaker\">ABBY\n<P ID=\"dia\">Oh, Bill!", "</p><p><p ID=\"act\">Abby and Bill have laid their bedrolls out by a stack away from the others. A fire burns nearby. Abby look at the stars. Bill shines his shoes. The straw is fragrant as thyme.", "<P ID=\"dia\">What for?\nBill is wondering what might happen if Chuck got interested enough to marry her. Isn't he soon to die, leaving a vast inheritance that will otherwise go to waste?", "</p><p><p ID=\"act\">The camera moves back to reveal Abby listening in from the other side of the barn. Her eyes are full of tears. How can Bill prize her so lightly?", "<P ID=\"dia\">Then why'd you ask? Oh, how did I ever get mixed up with you?\nAbby, in terror of Chuck's finding out, cannot understand why Bill seems to care so little.", "</p><p><p ID=\"act\">Bill looks deeply into Abby's eyes by the light of a lantern that night. They have made a shallow cut on their thumbs and press them together mixing their blood like children.", "Abby looks at Bill, then nods okay. Ursula runs off. Bill opens the door, and she gets in.", "</p><p><P ID=\"speaker\">BILL\n<P ID=\"dia\">Tell him you'll stay.\n</p><p><P ID=\"speaker\">ABBY", "She is cold to discourage false expectations in him--and because she feels that she at least owes Bill this. Chuck, however, assumes the fault must be his own. His naivete about women, and the world in general, protects", "</p><p><p ID=\"act\">Abby has told him of the proposal. Bill broods over an unlit cigarette. Is this a great blessing or a great misfortune which has befallen them?", "</p><p><p ID=\"act\">Bill has brought Abby into a nearby town", "</p><p><p ID=\"act\">Bill takes Abby by the hands, spins her around until she is thoroughly dizzy, then grasps her across the chest.\n</p><p><P ID=\"speaker\">BILL", "</p><p><P ID=\"speaker\">ABBY\n<P ID=\"dia\">You heard me.\n</p><p><P ID=\"speaker\">BILL", "Bill holds a plate up for Abby to see. Limoges china. Abby rolls her eyes and spits out a cherry pit. They eat like pigs, with no respect for bourgeois manners.", "Abby smokes as Bill checks the radiator. Something in his behavior leads us to suspect he may have staged this stop.\n</p><p><P ID=\"speaker\">BILL", "</p><p><p ID=\"act\">A POLICEMAN, looking for Bill, roughs Abby up behind the tenement where they live. Suddenly Bill runs out from a doorway and slams him over the head with a clay pitcher full of water." ] ]

[ "Who does the killer flee to Texas with?", "What is the girlfriend's first name?", "What is the younger sister's first name?", "Who does the farmer fall in love with?", "Who encourages the farmer to marry the girl he falls in love with?", "Where does Linda run away from with a friend?", "What kind of school does Linda go to?", "When does the story take place?", "Why did Bill run to Texas?", "Who went to Texas with Bill?", "Why do Bill and Abby pretend to be brother and sister?", "What type of work did Linda's brother do in Chicago?", "How did Abby plan to inherit the farmer's money?", "When was Linda sent to boarding school?", "Who suspects that Bill and Abby are not related?", "What happened to the farmer's wheat fields?", "How did Bill die?", "When is the story set?", "Where does the story take place?", "What causes Bill to leave Chicago?", "Who leaves Chicago with him?", "Where did Bill work when he lived in Chicago?", "What destroys the wheat fields?", "Who pretends to be Bill's sister?", "Who does the wealthy farmer marry?", "Who kills the farmer with a screwdriver?", "Why did Bill want Abby to marry the farmer?" ]

[ [ "His girlfriend and the sister", "Abby" ], [ "Abby", "Abby" ], [ "Linda", "Linda" ], [ "Abby", "Abby" ], [ "Bill", "Bill" ], [ "School", "Boarding school." ], [ "A boarding school", "boarding school" ], [ "1916", "1916." ], [ "he killed a boss at the steel mill", "he murdered someone" ], [ "his girlfriend, Abby, and his younger sister, Linda", "His girlfriend, Abby Adams and her younger sister, Linda Manz." ], [ "to prevent gossip", "to prevent gossip" ], [ "he was a manual laborer", "He worked at a steel mill." ], [ "by marrying him and waiting for him to ide", "By marrying him and inherit it after he dies." ], [ "After the farmer died", "after Abby inherits the money" ], [ "the farmer's foreman", "the foreman" ], [ "they were destroyed by a locust swarm and a fire", "locust swarm" ], [ "he was killed by the police", "He is killed by police." ], [ "The story takes place in 1916.", "1916" ], [ "The story takes in Chicago.", "Texas" ], [ "He kills someone.", "He killed his boss." ], [ "Bill's girlfriend Abby and his sister Linda leave with him.", "His girlfriend Abby and her sister Linda." ], [ "Bill worked in a steel mill.", "At a steel mill." ], [ "A fire and a locust storm destroy the wheat fields.", "A locust swarm and a fire" ], [ "His girlfriend Abby pretends to be his sister.", "Abby" ], [ "The wealthy farmer marries Abby.", "Abby" ], [ "Bill kills the farmer.", "Bill" ], [ "Bill wants her to inherit the farm from the dying farmer.", "the farmer's inheritance" ] ]

[ [ "ANDY (cont'd)\n\tAfter I'm famous, I can sell these\n\tas \"Worn by Andy Kaufman.\"\n\nAnd at that... George is won over. He smiles broadly.", "INT. SHAPIRO/WEST - DAY\n\nGeorge sighs at Zmuda.\n\n\t\tGEORGE\n\tI'm worried about Andy. His stress\n\tlevel is affecting his work.", "George stares. He thinks, then opens the \"KAUFMAN\" door.\n\nAndy is inside alone, gathering his things. He's pleasantly\nsurprised to see George.", "BOOKER\n\tMr. Shapiro, this is Gene Knight, up\n\tat Harrah's Tahoe. We'd like to\n\tbook Andy Kaufman for our showroom.", "INT. SHAPIRO/WEST - DAY\n\nGeorge jumps from his desk. Andy is walking in.", "George is driving down Melrose, listening to the radio. He\nglances at the passing marquee -- then does a doubletake.\n\nIt says \"ANDY KAUFMAN - 9 P.M.\"", "ZMUDA\n\tHey Andy, good show.\n\n\t\tANDY\n\tOh George, this is Bob Zmuda. Bob\n\tand I have been buddies for years.", "George is yelling at Andy and Zmuda. They are seated on his\ncouch, heads bowed in shame.", "George and Zmuda glance skeptically at each other. Hmm...\nConfused, George leans in to Andy.", "George hands him a BUSINESS CARD. Andy reads it -- then his\neyes pop. He DROPS the accent.\n\n\t\tANDY\n\tMr. Shapiro, it's an honor!!", "George winces.\n\n\t\tGEORGE\n\tLook -- I gotta be clear with you.\n\tTony Clifton is NOT Andy Kaufman.", "Andy shudders.\n\nThe audience averts their eyes.\n\nA painful silence.\n\n\"Andy Kaufman\" has been destroyed.", "Andy laughs.\n\n\t\t\t\t\t CUT TO:\n\nINT. SHAPIRO/WEST - DAY", "Andy, George and Zmuda watch. Andy's face is enthralled\nlike a kid.", "The guy nods. Andy hurries over with the coffeepot and\nstarts pouring.\n\n\t\tBLUE COLLAR GUY 1\n\tYou know, you look just like Andy\n\tKaufman.", "George starts hyperventilating. Shaking, he tries to sit\nhimself down. Andy enters, beaming. George is amazed.", "In the b.g., George suddenly enters. He looks around the\nmarket, then spots Andy. He feverishly runs up.\n\t\t GEORGE\n\tAndy!", "The Improv, the biggest comedy club around. People are\nlined up, waiting. The man strides up -- GEORGE SHAPIRO, a", "GEORGE\n\tAndy, do you realize you don't do\n\tcomedy anymore? Where's that sweet\n\tguy who used to do", "ANDY\n\t... Yes, it's Andy Kaufman!...\n\tReally! ...I got your fan letter..." ], [ "BUDD\n\tAnd now we have a treat for you late-\n\tnight diehards. The star of Taxi --\n\there in person, Andy Kaufman!", "Andy is hilarious. The crowd HOWLS with laughter.\n\nMONTAGE - TAXI", "The guy nods. Andy hurries over with the coffeepot and\nstarts pouring.\n\n\t\tBLUE COLLAR GUY 1\n\tYou know, you look just like Andy\n\tKaufman.", "Bleachers are full. They're now filming TAXI (the same\nscene as earlier). On cue, Andy enters as LATKA -- wide-\neyed, endearing, in mechanic's overalls.", "ANDY\n\t... Yes, it's Andy Kaufman!...\n\tReally! ...I got your fan letter...", "In quick succession, a series of Andy's best Latka moments.\nHe's beloved. The applause grows louder, louder, LOUDER...\n\nINT. TAXI SET, BACKSTAGE - DAY", "ANDY\n\tThe world thinks Andy Kaufman sucks.\n\tSo I was just giving 'em what they\n\twant...", "ANDY (cont'd)\n\tAfter I'm famous, I can sell these\n\tas \"Worn by Andy Kaufman.\"\n\nAnd at that... George is won over. He smiles broadly.", "INT. TAXI SET, ANDY'S DRESSING ROOM - DAY\n\nAndy is meditating. He's tranquil, at total inner peace.", "ANDY\n\tWell thank you very much...!\n\n\t\t\t\t\t CUT TO:\n\nINT. TAXI SET - DAY", "Andy shudders.\n\nThe audience averts their eyes.\n\nA painful silence.\n\n\"Andy Kaufman\" has been destroyed.", "ED\n\tI'M NOT IN!\n\n\t\tSECRETARY\n\tWell, um... it's Andy Kaufman...", "in New Mexico where Andy Kaufman\n\tdied.\"\n\t\t(beat)\n\tI'm going to have to ask you to\n\tleave.", "TAXI curtain calls. The whole cast takes bows, then runs\noffstage. Everyone is grinning -- except Andy.\n\nHe soberly strolls up to Zmuda.", "George is driving down Melrose, listening to the radio. He\nglances at the passing marquee -- then does a doubletake.\n\nIt says \"ANDY KAUFMAN - 9 P.M.\"", "INT. BEAT UP TAXI, PHILIPPINES - DAY\n\nAndy, Lynne, and Zmuda ride through the impoverished city.\n\nAndy stares in amazement.", "Andy sighs, opens the script, and starts scanning the pages\nlike a speedreader.\n\nINT. TAXI SET - LATER THAT DAY", "MANAGER\n\tThe comedy stylings of Andy Kaufman,\n\tLadies and Gentlemen!", "The Taxi cast are flustered.\n\n\t\tCAROL KANE\n\tWhy are people leaving? The\n\tcurtain's gonna open. Andy's gonna\n\tcome out... I know it!", "GEORGE (V.O.)\n\tAndy... it's me. I've got some\n\tcrummy news.\n\t\t(long beat)\n\tTaxi's been canceled.\n\nSilence." ], [ "You -- you know damn straight who it\n\tis. Tony Clifton! A name to\n\trespect. A name to fear.\n\t\t(beat)", "Tony Clifton grabs the microphone.", "Disappointed beat. The booker thinks.\n\n\t\tBOOKER (O.S.) (cont'd)\n\tWhat about Tony Clifton?", "ANDY\n\tTony Clifton.\n\n\t\tGEORGE\n\t\t(beat)\n\tYou know Tony doesn't have that kind\n\tof money.", "GEORGE\n\tTony Clifton.\n\n\t\tNETWORK GUY #1\n\tWho is he?!", "ANDY (O.S.)\n\tHi George!\n\n\t\tGEORGE\n\tEh, hi, Andy. Look, this Tony\n\tClifton... is he performing\n\tanywhere?", "ANNOUNCER (V.O.)\n\tLadies and Gentlemen! Please put\n\tyour hands together for... Tony\n\tClifton!", "A small SPOT appears -- on a peach tuxedo. The light grows\nbigger, bigger... the tension magnifying... people\ngasping... our view widening... until Tony Clifton is\nrevealed onstage!", "George winces.\n\n\t\tGEORGE\n\tLook -- I gotta be clear with you.\n\tTony Clifton is NOT Andy Kaufman.", "insiders. They see Tony Clifton,\n\tand they say, \"Ah, that's really\n\tAndy Kaufman.\" But that spoils it.", "SECRETARY (O.S.)\n\tTony Clifton on the phone!\n\n\t\tGEORGE\n\tWho?", "The band starts playing lounge standard \"VOLARE\". And then,\nobnoxious TONY CLIFTON swaggers out. Tony has a rubbery", "GEORGE\n\t\t(startled)\n\tReally?! You want Tony Clifton to\n\theadline Harrah's Tahoe??", "INT. HARRAH'S, CLIFTON'S DRESSING ROOM - NIGHT\n\nand inside, taking off the rubber Tony makeup, is Zmuda.", "Tony stops, smirks at the audience, and sucks on a\ncigarette. He blows smoke rings at them.\n\n\t\tTONY CLIFTON\n\tHeh-heh. How ya all doin'?", "BOOKER (O.S.)\n\tWhy's that? You said over and over\n\tand over, Tony Clifton is not Andy\n\tKaufman --", "He points. His friend turns -- and gasps.\n\nAT THE COMEDY STORE - The marquee says \"TONY CLIFTON: LIVE!\"", "George is skeptical.\n\n\t\tANNOUNCER (V.O.) (cont'd)\n\tLadies and Gentlemen, Mr.\n\tEntertainment... TONY CLIFTON!", "GEORGE\n\t\t(stunned)\n\tWho is this?\n\t\tTONY CLIFTON (V.O.)", "ANNOUNCER (V.O.)\n\tAnd now! A man who needs no\n\tintroduction... TONY CLIFTON!" ], [ "LAWLER\n\tYEAH?! Well I got news for you,\n\tAndy Kaufman! Wrestling is a", "ANDY\n\tThe world thinks Andy Kaufman sucks.\n\tSo I was just giving 'em what they\n\twant...", "Andy shudders.\n\nThe audience averts their eyes.\n\nA painful silence.\n\n\"Andy Kaufman\" has been destroyed.", "ANDY\n\t... Yes, it's Andy Kaufman!...\n\tReally! ...I got your fan letter...", "ANDY (cont'd)\n\tBut when it comes to wrestling,\n\tforget it! If there's a woman that", "MAN\n\tSTOP IT! This woman's a FAKE!\n\tShe's nothing but Kaufman's\n\tgirlfriend!\n\nAndy and Lynne are startled.", "Andy and Jerry Lawler are on DAVID LETTERMAN'S show. Andy\nis pallid, hair shaggy, in a neckbrace and tweed jacket.\nHusky Lawler wears loud red pants and gold chains.", "Screeching JEERS and CATCALLS. Down front... Lynne jumps\nup.\n\n\t\tLYNNE\n\tLook here, Andy Kaufman! I'll take\n\tyou on -- SISSY!", "ANDY\n\t\t(calm)\n\tNo no no, it's not sex! I mean --\n\tit can lead to sex... but really,\n\tit's just wrestling.", "The guy nods. Andy hurries over with the coffeepot and\nstarts pouring.\n\n\t\tBLUE COLLAR GUY 1\n\tYou know, you look just like Andy\n\tKaufman.", "She grabs Andy's arm and forces him down. People CHEER.\nHis torso hits the mat. LOUDER CHEERS. But suddenly he", "WHUMP! She's down. Andy has trained for this.\n\nZmuda gets on his knees, watching, trying to look official.\nLynne struggles and slithers away.", "ANDY\n\tDo you wanna wrestle? It's a good\n\tway of breaking the ice.\n\t\t(pause)\n\tThat instant physical intimacy\n\treally brings two people together.", "CHEERS)\n\tSo if Kaufman wants to tangle, I've\n\tbrought a real wrestler! She's", "JERRY LAWLER\n\tAlright, buddy...\n\t\t(choked up)\n\tStay good.\n\nAndy and Jerry hug.", "ANNOUNCER\n\tAnd now! The MAIN EVENT of the\n\tevening! The match you've been\n\twaiting for: The King Jerry Lawler,\n\tversus Hollywood Andy Kaufman!", "It's over. But Andy stays on her, shaking his ass, leering\nrudely. Jerry Lawler yells from the corner.\n\n\t\tLAWLER\n\tAlright, you won. GET OFF HER!", "ANDY (cont'd)\n\tAfter I'm famous, I can sell these\n\tas \"Worn by Andy Kaufman.\"\n\nAnd at that... George is won over. He smiles broadly.", "needy, unsettling cuteness. His hair is slicked-down, and\nhe wears the \"FRIENDLY WORLD\" costume from the Andy Kaufman\nspecial.", "BUDD\n\tAnd now we have a treat for you late-\n\tnight diehards. The star of Taxi --\n\there in person, Andy Kaufman!" ], [ "ZMUDA\n\tHey Andy, good show.\n\n\t\tANDY\n\tOh George, this is Bob Zmuda. Bob\n\tand I have been buddies for years.", "In the crowd, we pass face after face -- smiling...\nfrowning... intrigued... confused... until we settle on a\nman in the very last row.\n\nBob Zmuda.", "Andy's face drops. He realizes Zmuda's right.", "Zmuda angrily packs Andy's bags. Zmuda is seething.\n\nBut Andy is strangely calm and unaffected.", "ZMUDA\n\t\"Was this in actuality Andy Kaufman?\n\tAnd if it was Andy Kaufman, is Andy\n\tKaufman crazy?\"", "GEORGE\n\tYeah? Well tell that to the poor\n\tschlub who you humiliated!\n\nBeat -- then Bob strolls over. His real name is BOB ZMUDA.", "ANDY\n\tThe world thinks Andy Kaufman sucks.\n\tSo I was just giving 'em what they\n\twant...", "ANDY\n\t... Yes, it's Andy Kaufman!...\n\tReally! ...I got your fan letter...", "Andy, George and Zmuda watch. Andy's face is enthralled\nlike a kid.", "The audience is embarrassed.\n\nA frazzled confusion, then Andy drops the accent. He glares\nat Zmuda.\n\n\t\tANDY\n\tSir, do you have a problem?", "ANDY\n\tThis is great! It makes Tony REAL -\n\t- three-dimensional! It's very good\n\tfor his career.\n\nZmuda reads one paragraph.", "MADAM\n\t\t(mocking)\n\tWhat're you talking about? Andy\n\tcomes here almost every weekend.\n\nZmuda's jaw drops, stupefied.", "The guy nods. Andy hurries over with the coffeepot and\nstarts pouring.\n\n\t\tBLUE COLLAR GUY 1\n\tYou know, you look just like Andy\n\tKaufman.", "BUDD\n\tAnd now we have a treat for you late-\n\tnight diehards. The star of Taxi --\n\there in person, Andy Kaufman!", "Andy and Lynne stand in the ring. She scornfully watches\nhim preen about. Zmuda is in a referee's uniform.", "All heads turn. A long pause.\n\nThen -- Andy stiffly speaks.\n\n\t\tANDY\n\tI have cancer.\n\nBeat. Zmuda nods.", "WHUMP! She's down. Andy has trained for this.\n\nZmuda gets on his knees, watching, trying to look official.\nLynne struggles and slithers away.", "George and Zmuda glance skeptically at each other. Hmm...\nConfused, George leans in to Andy.", "Andy shudders.\n\nThe audience averts their eyes.\n\nA painful silence.\n\n\"Andy Kaufman\" has been destroyed.", "MANAGER\n\tThe comedy stylings of Andy Kaufman,\n\tLadies and Gentlemen!" ], [ "REPORTER #1\n\tI'm working on a great cover story:\n\tI've got a guy in the lab at Cedars.\n\tHe says Andy Kaufman is dying of\n\tlung cancer.", "Andy shudders.\n\nThe audience averts their eyes.\n\nA painful silence.\n\n\"Andy Kaufman\" has been destroyed.", "ANDY\n\tThe world thinks Andy Kaufman sucks.\n\tSo I was just giving 'em what they\n\twant...", "All heads turn. A long pause.\n\nThen -- Andy stiffly speaks.\n\n\t\tANDY\n\tI have cancer.\n\nBeat. Zmuda nods.", "The guy nods. Andy hurries over with the coffeepot and\nstarts pouring.\n\n\t\tBLUE COLLAR GUY 1\n\tYou know, you look just like Andy\n\tKaufman.", "ANDY\n\t... Yes, it's Andy Kaufman!...\n\tReally! ...I got your fan letter...", "Tight on Andy, staring at the LA Times. A small headline\nsays \"JOKESTER ANDY KAUFMAN VOTED OFF 'SATURDAY NIGHT LIVE'\"\n\nHe is bothered.", "him for possible paralysis. His\n\tparents are at his bedside. Fans\n\twill best remember Kaufman as\n\tlovable Latka on television's", "The sun is setting, purple and orange over the hills. Andy\nand George lie on chaise lounges, serenely staring out.\nAndy has a blank look on his face, and has lost more weight.\nHe is a shadow of himself.", "ANDY (cont'd)\n\tAfter I'm famous, I can sell these\n\tas \"Worn by Andy Kaufman.\"\n\nAnd at that... George is won over. He smiles broadly.", "in New Mexico where Andy Kaufman\n\tdied.\"\n\t\t(beat)\n\tI'm going to have to ask you to\n\tleave.", "BUDD\n\tAnd now we have a treat for you late-\n\tnight diehards. The star of Taxi --\n\there in person, Andy Kaufman!", "ANDY\n\tNo, it's true. I have lung cancer.\n\n\t\tGEORGE\n\tThat's ridiculous. You don't even\n\tsmoke.", "going, \"Poor Andy, he's really\n\tsick.\" So he chose lung cancer,\n\tbecause he WANTS us to be scratching", "A room with soft lighting and billowing curtains. A New Age\nHEALER is laying crystals upon Andy's body.\n\nAndy COUGHS. His hat is off, revealing he's bald.", "ANDY\n\tYeah! He's a psychic surgeon in the\n\tPhilippines, and he's amazing! He\n\trubs you and sucks the disease right\n\tout!", "ED\n\tI'M NOT IN!\n\n\t\tSECRETARY\n\tWell, um... it's Andy Kaufman...", "George is driving down Melrose, listening to the radio. He\nglances at the passing marquee -- then does a doubletake.\n\nIt says \"ANDY KAUFMAN - 9 P.M.\"", "Standing in a nonexistent set is ANDY KAUFMAN, looking a bit\nnervous. Wide-eyed, tentative, he stares at us with a", "The doctor says he's a goner.\n\t\t(rousing himself)\n\tBut Tony's built like a mule! Andy" ], [ "Andy and Jerry Lawler are on DAVID LETTERMAN'S show. Andy\nis pallid, hair shaggy, in a neckbrace and tweed jacket.\nHusky Lawler wears loud red pants and gold chains.", "ANNOUNCER\n\tAnd now! The MAIN EVENT of the\n\tevening! The match you've been\n\twaiting for: The King Jerry Lawler,\n\tversus Hollywood Andy Kaufman!", "Crazed, Andy looks down at Dave's coffee cup. Uh-oh.\nSuddenly, Andy grabs the coffee and DUMPS it on Lawler!", "LAWLER\n\tYEAH?! Well I got news for you,\n\tAndy Kaufman! Wrestling is a", "Andy shudders.\n\nThe audience averts their eyes.\n\nA painful silence.\n\n\"Andy Kaufman\" has been destroyed.", "ANDY\n\tThe world thinks Andy Kaufman sucks.\n\tSo I was just giving 'em what they\n\twant...", "Lawler hesitates -- then suddenly climbs in the ring and\nlifts Andy off! Lawler angrily PUSHES Andy down.\n\nAndy is flabbergasted.", "George is driving down Melrose, listening to the radio. He\nglances at the passing marquee -- then does a doubletake.\n\nIt says \"ANDY KAUFMAN - 9 P.M.\"", "JERRY LAWLER\n\tAlright, buddy...\n\t\t(choked up)\n\tStay good.\n\nAndy and Jerry hug.", "ANDY (cont'd)\n\tI'M SICK AND TIRED OF THIS SHIT!\n\nLawler freezes in his seat. Letterman hides behind his\ndesk.", "ANDY (cont'd)\n\tI'M SICK AND TIRED OF THIS SHIT!\n\nLawler freezes in his seat. Letterman hides behind his\ndesk.", "The guy nods. Andy hurries over with the coffeepot and\nstarts pouring.\n\n\t\tBLUE COLLAR GUY 1\n\tYou know, you look just like Andy\n\tKaufman.", "Screeching JEERS and CATCALLS. Down front... Lynne jumps\nup.\n\n\t\tLYNNE\n\tLook here, Andy Kaufman! I'll take\n\tyou on -- SISSY!", "Tight on Andy, staring at the LA Times. A small headline\nsays \"JOKESTER ANDY KAUFMAN VOTED OFF 'SATURDAY NIGHT LIVE'\"\n\nHe is bothered.", "ANDY\n\t... Yes, it's Andy Kaufman!...\n\tReally! ...I got your fan letter...", "BUDD\n\tAnd now we have a treat for you late-\n\tnight diehards. The star of Taxi --\n\there in person, Andy Kaufman!", "ANDY\n\t\t(losing it)\n\tAnd you're just poor white trash!\n\nLawler's had enough. Enraged, he wildly stands and SLAPS\nAndy.", "ANDY\n\t\t(losing it)\n\tAnd you're just poor white trash!\n\nLawler's had enough. Enraged, he wildly stands and SLAPS\nAndy.", "ANDY (cont'd)\n\tAfter I'm famous, I can sell these\n\tas \"Worn by Andy Kaufman.\"\n\nAnd at that... George is won over. He smiles broadly.", "That's it. The crowd goes NUTS. Jerry Lawler races over\nand snatches the mike, trying to maintain his dignity." ], [ "Andy and Jerry Lawler are on DAVID LETTERMAN'S show. Andy\nis pallid, hair shaggy, in a neckbrace and tweed jacket.\nHusky Lawler wears loud red pants and gold chains.", "JERRY LAWLER\n\tAlright, buddy...\n\t\t(choked up)\n\tStay good.\n\nAndy and Jerry hug.", "That's it. The crowd goes NUTS. Jerry Lawler races over\nand snatches the mike, trying to maintain his dignity.", "ANNOUNCER\n\tAnd now! The MAIN EVENT of the\n\tevening! The match you've been\n\twaiting for: The King Jerry Lawler,\n\tversus Hollywood Andy Kaufman!", "LAWLER\n\tI'm Jerry Lawler, the KING of\n\tMemphis wrestling!!\n\t\t(this gets HUGE", "Lawler hesitates -- then suddenly climbs in the ring and\nlifts Andy off! Lawler angrily PUSHES Andy down.\n\nAndy is flabbergasted.", "The coliseum SCREAMS with excitement. People POUND their\nseats. The roar is deafening. Lawler gleams cockily.\nLynne looks worriedly at Andy -- he's concerned.", "We WIDEN...\n\nAnd the other person is JERRY LAWLER. He feels bad.", "LAWLER\n\tYEAH?! Well I got news for you,\n\tAndy Kaufman! Wrestling is a", "As promised, Lawler doesn't move. So Andy crosses over and\ngrabs Lawler's head! Andy grins triumphantly. He squeezes\nhis arms tight, muscles flexing, riding high on this moment.", "Andy is splayed unconscious.\n\nRaging Lawler promenades around the ring, arms over his\nhead. The crowd SHOUTS CRAZILY, rooting him on.", "Andy storms over, out-of-control. From a safe distance, he\nstarts SCREAMING at Lawler.", "Andy storms over, out-of-control. From a safe distance, he\nstarts SCREAMING at Lawler.", "Raging Lawler promenades around the ring, arms over his\nhead. The crowd SHOUTS CRAZILY, rooting him on.\n\nLynne runs to the ropes, SCREAMING for help.", "audience. So I got him on Letterman\n\ttonight. He's gonna apologize to\n\tJerry Lawler, then repent for all", "Andy lies on the mat, unmoving. Lawler doesn't care. He\npicks up Andy's prone body and grips it upside-down. Janice\ncovers her eyes. Stanley is worried.", "JERRY LAWLER\n\tThat's fine. But I wouldn't have\n\ttraded it for anything...\n\t\t(poignant)", "LAWLER (cont'd)\n\tLook... if you get in here, I'll\n\tgive you a free headlock.\n\nLawler leans down and offers his neck.", "ANDY\n\t\t(losing it)\n\tAnd you're just poor white trash!\n\nLawler's had enough. Enraged, he wildly stands and SLAPS\nAndy.", "ANDY\n\t\t(losing it)\n\tAnd you're just poor white trash!\n\nLawler's had enough. Enraged, he wildly stands and SLAPS\nAndy." ], [ "ANDY\n\tThe world thinks Andy Kaufman sucks.\n\tSo I was just giving 'em what they\n\twant...", "A marquee says \"TEXAS A&M PRESENTS - ANDY KAUFMAN\"\n\nInside, a ROAR of APPLAUSE surges.", "Andy shudders.\n\nThe audience averts their eyes.\n\nA painful silence.\n\n\"Andy Kaufman\" has been destroyed.", "George is driving down Melrose, listening to the radio. He\nglances at the passing marquee -- then does a doubletake.\n\nIt says \"ANDY KAUFMAN - 9 P.M.\"", "ANDY\n\t... Yes, it's Andy Kaufman!...\n\tReally! ...I got your fan letter...", "BUDD\n\tAnd now we have a treat for you late-\n\tnight diehards. The star of Taxi --\n\there in person, Andy Kaufman!", "A dressy NEW YORK CROWD pushes into Carnegie Hall. The\nmarquee says \"ANDY KAUFMAN.\"\n\nINT. CARNEGIE HALL - LATER THAT NIGHT", "Standing in a nonexistent set is ANDY KAUFMAN, looking a bit\nnervous. Wide-eyed, tentative, he stares at us with a", "The guy nods. Andy hurries over with the coffeepot and\nstarts pouring.\n\n\t\tBLUE COLLAR GUY 1\n\tYou know, you look just like Andy\n\tKaufman.", "ANDY (cont'd)\n\tAfter I'm famous, I can sell these\n\tas \"Worn by Andy Kaufman.\"\n\nAnd at that... George is won over. He smiles broadly.", "ANDY\n\t\t(bright)\n\tI've always wanted to play Carnegie\n\tHall.\n\nGeorge is unsure if that's a joke.", "The crowd hopelessly breaks out LAUGHING.\n\nANDY laughs along. They're all having a good time.\n\nINT. CARNEGIE HALL - LATER THAT NIGHT", "Tight on Andy, staring at the LA Times. A small headline\nsays \"JOKESTER ANDY KAUFMAN VOTED OFF 'SATURDAY NIGHT LIVE'\"\n\nHe is bothered.", "in New Mexico where Andy Kaufman\n\tdied.\"\n\t\t(beat)\n\tI'm going to have to ask you to\n\tleave.", "MANAGER\n\tThe comedy stylings of Andy Kaufman,\n\tLadies and Gentlemen!", "Magnificent HARRAH'S dominates the skyline. The marquee\nblares \"TONY CLIFTON AND ANDY KAUFMAN!\" George screeches up", "BOOKER\n\tMr. Shapiro, this is Gene Knight, up\n\tat Harrah's Tahoe. We'd like to\n\tbook Andy Kaufman for our showroom.", "ANDY (cont'd)\n\tYuck!\n\nINT. LA IMPROV, SHOWROOM - LATE NIGHT", "GEORGE\n\tAndy... this is every comedian's\n\tdream.", "ED\n\tI'M NOT IN!\n\n\t\tSECRETARY\n\tWell, um... it's Andy Kaufman..." ], [ "MANAGER\n\tLook -- I don't wanna seem\n\tinsulting. But... your act is like\n\tamateur hour: Singalongs...\n\tpuppets... playing records...", "People light back up and start talking. Tony ignores the\nruckus. He starts SINGING, pinched and off-key.", "Andy shudders.\n\nThe audience averts their eyes.\n\nA painful silence.\n\n\"Andy Kaufman\" has been destroyed.", "MANAGER\n\tWell, everyone else gets this place\n\tcookin'! Pal, it's hard for me to\n\tmove the booze when you're singin'\n\t\"Pop Goes The Weasel.\"", "The club is empty. At the bar, the manager cleans up. Andy\neagerly comes over. Offstage, his presence is soft, placid\n-- his voice barely above a whisper.", "Tony's singing is awful. Andy happily accompanies on\ncongas. The audience doesn't know what to think.\n\nTony's SINGING reaches the end... aggressive and off-key.", "think Kaufman's a comic genius. But\n\tothers disagree... they say he's\n\tjust not funny anymore.\n\t\t(beat)", "ANDY\n\tThe world thinks Andy Kaufman sucks.\n\tSo I was just giving 'em what they\n\twant...", "In fact, Ladies and Gentlemen,\n\tKaufman's so desperate, he PAID me\n\tto do this tonight!! I'm a plant.", "Audience members start whispering. Tony hears this -- and\ndrops his arms and head in despair.", "A pause -- but no applause. It's dead silence. Andy looks\nout... and realizes the few audience members are asleep.\n\nAndy shrugs, then shuffles off-stage.", "ANDY\n\tI'm not a comedian. I have no\n\ttalent.\n\t\t(he shrugs)\n\tI'm a song-and-dance man.", "The crowd hopelessly breaks out LAUGHING.\n\nANDY laughs along. They're all having a good time.\n\nINT. CARNEGIE HALL - LATER THAT NIGHT", "Tight on Andy, staring at the LA Times. A small headline\nsays \"JOKESTER ANDY KAUFMAN VOTED OFF 'SATURDAY NIGHT LIVE'\"\n\nHe is bothered.", "They're all slack-jawed. Even PAUL SHAFFER. Trying to\ncover, Paul hurriedly kicks in with a ROCKABILLY TUNE.\n\nAndy jumps up, crazed.", "They're all slack-jawed. Even PAUL SHAFFER. Trying to\ncover, Paul hurriedly kicks in with a ROCKABILLY TUNE.\n\nAndy jumps up, crazed.", "Very late -- a clock says 1:15. A YOUNG COMIC is onstage,\nperforming to the DOZEN audience members left.", "The band starts playing lounge standard \"VOLARE\". And then,\nobnoxious TONY CLIFTON swaggers out. Tony has a rubbery", "Maynard is suddenly very confused. The crowd laughs\nnervously.", "Andy stands frozen, awkwardly looking at the audience.\nEvery time the music ends he picks up the needle and\nrestarts the music. He does that as many times as the\ncredits require." ], [ "ANDY (AS FOREIGN MAN) (cont'd)\n\tAnd now... I would like to imitate\n\tthe Elvis Presley.", "ANNOUNCER (V.O.)\n\tAnd now, Mama Roma's is proud to\n\tpresent International Singing\n\tSensation... a man who has sold more\n\trecords than Elvis and the Beatles\n\tcombined...", "George strolls up.\n\n\t\tGEORGE\n\tHey, I really enjoyed your set.\n\n\t\tANDY (AS FOREIGN MAN)\n\tTank you veddy much.", "Foreign Man chuckles pathetically.\n\nThe crowd HOWLS. Andy's rockin'.", "The guy nods. Andy hurries over with the coffeepot and\nstarts pouring.\n\n\t\tBLUE COLLAR GUY 1\n\tYou know, you look just like Andy\n\tKaufman.", "In fact, Ladies and Gentlemen,\n\tKaufman's so desperate, he PAID me\n\tto do this tonight!! I'm a plant.", "ANDY\n\tThe world thinks Andy Kaufman sucks.\n\tSo I was just giving 'em what they\n\twant...", "Andy shudders.\n\nThe audience averts their eyes.\n\nA painful silence.\n\n\"Andy Kaufman\" has been destroyed.", "ANDY (cont'd)\n\tAfter I'm famous, I can sell these\n\tas \"Worn by Andy Kaufman.\"\n\nAnd at that... George is won over. He smiles broadly.", "BUDD\n\tAnd now we have a treat for you late-\n\tnight diehards. The star of Taxi --\n\there in person, Andy Kaufman!", "George is driving down Melrose, listening to the radio. He\nglances at the passing marquee -- then does a doubletake.\n\nIt says \"ANDY KAUFMAN - 9 P.M.\"", "ANDY\n\t... Yes, it's Andy Kaufman!...\n\tReally! ...I got your fan letter...", "And it's packed! Andy is onstage, playing struggling,\nlovable Foreign Man.", "MAN\n\tSTOP IT! This woman's a FAKE!\n\tShe's nothing but Kaufman's\n\tgirlfriend!\n\nAndy and Lynne are startled.", "HOST\n\tWelcome back to Saturday Night Live!\n\tAnd now, as a special treat on our\n\tfirst show... musical guest ANDY\n\tKAUFMAN!!!", "ED\n\tI'M NOT IN!\n\n\t\tSECRETARY\n\tWell, um... it's Andy Kaufman...", "him for possible paralysis. His\n\tparents are at his bedside. Fans\n\twill best remember Kaufman as\n\tlovable Latka on television's", "The band starts playing lounge standard \"VOLARE\". And then,\nobnoxious TONY CLIFTON swaggers out. Tony has a rubbery", "needy, unsettling cuteness. His hair is slicked-down, and\nhe wears the \"FRIENDLY WORLD\" costume from the Andy Kaufman\nspecial.", "MANAGER\n\tThe comedy stylings of Andy Kaufman,\n\tLadies and Gentlemen!" ], [ "him for possible paralysis. His\n\tparents are at his bedside. Fans\n\twill best remember Kaufman as\n\tlovable Latka on television's", "George stares. He thinks, then opens the \"KAUFMAN\" door.\n\nAndy is inside alone, gathering his things. He's pleasantly\nsurprised to see George.", "TONY DANZA\n\tMan, this is bullshit!\n\t\t(he marches up to\n\t\tthe PRODUCER)\n\tWhere's Kaufman? Why isn't he\n\there??", "George is driving down Melrose, listening to the radio. He\nglances at the passing marquee -- then does a doubletake.\n\nIt says \"ANDY KAUFMAN - 9 P.M.\"", "CUT TO:\n\nINT. KAUFMAN HOUSE, FAMILY ROOM - SAME TIME", "CUT TO:\n\nINT. KAUFMAN HOUSE, FAMILY ROOM - SAME TIME", "ANDY (cont'd)\n\tAfter I'm famous, I can sell these\n\tas \"Worn by Andy Kaufman.\"\n\nAnd at that... George is won over. He smiles broadly.", "Up in the control booth is -- Maynard. He smiles strangely.\n\nINT. KAUFMAN HOUSE, FAMILY ROOM - NIGHT", "The crowd CHEERS rowdily.\n\n\t\t\t\t\t CUT TO:\n\nINT. KAUFMAN HOUSE, FAMILY ROOM - SAME TIME", "Mr. Kaufman won't rehearse.\n\t\t(beat)\n\tMr. Kaufman gets his own network\n\tSpecial.", "The guy nods. Andy hurries over with the coffeepot and\nstarts pouring.\n\n\t\tBLUE COLLAR GUY 1\n\tYou know, you look just like Andy\n\tKaufman.", "In fact, Ladies and Gentlemen,\n\tKaufman's so desperate, he PAID me\n\tto do this tonight!! I'm a plant.", "MAYNARD\n\tI'm gonna STRANGLE George Shapiro!\n\nINT. KAUFMAN HOUSE, FAMILY ROOM - SAME TIME", "BUDD\n\tAnd now we have a treat for you late-\n\tnight diehards. The star of Taxi --\n\there in person, Andy Kaufman!", "Standing in a nonexistent set is ANDY KAUFMAN, looking a bit\nnervous. Wide-eyed, tentative, he stares at us with a", "ED\n\tI'M NOT IN!\n\n\t\tSECRETARY\n\tWell, um... it's Andy Kaufman...", "Tight on Andy, staring at the LA Times. A small headline\nsays \"JOKESTER ANDY KAUFMAN VOTED OFF 'SATURDAY NIGHT LIVE'\"\n\nHe is bothered.", "STUDIO PAGE\n\tMr. Kaufman, do you want your mail?\n\nAndy looks up -- and his face lights up like Christmas.\n\nINT. ANDY'S APARTMENT - DAY", "INT. KAUFMAN HOUSE, ANDY'S ROOM - 1957 - DAY\n\nAndy hurries in and plops Carol down on the floor. She\ndutifully sits there, deadpan.", "ON THE TV - Andy speaks tenderly, lovingly to Howdy Doody.\n\t\tANDY (ON TV)\n\tYou know... I was once in your" ], [ "think Kaufman's a comic genius. But\n\tothers disagree... they say he's\n\tjust not funny anymore.\n\t\t(beat)", "ANDY\n\tI told you, I'm not a comedian. And\n\tsitcoms are the lowest form of\n\tentertainment: Stupid jokes and\n\tcanned laughter.", "TONY DANZA\n\tMan, this is bullshit!\n\t\t(he marches up to\n\t\tthe PRODUCER)\n\tWhere's Kaufman? Why isn't he\n\there??", "Tight on Andy, staring at the LA Times. A small headline\nsays \"JOKESTER ANDY KAUFMAN VOTED OFF 'SATURDAY NIGHT LIVE'\"\n\nHe is bothered.", "GEORGE\n\tIt's a perfect Kaufman audience.\n\n\t\tZMUDA\n\tYeah. They don't know whether to be\n\tsad, or angry.", "Mr. Kaufman won't rehearse.\n\t\t(beat)\n\tMr. Kaufman gets his own network\n\tSpecial.", "CUT TO:\n\nINT. KAUFMAN HOUSE, FAMILY ROOM - SAME TIME", "CUT TO:\n\nINT. KAUFMAN HOUSE, FAMILY ROOM - SAME TIME", "Andy shudders.\n\nThe audience averts their eyes.\n\nA painful silence.\n\n\"Andy Kaufman\" has been destroyed.", "Beat. The room GROANS.\n\n\t\tEDITOR\n\tWhat bullshit! No. No more Kaufman\n\tstories! He's burned us too many\n\ttimes!", "ANDY\n\tThe world thinks Andy Kaufman sucks.\n\tSo I was just giving 'em what they\n\twant...", "Up in the control booth is -- Maynard. He smiles strangely.\n\nINT. KAUFMAN HOUSE, FAMILY ROOM - NIGHT", "In fact, Ladies and Gentlemen,\n\tKaufman's so desperate, he PAID me\n\tto do this tonight!! I'm a plant.", "ANDY\n\t\t(soft)\n\tGeorge, I hate sitcoms.", "George stares. He thinks, then opens the \"KAUFMAN\" door.\n\nAndy is inside alone, gathering his things. He's pleasantly\nsurprised to see George.", "MAYNARD\n\tI'm gonna STRANGLE George Shapiro!\n\nINT. KAUFMAN HOUSE, FAMILY ROOM - SAME TIME", "him for possible paralysis. His\n\tparents are at his bedside. Fans\n\twill best remember Kaufman as\n\tlovable Latka on television's", "KAUFMAN, 40, gets out. Still in his suit, he's a well-\nmeaning slave to his job -- tired, responsible.", "Andy's smile drops. He freezes up.\n\n\t\tANDY\n\tSitcom...?", "Stanley sits in front of his TV. The Fridays JINGLE and\nCREDITS come on. We hear dishes being washed in the\nkitchen." ], [ "George is driving down Melrose, listening to the radio. He\nglances at the passing marquee -- then does a doubletake.\n\nIt says \"ANDY KAUFMAN - 9 P.M.\"", "ANDY (cont'd)\n\tAfter I'm famous, I can sell these\n\tas \"Worn by Andy Kaufman.\"\n\nAnd at that... George is won over. He smiles broadly.", "him for possible paralysis. His\n\tparents are at his bedside. Fans\n\twill best remember Kaufman as\n\tlovable Latka on television's", "BUDD\n\tAnd now we have a treat for you late-\n\tnight diehards. The star of Taxi --\n\there in person, Andy Kaufman!", "SMUG COMIC\n\tHi. Um, we were supposed to have\n\tAndy Kaufman on our show this week -", "Andy and Jerry Lawler are on DAVID LETTERMAN'S show. Andy\nis pallid, hair shaggy, in a neckbrace and tweed jacket.\nHusky Lawler wears loud red pants and gold chains.", "MANAGER\n\tThe comedy stylings of Andy Kaufman,\n\tLadies and Gentlemen!", "think Kaufman's a comic genius. But\n\tothers disagree... they say he's\n\tjust not funny anymore.\n\t\t(beat)", "Tight on Andy, staring at the LA Times. A small headline\nsays \"JOKESTER ANDY KAUFMAN VOTED OFF 'SATURDAY NIGHT LIVE'\"\n\nHe is bothered.", "Standing in a nonexistent set is ANDY KAUFMAN, looking a bit\nnervous. Wide-eyed, tentative, he stares at us with a", "TONY DANZA\n\tMan, this is bullshit!\n\t\t(he marches up to\n\t\tthe PRODUCER)\n\tWhere's Kaufman? Why isn't he\n\there??", "ANDY\n\t... Yes, it's Andy Kaufman!...\n\tReally! ...I got your fan letter...", "A marquee says \"TEXAS A&M PRESENTS - ANDY KAUFMAN\"\n\nInside, a ROAR of APPLAUSE surges.", "ANDY\n\tThe world thinks Andy Kaufman sucks.\n\tSo I was just giving 'em what they\n\twant...", "The guy nods. Andy hurries over with the coffeepot and\nstarts pouring.\n\n\t\tBLUE COLLAR GUY 1\n\tYou know, you look just like Andy\n\tKaufman.", "In fact, Ladies and Gentlemen,\n\tKaufman's so desperate, he PAID me\n\tto do this tonight!! I'm a plant.", "HOST\n\tWelcome back to Saturday Night Live!\n\tAnd now, as a special treat on our\n\tfirst show... musical guest ANDY\n\tKAUFMAN!!!", "ZMUDA\n\tHey Andy, good show.\n\n\t\tANDY\n\tOh George, this is Bob Zmuda. Bob\n\tand I have been buddies for years.", "Andy shudders.\n\nThe audience averts their eyes.\n\nA painful silence.\n\n\"Andy Kaufman\" has been destroyed.", "A small SPOT appears -- on a peach tuxedo. The light grows\nbigger, bigger... the tension magnifying... people\ngasping... our view widening... until Tony Clifton is\nrevealed onstage!" ], [ "The audience ROARS for the record. Andy smiles, puts the\nneedle on and to everyone's horror more \"Gatsby\" comes out.", "GEORGE\n\tIt's a perfect Kaufman audience.\n\n\t\tZMUDA\n\tYeah. They don't know whether to be\n\tsad, or angry.", "In fact, Ladies and Gentlemen,\n\tKaufman's so desperate, he PAID me\n\tto do this tonight!! I'm a plant.", "Beat. The room GROANS.\n\n\t\tEDITOR\n\tWhat bullshit! No. No more Kaufman\n\tstories! He's burned us too many\n\ttimes!", "DISSOLVE TO:\n\nINT. COLLEGE AUDITORIUM - LATER THAT NIGHT\n\nThere are six people left in the audience. Andy reads on.", "(beat)\n\tI prefer the fine arts. Henceforth,\n\ttonight, I'd like to grace you with\n\ta reading of the greatest novel ever", "The audience APPLAUDS enthusiastically. Andy waits until\nthe applause dies and goes back to the book.", "Andy shudders.\n\nThe audience averts their eyes.\n\nA painful silence.\n\n\"Andy Kaufman\" has been destroyed.", "(he cracks open the\n\t\tbook)\n\tChapter One.\n\t\t(he starts READING)\n\t\"In my younger and more vulnerable", "The crowd CHEERS rowdily.\n\n\t\t\t\t\t CUT TO:\n\nINT. KAUFMAN HOUSE, FAMILY ROOM - SAME TIME", "Andy fiercely GRABS a small book from Zmuda. Zmuda cringes.\n\nINT. COLLEGE AUDITORIUM - NIGHT", "Tight on Andy, staring at the LA Times. A small headline\nsays \"JOKESTER ANDY KAUFMAN VOTED OFF 'SATURDAY NIGHT LIVE'\"\n\nHe is bothered.", "entirely. Tony waits, and waits, and waits... until\nsuddenly he turns towards the audience and SCREAMS\nFURIOUSLY.", "Actors read the menus. Suddenly Andy returns, a strange\ngrin on his face. He's swaying on his feet.\n\nThe audience WHOOPS: \"Yeah! All right!\"", "PUSHY MAN\n\tHe's never gonna start! Kaufman\n\tthinks this is funny!\n\t\t(beat)\n\tWe've paid forty bucks for a show\n\tthat's never gonna start!", "think Kaufman's a comic genius. But\n\tothers disagree... they say he's\n\tjust not funny anymore.\n\t\t(beat)", "A slick BOOKER, sitting in a crowded office full of head\nshots. He's on the phone. He's reading the LA Times story.", "He slams the book shut. People CHEER. Andy starts to storm\noff -- then turns.\n\n\t\tANDY (BRITISH) (cont'd)\n\tNo, no, I'm only fooling.", "He is shocked. Outraged. Disappointed. Flabbergasted.\n\nThe faith is meaningless. The joke is cosmic. The con man\nhas been conned.", "There's a little NERVOUS LAUGHTER. Is he really gonna read\nthis?" ], [ "LAWLER\n\tKaufman, we've had enough!! Let's\n\tyou and me do what we came here for\n\t-- WRESTLING!", "DISQUALIFICATION! Match goes to\n\tKaufman by disqualification, after\n\ttwo minutes, twelve seconds!\nAndy is splayed unconscious.", "ANNOUNCER (V.O.)\n\tAnd Kaufman's left the ring again!\n\tHe doesn't seem interested in\n\tactually making contact with his\n\topponent.", "Mr. Kaufman requires an undisturbed\n\t90 minutes of meditation prior to\n\tfilming.\n\t\t(beat)", "LAWLER\n\tYEAH?! Well I got news for you,\n\tAndy Kaufman! Wrestling is a", "CHEERS)\n\tSo if Kaufman wants to tangle, I've\n\tbrought a real wrestler! She's", "real wrestling begins. Foxy lunges at him and immediately\ngoes for a choke-hold. The crowd CHEERS, relieved. Lawler", "Mr. Kaufman won't rehearse.\n\t\t(beat)\n\tMr. Kaufman gets his own network\n\tSpecial.", "ZMUDA (AS JERK)\n\tSure, because your new stuff's a\n\tbunch of crap. Kaufman, people are\n\tsick of you. The wrestling... the\n\thoaxes...", "ANDY\n\t\t(calm)\n\tNo no no, it's not sex! I mean --\n\tit can lead to sex... but really,\n\tit's just wrestling.", "A disinterested beat.\n\n\t\tANDY\n\tOh.\n\nAnother beat.\n\n\t\tANDY (cont'd)\n\tSo do you wanna wrestle?", "ANDY\n\t... And I vow to continue wrestling\n\tuntil I am BEA TEN, in a three-\n\tminute match, with my shoulders\n\tpinned to the mat!!", "ANDY (cont'd)\n\tAfter I'm famous, I can sell these\n\tas \"Worn by Andy Kaufman.\"\n\nAnd at that... George is won over. He smiles broadly.", "DING! It's the bell. The match begins. Lynne barrels at\nhim, craving a victory, but terribly unprepared for this\nexperience. Andy immediately grabs her by the legs and\nflips her over.", "Andy shudders.\n\nThe audience averts their eyes.\n\nA painful silence.\n\n\"Andy Kaufman\" has been destroyed.", "KAUFMAN, 40, gets out. Still in his suit, he's a well-\nmeaning slave to his job -- tired, responsible.", "YOGI\n\t\t(he sighs)\n\tThe wrestling... the sexist\n\tremarks... the foul language...", "As promised, Lawler doesn't move. So Andy crosses over and\ngrabs Lawler's head! Andy grins triumphantly. He squeezes\nhis arms tight, muscles flexing, riding high on this moment.", "ANNOUNCER (V.O.)\n\tAnd Kaufman's left the ring!\n\tLawler's waiting for him to return.", "woman cannot beat a man in\n\twrestling. Even if they train with\n\tweights... it requires a certain\n\tmental ability --" ], [ "Mr. Kaufman won't rehearse.\n\t\t(beat)\n\tMr. Kaufman gets his own network\n\tSpecial.", "Andy shudders.\n\nThe audience averts their eyes.\n\nA painful silence.\n\n\"Andy Kaufman\" has been destroyed.", "In fact, Ladies and Gentlemen,\n\tKaufman's so desperate, he PAID me\n\tto do this tonight!! I'm a plant.", "TONY DANZA\n\tMan, this is bullshit!\n\t\t(he marches up to\n\t\tthe PRODUCER)\n\tWhere's Kaufman? Why isn't he\n\there??", "think Kaufman's a comic genius. But\n\tothers disagree... they say he's\n\tjust not funny anymore.\n\t\t(beat)", "Tight on Andy, staring at the LA Times. A small headline\nsays \"JOKESTER ANDY KAUFMAN VOTED OFF 'SATURDAY NIGHT LIVE'\"\n\nHe is bothered.", "MAN\n\tSTOP IT! This woman's a FAKE!\n\tShe's nothing but Kaufman's\n\tgirlfriend!\n\nAndy and Lynne are startled.", "Uh-oh. Andy won't finish the line. The cast looks around\nworriedly. Live TV is beaming out... Finally, Melanie\ncovers.", "George is driving down Melrose, listening to the radio. He\nglances at the passing marquee -- then does a doubletake.\n\nIt says \"ANDY KAUFMAN - 9 P.M.\"", "PUSHY MAN\n\tHe's never gonna start! Kaufman\n\tthinks this is funny!\n\t\t(beat)\n\tWe've paid forty bucks for a show\n\tthat's never gonna start!", "ANDY\n\tThe world thinks Andy Kaufman sucks.\n\tSo I was just giving 'em what they\n\twant...", "The audience is embarrassed.\n\nA frazzled confusion, then Andy drops the accent. He glares\nat Zmuda.\n\n\t\tANDY\n\tSir, do you have a problem?", "ASSISTANT\n\tSir, they're having a problem down\n\ton the Kaufman Special. They say\n\the's not following the... technical\n\trequirements.\n\nMaynard is baffled.", "Standing in a nonexistent set is ANDY KAUFMAN, looking a bit\nnervous. Wide-eyed, tentative, he stares at us with a", "him for possible paralysis. His\n\tparents are at his bedside. Fans\n\twill best remember Kaufman as\n\tlovable Latka on television's", "show \"Fridays.\" It's not so hot...\n\tbut this is a great opportunity for\n\tyou. The show's live, they'll give", "Beat. The room GROANS.\n\n\t\tEDITOR\n\tWhat bullshit! No. No more Kaufman\n\tstories! He's burned us too many\n\ttimes!", "CUT TO:\n\nINT. KAUFMAN HOUSE, FAMILY ROOM - SAME TIME", "CUT TO:\n\nINT. KAUFMAN HOUSE, FAMILY ROOM - SAME TIME", "A horrified GASP from the crowd. The band stops playing.\nCREW MEMBERS run on from backstage. One checks her heart.\nShe's not moving. Zmuda runs out, horrified." ], [ "Somebody KNOCKS outside. Andy jumps up, puts on his neck\nbrace, and transforms himself into a shuffling invalid. A", "Andy sits watching an OLD DOCTOR examining a number of x-\nrays clipped to light panels.\n\n\t\tOLD DOCTOR\n\tI don't see any injury to your neck,\n\tMr. Kaufman.", "Andy and Jerry Lawler are on DAVID LETTERMAN'S show. Andy\nis pallid, hair shaggy, in a neckbrace and tweed jacket.\nHusky Lawler wears loud red pants and gold chains.", "DISQUALIFICATION! Match goes to\n\tKaufman by disqualification, after\n\ttwo minutes, twelve seconds!\nAndy is splayed unconscious.", "ANDY (cont'd)\n\tAfter I'm famous, I can sell these\n\tas \"Worn by Andy Kaufman.\"\n\nAnd at that... George is won over. He smiles broadly.", "BLINDINGLY. A stretcher is lifted into the ring. Andy is\nloaded on. MUSIC fights the deafening NOISE.", "BLINDINGLY. A stretcher is lifted into the ring. Andy is\nloaded on. MUSIC fights the deafening NOISE.", "Andy in the ring, Andy outside the ring, on the floor, with\nhis frightened parents, in a neck brace, on the stretcher,\netc.\n\nINT. ANDY'S APARTMENT - DAY", "him for possible paralysis. His\n\tparents are at his bedside. Fans\n\twill best remember Kaufman as\n\tlovable Latka on television's", "Andy shudders.\n\nThe audience averts their eyes.\n\nA painful silence.\n\n\"Andy Kaufman\" has been destroyed.", "WHUMP! She's down. Andy has trained for this.\n\nZmuda gets on his knees, watching, trying to look official.\nLynne struggles and slithers away.", "She grabs Andy's arm and forces him down. People CHEER.\nHis torso hits the mat. LOUDER CHEERS. But suddenly he", "ANNOUNCER (V.O.)\n\tAnd Kaufman's left the ring again!\n\tHe doesn't seem interested in\n\tactually making contact with his\n\topponent.", "As promised, Lawler doesn't move. So Andy crosses over and\ngrabs Lawler's head! Andy grins triumphantly. He squeezes\nhis arms tight, muscles flexing, riding high on this moment.", "rolls over and pulls her hair! Her head snaps back. The\ncrowd is INCENSED. Zmuda hurries over and pantomimes a\nstern warning.", "CLOSE UP on Andy and Merv Griffin. Andy wears a goofy\nwrestling outfit that resembles thermal underwear. He is\nshouting like a wrestler.", "CHEERS)\n\tSo if Kaufman wants to tangle, I've\n\tbrought a real wrestler! She's", "LAWLER\n\tYEAH?! Well I got news for you,\n\tAndy Kaufman! Wrestling is a", "CUT TO:\n\nINT. KAUFMAN HOUSE, FAMILY ROOM - SAME TIME", "CUT TO:\n\nINT. KAUFMAN HOUSE, FAMILY ROOM - SAME TIME" ], [ "A dressy NEW YORK CROWD pushes into Carnegie Hall. The\nmarquee says \"ANDY KAUFMAN.\"\n\nINT. CARNEGIE HALL - LATER THAT NIGHT", "In fact, Ladies and Gentlemen,\n\tKaufman's so desperate, he PAID me\n\tto do this tonight!! I'm a plant.", "The crowd hopelessly breaks out LAUGHING.\n\nANDY laughs along. They're all having a good time.\n\nINT. CARNEGIE HALL - LATER THAT NIGHT", "GEORGE\n\tIt's a perfect Kaufman audience.\n\n\t\tZMUDA\n\tYeah. They don't know whether to be\n\tsad, or angry.", "Tony stops, smirks at the audience, and sucks on a\ncigarette. He blows smoke rings at them.\n\n\t\tTONY CLIFTON\n\tHeh-heh. How ya all doin'?", "Look, I'm gonna put my foot down!\n\tNo more playing alone. You wanna\n\tperform, you GOTTA have an audience!", "It's an extraordinary theatrical moment -- without response.\nThe crowd has no idea what to do.\n\nTony smirks.\n\n\t\tTONY CLIFTON\n\tHow ya doin'?", "PUSHY MAN\n\tHe's never gonna start! Kaufman\n\tthinks this is funny!\n\t\t(beat)\n\tWe've paid forty bucks for a show\n\tthat's never gonna start!", "ANDY (cont'd)\n\tI'm serious!!!!!!!\n\nEXT. CARNEGIE HALL - MINUTES LATER", "ZMUDA\n\t\t(dour)\n\tSure. When he reaches \"The End.\"\n\nINT. COLLEGE AUDITORIUM - LATER THAT NIGHT", "ANDY\n\tSince you're such a special\n\taudience... I'm going to reveal, for\n\tthe first time ever, the real me.", "(the crowd LAUGHS)\n\tThank you. Good night!\nThe comic waves and exits. APPLAUSE. George politely", "The audience is embarrassed.\n\nA frazzled confusion, then Andy drops the accent. He glares\nat Zmuda.\n\n\t\tANDY\n\tSir, do you have a problem?", "in New Mexico where Andy Kaufman\n\tdied.\"\n\t\t(beat)\n\tI'm going to have to ask you to\n\tleave.", "ANDY (cont'd)\n\tAfter I'm famous, I can sell these\n\tas \"Worn by Andy Kaufman.\"\n\nAnd at that... George is won over. He smiles broadly.", "A marquee says \"TEXAS A&M PRESENTS - ANDY KAUFMAN\"\n\nInside, a ROAR of APPLAUSE surges.", "George is driving down Melrose, listening to the radio. He\nglances at the passing marquee -- then does a doubletake.\n\nIt says \"ANDY KAUFMAN - 9 P.M.\"", "ANDY\n\t\t(bright)\n\tI've always wanted to play Carnegie\n\tHall.\n\nGeorge is unsure if that's a joke.", "think Kaufman's a comic genius. But\n\tothers disagree... they say he's\n\tjust not funny anymore.\n\t\t(beat)", "BUDD\n\tAnd now we have a treat for you late-\n\tnight diehards. The star of Taxi --\n\there in person, Andy Kaufman!" ], [ "him for possible paralysis. His\n\tparents are at his bedside. Fans\n\twill best remember Kaufman as\n\tlovable Latka on television's", "REPORTER #1\n\tI'm working on a great cover story:\n\tI've got a guy in the lab at Cedars.\n\tHe says Andy Kaufman is dying of\n\tlung cancer.", "think Kaufman's a comic genius. But\n\tothers disagree... they say he's\n\tjust not funny anymore.\n\t\t(beat)", "Andy shudders.\n\nThe audience averts their eyes.\n\nA painful silence.\n\n\"Andy Kaufman\" has been destroyed.", "CUT TO:\n\nINT. KAUFMAN HOUSE, FAMILY ROOM - SAME TIME", "CUT TO:\n\nINT. KAUFMAN HOUSE, FAMILY ROOM - SAME TIME", "Beat. The room GROANS.\n\n\t\tEDITOR\n\tWhat bullshit! No. No more Kaufman\n\tstories! He's burned us too many\n\ttimes!", "Tight on Andy, staring at the LA Times. A small headline\nsays \"JOKESTER ANDY KAUFMAN VOTED OFF 'SATURDAY NIGHT LIVE'\"\n\nHe is bothered.", "TONY DANZA\n\tMan, this is bullshit!\n\t\t(he marches up to\n\t\tthe PRODUCER)\n\tWhere's Kaufman? Why isn't he\n\there??", "All heads turn. A long pause.\n\nThen -- Andy stiffly speaks.\n\n\t\tANDY\n\tI have cancer.\n\nBeat. Zmuda nods.", "In fact, Ladies and Gentlemen,\n\tKaufman's so desperate, he PAID me\n\tto do this tonight!! I'm a plant.", "GEORGE\n\tIt's a perfect Kaufman audience.\n\n\t\tZMUDA\n\tYeah. They don't know whether to be\n\tsad, or angry.", "INT. CEDARS SINAI, DOCTOR'S OFFICE - DAY\n\nThe whole Kaufman family is gathered. Stanley, Janice,\nMichael and Carol listen to a BLAND DOCTOR in a white coat.", "KAUFMAN, 40, gets out. Still in his suit, he's a well-\nmeaning slave to his job -- tired, responsible.", "ZMUDA\n\t\"Was this in actuality Andy Kaufman?\n\tAnd if it was Andy Kaufman, is Andy\n\tKaufman crazy?\"", "ANDY\n\tThe world thinks Andy Kaufman sucks.\n\tSo I was just giving 'em what they\n\twant...", "in New Mexico where Andy Kaufman\n\tdied.\"\n\t\t(beat)\n\tI'm going to have to ask you to\n\tleave.", "Mr. Kaufman requires an undisturbed\n\t90 minutes of meditation prior to\n\tfilming.\n\t\t(beat)", "George stares. He thinks, then opens the \"KAUFMAN\" door.\n\nAndy is inside alone, gathering his things. He's pleasantly\nsurprised to see George.", "The sun is setting, purple and orange over the hills. Andy\nand George lie on chaise lounges, serenely staring out.\nAndy has a blank look on his face, and has lost more weight.\nHe is a shadow of himself." ], [ "Mr. Kaufman won't rehearse.\n\t\t(beat)\n\tMr. Kaufman gets his own network\n\tSpecial.", "Andy shudders.\n\nThe audience averts their eyes.\n\nA painful silence.\n\n\"Andy Kaufman\" has been destroyed.", "TONY DANZA\n\tMan, this is bullshit!\n\t\t(he marches up to\n\t\tthe PRODUCER)\n\tWhere's Kaufman? Why isn't he\n\there??", "In fact, Ladies and Gentlemen,\n\tKaufman's so desperate, he PAID me\n\tto do this tonight!! I'm a plant.", "PUSHY MAN\n\tHe's never gonna start! Kaufman\n\tthinks this is funny!\n\t\t(beat)\n\tWe've paid forty bucks for a show\n\tthat's never gonna start!", "The audience is embarrassed.\n\nA frazzled confusion, then Andy drops the accent. He glares\nat Zmuda.\n\n\t\tANDY\n\tSir, do you have a problem?", "George is driving down Melrose, listening to the radio. He\nglances at the passing marquee -- then does a doubletake.\n\nIt says \"ANDY KAUFMAN - 9 P.M.\"", "Silence. Andy is torn up inside.\n\n\t\tRICHARDS\n\t\t(whispering to Andy)\n\tJust read the cue cards!", "The audience is puzzled. The Kaufmans are alarmed.\n\nINT. SNL SET, BOOTH - NIGHT\n\nLorne Michaels is panicked.", "Tight on Andy, staring at the LA Times. A small headline\nsays \"JOKESTER ANDY KAUFMAN VOTED OFF 'SATURDAY NIGHT LIVE'\"\n\nHe is bothered.", "UPSET VOICE (O.S.)\n\tC'MON, KAUFMAN! Christ, you're ON!\n\nAndy awakens. He smiles.", "All the commotion stops. The audience doesn't know whether\nto laugh or boo. The actors are flabbergasted -- then\nfurious.", "think Kaufman's a comic genius. But\n\tothers disagree... they say he's\n\tjust not funny anymore.\n\t\t(beat)", "ASSISTANT\n\tSir, they're having a problem down\n\ton the Kaufman Special. They say\n\the's not following the... technical\n\trequirements.\n\nMaynard is baffled.", "A pause -- but no applause. It's dead silence. Andy looks\nout... and realizes the few audience members are asleep.\n\nAndy shrugs, then shuffles off-stage.", "GEORGE\n\tIt's a perfect Kaufman audience.\n\n\t\tZMUDA\n\tYeah. They don't know whether to be\n\tsad, or angry.", "MAN\n\tSTOP IT! This woman's a FAKE!\n\tShe's nothing but Kaufman's\n\tgirlfriend!\n\nAndy and Lynne are startled.", "Finally -- finally -- Tony is surrounded by total silence.\nThen, (only a moment before the length of this scene would\nbecome unbearable), he begins to move. Tony pivots around,\nlooks at the audience...", "him for possible paralysis. His\n\tparents are at his bedside. Fans\n\twill best remember Kaufman as\n\tlovable Latka on television's", "in New Mexico where Andy Kaufman\n\tdied.\"\n\t\t(beat)\n\tI'm going to have to ask you to\n\tleave." ], [ "George is driving down Melrose, listening to the radio. He\nglances at the passing marquee -- then does a doubletake.\n\nIt says \"ANDY KAUFMAN - 9 P.M.\"", "A marquee says \"TEXAS A&M PRESENTS - ANDY KAUFMAN\"\n\nInside, a ROAR of APPLAUSE surges.", "In the wings, Zmuda snores loudly in a folding chair.\n\nEXT. COLLEGE AUDITORIUM - DAWN", "A dressy NEW YORK CROWD pushes into Carnegie Hall. The\nmarquee says \"ANDY KAUFMAN.\"\n\nINT. CARNEGIE HALL - LATER THAT NIGHT", "Up in the control booth is -- Maynard. He smiles strangely.\n\nINT. KAUFMAN HOUSE, FAMILY ROOM - NIGHT", "The club is empty. At the bar, the manager cleans up. Andy\neagerly comes over. Offstage, his presence is soft, placid\n-- his voice barely above a whisper.", "CUT TO:\n\nINT. KAUFMAN HOUSE, FAMILY ROOM - SAME TIME", "CUT TO:\n\nINT. KAUFMAN HOUSE, FAMILY ROOM - SAME TIME", "In fact, Ladies and Gentlemen,\n\tKaufman's so desperate, he PAID me\n\tto do this tonight!! I'm a plant.", "The crowd hopelessly breaks out LAUGHING.\n\nANDY laughs along. They're all having a good time.\n\nINT. CARNEGIE HALL - LATER THAT NIGHT", "Mr. Kaufman won't rehearse.\n\t\t(beat)\n\tMr. Kaufman gets his own network\n\tSpecial.", "The crowd CHEERS rowdily.\n\n\t\t\t\t\t CUT TO:\n\nINT. KAUFMAN HOUSE, FAMILY ROOM - SAME TIME", "The showroom is packed. It hums with curiosity. WAITERS\nclean off the dinner tables. George rushes in and is seated", "George wanders the corridor, looking for the dressing rooms.\nHe turns and finds a door marked \"KAUFMAN\". Next to it is a\ndoor marked \"CLIFTON\".", "think Kaufman's a comic genius. But\n\tothers disagree... they say he's\n\tjust not funny anymore.\n\t\t(beat)", "ZMUDA\n\t\t(dour)\n\tSure. When he reaches \"The End.\"\n\nINT. COLLEGE AUDITORIUM - LATER THAT NIGHT", "Mr. Kaufman requires an undisturbed\n\t90 minutes of meditation prior to\n\tfilming.\n\t\t(beat)", "ANDY\n\t\t(bright)\n\tI've always wanted to play Carnegie\n\tHall.\n\nGeorge is unsure if that's a joke.", "KAUFMAN, 40, gets out. Still in his suit, he's a well-\nmeaning slave to his job -- tired, responsible.", "Standing in a nonexistent set is ANDY KAUFMAN, looking a bit\nnervous. Wide-eyed, tentative, he stares at us with a" ], [ "Tight on Andy, staring at the LA Times. A small headline\nsays \"JOKESTER ANDY KAUFMAN VOTED OFF 'SATURDAY NIGHT LIVE'\"\n\nHe is bothered.", "LORNE MICHAELS\n\tOh my God, he's doing nothing. It's\n\tdead air...!\n\nINT. SNL SET - NIGHT\n\nBACK ON ANDY.", "Andy shudders.\n\nThe audience averts their eyes.\n\nA painful silence.\n\n\"Andy Kaufman\" has been destroyed.", "GEORGE\n\tThanks for seeing me on such short\n\tnotice.\n\t\t(he takes a careful\n\t\tbeat)\n\tI... I wanted to talk to you about\n\tbooking Andy on \"Saturday Night\n\tLive.\"", "The audience is embarrassed.\n\nA frazzled confusion, then Andy drops the accent. He glares\nat Zmuda.\n\n\t\tANDY\n\tSir, do you have a problem?", "ANDY (cont'd)\n\tYuck!\n\nINT. LA IMPROV, SHOWROOM - LATE NIGHT", "And BLINK! Andy gets CUT OFF.\n\nMaynard jumps up, furious. He snaps.", "The SNL orchestra starts the intro into a song. Andy enters\nthe stage with a boom box, and positions himself in front of\nthe microphone. When the vocals are supposed to start, Andy", "Andy stares, disheartened.\n\t\t MANAGER (cont'd)\n\tI'm sorry. You're finished here.\n\nAn uncomfortable beat -- and then Andy starts crying.", "George is yelling at Andy and Zmuda. They are seated on his\ncouch, heads bowed in shame.", "Lawler jumps, burned. A SECURITY GUARD runs in.\n\nAndy screams and hurtles away. He slams open the stage door\nand barrels out of sight.", "Andy is in a booth, arguing with a HEAVYSET TECHNICIAN.\nZmuda watches and eats a banana.\n\n\t\tANDY\n\tIt's my show! Now make it roll!", "ANDY (cont'd)\n\tI'M SICK AND TIRED OF THIS SHIT!\n\nLawler freezes in his seat. Letterman hides behind his\ndesk.", "ANDY (cont'd)\n\tI'M SICK AND TIRED OF THIS SHIT!\n\nLawler freezes in his seat. Letterman hides behind his\ndesk.", "Andy chuckles, as if this were a punchline.\n\nSilence. The crowd is baffled.", "Lynne extends her hand. Andy fakes a shake -- then snidely\nrefuses and struts away. The crowd HISSES.", "INT. NY IMPROV, BACKSTAGE - 1975 - LATER THAT NIGHT\n\nAndy is packing up his things. He very methodically folds\neach item of clothing, then checks the creases.", "CUT TO:\n\nINT. SATURDAY NIGHT LIVE - ONE WEEK LATER", "WHUMP! She's down. Andy has trained for this.\n\nZmuda gets on his knees, watching, trying to look official.\nLynne struggles and slithers away.", "Lorne Michaels is watching this at home. He gapes in\ndisbelief.\n\n\t\tLORNE MICHAELS\n\tJesus Christ." ], [ "MAN\n\tSTOP IT! This woman's a FAKE!\n\tShe's nothing but Kaufman's\n\tgirlfriend!\n\nAndy and Lynne are startled.", "Andy gives Lynne her ticket. They enter the theater.\n\nINT. MOVIE THEATER - DAY\n\nAndy hurries up to the candy counter.", "Two tickets jump out of the machine.\n\nEXT. MOVIE THEATER - DAY\n\nANDY is standing in front, waiting. A CAB stops and out\nsteps -- Lynne.", "He walks to the door and starts to knock -- when suddenly it\ncreeps open. It's Lynne, putting her finger to her lips:\nShh!", "Lynne's baffled.\n\nINT. DENNY'S - DAWN", "Andy nods, and they separate. They do a little dance around\nthe ring, Lynne looking for a hole. Suddenly, Andy spins", "ANDY\n\tNo, I'm sure we'll be fine.\n\nAndy gives Lynne her ticket. They enter the theater.\n\nINT. MOVIE THEATER - DAY", "She shoots him a stern look.\n\n\t\tLYNNE\n\tI'm warning you, Kaufman: One\n\tmorning you're gonna wake up... and\n\tyour head's gonna be shaved.", "ANDY\n\tYou're probably right.\n\nThey both giggle.\n\nAndy studies her... looking at Lynne's face, body, eyes.\nPause.", "Lynne takes her junk and hobbles off. She passes Andy, who\nsees her and grins.\n\n\t\tANDY\n\tGosh, you scored! Look at all those\n\tgoodies!", "Lynne is escorted by a GUEST COORDINATOR. Lynne is dazed.\nThe Coordinator hands her a bunch of crap.", "The telephone wakes up Lynne in the new bedroom. She looks\nover -- Andy's not there. She looks at the clock and it's\n4:30 am. She picks up the phone.", "LYNNE\n\t\t(incredulous)\n\tDo I wanna go to Memphis and get\n\tmarried?\n\n\t\tANDY\n\tYes.\n\nBeat.", "ANDY\n\tDo you wanna move in together?\n\nLynne smiles slyly. She leans down and kisses him.\n\n\t\t\t\t\t CUT TO:", "LYNNE\n\tBuzz off. Go patronize somebody\n\telse.\n\nLynne coldly hurries away. Andy chases after her.", "ANDY is standing in front, waiting. A CAB stops and out\nsteps -- Lynne.\n\n\t\tANDY\n\tHi...\n\n\t\tLYNNE\n\tHi... am I late?", "We move through the crowd, finally picking out... a feisty\nwoman, LYNNE. She mutters, half hateful, half laughing --\n\n\t\tLYNNE\n\tI wanna kill that jerk.", "CUT TO:\n\nINT. KAUFMAN HOUSE, FAMILY ROOM - SAME TIME", "CUT TO:\n\nINT. KAUFMAN HOUSE, FAMILY ROOM - SAME TIME", "Screeching JEERS and CATCALLS. Down front... Lynne jumps\nup.\n\n\t\tLYNNE\n\tLook here, Andy Kaufman! I'll take\n\tyou on -- SISSY!" ], [ "ANDY\n\tWell thank you very much...!\n\n\t\t\t\t\t CUT TO:\n\nINT. TAXI SET - DAY", "CUT TO:\n\nINT. TAXI SET, REHEARSAL ROOM - DAY", "The Taxi cast are flustered.\n\n\t\tCAROL KANE\n\tWhy are people leaving? The\n\tcurtain's gonna open. Andy's gonna\n\tcome out... I know it!", "Andy sighs, opens the script, and starts scanning the pages\nlike a speedreader.\n\nINT. TAXI SET - LATER THAT DAY", "BUDD\n\tAnd now we have a treat for you late-\n\tnight diehards. The star of Taxi --\n\there in person, Andy Kaufman!", "TAXI curtain calls. The whole cast takes bows, then runs\noffstage. Everyone is grinning -- except Andy.\n\nHe soberly strolls up to Zmuda.", "GEORGE (V.O.)\n\tAndy... it's me. I've got some\n\tcrummy news.\n\t\t(long beat)\n\tTaxi's been canceled.\n\nSilence.", "Andy is hilarious. The crowd HOWLS with laughter.\n\nMONTAGE - TAXI", "An angry beat. The actors resume...\n\nINT. TAXI SET - DAYS LATER\n\nThe AUDIENCE is filtering in. They fill the studio\nbleachers.", "INT. TAXI SET, ANDY'S DRESSING ROOM - DAY\n\nAndy is meditating. He's tranquil, at total inner peace.", "think Kaufman's a comic genius. But\n\tothers disagree... they say he's\n\tjust not funny anymore.\n\t\t(beat)", "Ed's expression goes ashen.\n\n\t\t\t\t\t CUT TO:\n\nINT. TAXI SET - LATER THAT DAY", "ANDY\n\tActually, Budd, you're wrong. I\n\tfound out today that Taxi's been\n\tcanceled.\n\nThe crowd AWWWWS sadly. Andy blinks.", "Ed looks totally off-balance. George winks at him.\n\n\t\tGEORGE\n\tI'm here with Ed over at Taxi.\n\tThere's been some trouble with Tony.", "KAUFMAN, 40, gets out. Still in his suit, he's a well-\nmeaning slave to his job -- tired, responsible.", "Taxi\"...", "INT. BEAT UP TAXI, PHILIPPINES - DAY\n\nAndy, Lynne, and Zmuda ride through the impoverished city.\n\nAndy stares in amazement.", "Heh? Ed raises his eyebrows.\n\n\t\t\t\t\t CUT TO:\n\nINT. TAXI SET, TECH BOOTH - SECONDS LATER", "to fire me from Taxi, unless I gave\n\tin to their demands!\n\t\t(shaken)\n\tBut... I won't! Because what you", "In quick succession, a series of Andy's best Latka moments.\nHe's beloved. The applause grows louder, louder, LOUDER...\n\nINT. TAXI SET, BACKSTAGE - DAY" ], [ "him for possible paralysis. His\n\tparents are at his bedside. Fans\n\twill best remember Kaufman as\n\tlovable Latka on television's", "Straight-faced, he hurries out of his seat, sprints down the\naisle, and goes on stage. Michael checks her pulse and", "INT. CEDARS SINAI, DOCTOR'S OFFICE - DAY\n\nThe whole Kaufman family is gathered. Stanley, Janice,\nMichael and Carol listen to a BLAND DOCTOR in a white coat.", "KAUFMAN, 40, gets out. Still in his suit, he's a well-\nmeaning slave to his job -- tired, responsible.", "He looks over, and Jun Roxas is washing his hands from the\nprevious patient.\n\nAndy shivers, anticipating the miracle.\n\nJun turns. An attendant gives him a towel to dry off.", "He is shocked. Outraged. Disappointed. Flabbergasted.\n\nThe faith is meaningless. The joke is cosmic. The con man\nhas been conned.", "Mr. Kaufman requires an undisturbed\n\t90 minutes of meditation prior to\n\tfilming.\n\t\t(beat)", "Then he turns again, lowers his head, and waits. And waits.\nAnd waits.", "CUT TO:\n\nINT. KAUFMAN HOUSE, FAMILY ROOM - SAME TIME", "CUT TO:\n\nINT. KAUFMAN HOUSE, FAMILY ROOM - SAME TIME", "TIGHT - ANDY\n\nHis voice gets hushed.\n\n\t\tANDY\n\tNo... this guy's special.\n\t\t(very sincere)\n\tHe performs miracles.", "in New Mexico where Andy Kaufman\n\tdied.\"\n\t\t(beat)\n\tI'm going to have to ask you to\n\tleave.", "A room with soft lighting and billowing curtains. A New Age\nHEALER is laying crystals upon Andy's body.\n\nAndy COUGHS. His hat is off, revealing he's bald.", "Andy sits watching an OLD DOCTOR examining a number of x-\nrays clipped to light panels.\n\n\t\tOLD DOCTOR\n\tI don't see any injury to your neck,\n\tMr. Kaufman.", "ANDY\n\tYeah! He's a psychic surgeon in the\n\tPhilippines, and he's amazing! He\n\trubs you and sucks the disease right\n\tout!", "The man shakes. He is helped away.\n\nAndy is wide-eyed. He gets closer... closer...\n\nMore patients. More bloody guts. More sobbing.", "George stares. He thinks, then opens the \"KAUFMAN\" door.\n\nAndy is inside alone, gathering his things. He's pleasantly\nsurprised to see George.", "George is driving down Melrose, listening to the radio. He\nglances at the passing marquee -- then does a doubletake.\n\nIt says \"ANDY KAUFMAN - 9 P.M.\"", "The doctor says he's a goner.\n\t\t(rousing himself)\n\tBut Tony's built like a mule! Andy", "George wanders the corridor, looking for the dressing rooms.\nHe turns and finds a door marked \"KAUFMAN\". Next to it is a\ndoor marked \"CLIFTON\"." ], [ "GEORGE (V.O.)\n\tAndy... it's me. I've got some\n\tcrummy news.\n\t\t(long beat)\n\tTaxi's been canceled.\n\nSilence.", "ANDY\n\tActually, Budd, you're wrong. I\n\tfound out today that Taxi's been\n\tcanceled.\n\nThe crowd AWWWWS sadly. Andy blinks.", "TAXI curtain calls. The whole cast takes bows, then runs\noffstage. Everyone is grinning -- except Andy.\n\nHe soberly strolls up to Zmuda.", "Tight on Andy, staring at the LA Times. A small headline\nsays \"JOKESTER ANDY KAUFMAN VOTED OFF 'SATURDAY NIGHT LIVE'\"\n\nHe is bothered.", "BUDD\n\tAnd now we have a treat for you late-\n\tnight diehards. The star of Taxi --\n\there in person, Andy Kaufman!", "The Taxi cast are flustered.\n\n\t\tCAROL KANE\n\tWhy are people leaving? The\n\tcurtain's gonna open. Andy's gonna\n\tcome out... I know it!", "ANDY\n\tWell thank you very much...!\n\n\t\t\t\t\t CUT TO:\n\nINT. TAXI SET - DAY", "George stares. He thinks, then opens the \"KAUFMAN\" door.\n\nAndy is inside alone, gathering his things. He's pleasantly\nsurprised to see George.", "Ed's expression goes ashen.\n\n\t\t\t\t\t CUT TO:\n\nINT. TAXI SET - LATER THAT DAY", "Ed looks totally off-balance. George winks at him.\n\n\t\tGEORGE\n\tI'm here with Ed over at Taxi.\n\tThere's been some trouble with Tony.", "Andy sighs, opens the script, and starts scanning the pages\nlike a speedreader.\n\nINT. TAXI SET - LATER THAT DAY", "All heads turn. A long pause.\n\nThen -- Andy stiffly speaks.\n\n\t\tANDY\n\tI have cancer.\n\nBeat. Zmuda nods.", "him for possible paralysis. His\n\tparents are at his bedside. Fans\n\twill best remember Kaufman as\n\tlovable Latka on television's", "TONY DANZA\n\tMan, this is bullshit!\n\t\t(he marches up to\n\t\tthe PRODUCER)\n\tWhere's Kaufman? Why isn't he\n\there??", "CUT TO:\n\nINT. TAXI SET, REHEARSAL ROOM - DAY", "MAYNARD\n\tTell Kaufman we will NEVER air this\n\tprogram!!\n\nINT. JERRY'S DELI - NIGHT", "Heh? Ed raises his eyebrows.\n\n\t\t\t\t\t CUT TO:\n\nINT. TAXI SET, TECH BOOTH - SECONDS LATER", "to fire me from Taxi, unless I gave\n\tin to their demands!\n\t\t(shaken)\n\tBut... I won't! Because what you", "An angry beat. The actors resume...\n\nINT. TAXI SET - DAYS LATER\n\nThe AUDIENCE is filtering in. They fill the studio\nbleachers.", "The Kaufmans clap the hardest. Stanley locks eyes with\nAndy... and the beaming father smiles the proudest of all.\n\n\t\t\t\t\t CUT TO:" ], [ "Andy and Jerry Lawler are on DAVID LETTERMAN'S show. Andy\nis pallid, hair shaggy, in a neckbrace and tweed jacket.\nHusky Lawler wears loud red pants and gold chains.", "Lawler and Letterman are unimpressed.\n\n\t\tLETTERMAN\n\tYou said some pretty inflammatory\n\tthings.", "ANDY (cont'd)\n\tI'M SICK AND TIRED OF THIS SHIT!\n\nLawler freezes in his seat. Letterman hides behind his\ndesk.", "ANDY (cont'd)\n\tI'M SICK AND TIRED OF THIS SHIT!\n\nLawler freezes in his seat. Letterman hides behind his\ndesk.", "Lawler hesitates -- then suddenly climbs in the ring and\nlifts Andy off! Lawler angrily PUSHES Andy down.\n\nAndy is flabbergasted.", "Andy storms over, out-of-control. From a safe distance, he\nstarts SCREAMING at Lawler.", "Andy storms over, out-of-control. From a safe distance, he\nstarts SCREAMING at Lawler.", "audience. So I got him on Letterman\n\ttonight. He's gonna apologize to\n\tJerry Lawler, then repent for all", "ANDY\n\t\t(losing it)\n\tAnd you're just poor white trash!\n\nLawler's had enough. Enraged, he wildly stands and SLAPS\nAndy.", "ANDY\n\t\t(losing it)\n\tAnd you're just poor white trash!\n\nLawler's had enough. Enraged, he wildly stands and SLAPS\nAndy.", "Freaked, Andy leaps up and storms out.\n\nThe crowd CHEERS rowdily.\n\nAn unsure moment. Dave glances at Lawler.", "Crazed, Andy looks down at Dave's coffee cup. Uh-oh.\nSuddenly, Andy grabs the coffee and DUMPS it on Lawler!", "As promised, Lawler doesn't move. So Andy crosses over and\ngrabs Lawler's head! Andy grins triumphantly. He squeezes\nhis arms tight, muscles flexing, riding high on this moment.", "Lawler jumps, burned. A SECURITY GUARD runs in.\n\nAndy screams and hurtles away. He slams open the stage door\nand barrels out of sight.", "Andy bears his teeth. Enraged, Lawler tries to take a swing\nat him. HANDLERS run in and separate the angry men.", "Lawler snatches the mike and bellows.", "ANDY\n\tW-what are you DOING? I don't fight\n\tmen!\n\nLawler snickers and walks away. Completely overreacting,\nAndy grabs the mike.", "Raging Lawler promenades around the ring, arms over his\nhead. The crowd SHOUTS CRAZILY, rooting him on.\n\nLynne runs to the ropes, SCREAMING for help.", "LAWLER (cont'd)\n\tLook... if you get in here, I'll\n\tgive you a free headlock.\n\nLawler leans down and offers his neck.", "Let me tell you something, Lawler!\n\tI am not a hick -- I'm a national TV\n\tstar! And I DON'T like a dumb" ], [ "ANNOUNCER (V.O.)\n\tAnd Kaufman's left the ring again!\n\tHe doesn't seem interested in\n\tactually making contact with his\n\topponent.", "Tight on Andy, staring at the LA Times. A small headline\nsays \"JOKESTER ANDY KAUFMAN VOTED OFF 'SATURDAY NIGHT LIVE'\"\n\nHe is bothered.", "KAUFMAN, 40, gets out. Still in his suit, he's a well-\nmeaning slave to his job -- tired, responsible.", "The Kaufmans clap the hardest. Stanley locks eyes with\nAndy... and the beaming father smiles the proudest of all.\n\n\t\t\t\t\t CUT TO:", "ANDY (cont'd)\n\tAfter I'm famous, I can sell these\n\tas \"Worn by Andy Kaufman.\"\n\nAnd at that... George is won over. He smiles broadly.", "DISQUALIFICATION! Match goes to\n\tKaufman by disqualification, after\n\ttwo minutes, twelve seconds!\nAndy is splayed unconscious.", "think Kaufman's a comic genius. But\n\tothers disagree... they say he's\n\tjust not funny anymore.\n\t\t(beat)", "CUT TO:\n\nINT. KAUFMAN HOUSE, FAMILY ROOM - SAME TIME", "CUT TO:\n\nINT. KAUFMAN HOUSE, FAMILY ROOM - SAME TIME", "him for possible paralysis. His\n\tparents are at his bedside. Fans\n\twill best remember Kaufman as\n\tlovable Latka on television's", "The crowd CHEERS rowdily.\n\n\t\t\t\t\t CUT TO:\n\nINT. KAUFMAN HOUSE, FAMILY ROOM - SAME TIME", "LAWLER\n\tYEAH?! Well I got news for you,\n\tAndy Kaufman! Wrestling is a", "They stare at the TV. Until --\n\n\t\tSTANLEY\n\tI shoulda made him play outdoors.\n\nINT. FRIDAYS SET - NIGHT", "PUSHY MAN\n\tHe's never gonna start! Kaufman\n\tthinks this is funny!\n\t\t(beat)\n\tWe've paid forty bucks for a show\n\tthat's never gonna start!", "TONY CLIFTON (V.O.)\n\tKaufman's a lying bastard! If you\n\tsign him, I'll RUIN YOU!", "ANDY\n\tThe world thinks Andy Kaufman sucks.\n\tSo I was just giving 'em what they\n\twant...", "Beat. The room GROANS.\n\n\t\tEDITOR\n\tWhat bullshit! No. No more Kaufman\n\tstories! He's burned us too many\n\ttimes!", "TONY DANZA\n\tMan, this is bullshit!\n\t\t(he marches up to\n\t\tthe PRODUCER)\n\tWhere's Kaufman? Why isn't he\n\there??", "In fact, Ladies and Gentlemen,\n\tKaufman's so desperate, he PAID me\n\tto do this tonight!! I'm a plant.", "The guy nods. Andy hurries over with the coffeepot and\nstarts pouring.\n\n\t\tBLUE COLLAR GUY 1\n\tYou know, you look just like Andy\n\tKaufman." ] ]

[ "Who was George Shapiro to Andy Kaufman?", "What role did Andy Kaufman play on the sitcom \"Taxi\" ?", "Who was Tony Clifton?", "What wrestler did Andy Kaufman have a romantic relationship with?", "Who is Bob Zmuda to Andy Kaufman?", "What fatal disease was Andy Kaufman diagnosed with?", "On what show did Andy Kaufman throw a drink at Jerry Lawler?", "What was Jerry Lawler's occupation?", "What was Andy Kaufman's dream venue?", "In addition to singing kids' songs, why does Kaufman's nightclub act fail?", "What singer does Kaufman impersonate via his \"foreign man\" character?", "On what television sitcom does Kaufman accept a role?", "How does Kaufman feel about sitcoms?", "Appearances on which comedy show increase Kaufman's fame?", "What novel does Kaufman read aloud to purposely aggravate his audience?", "When Kaufman becomes a wrestler, what limitation does he set?", "What does Kaufman refuse to do on a live ABC show?", "As a result of a wrestling injury, what does Kaufman have to wear?", "What invitation does Kaufman extend to the audience after his Carnegie Hall perfomance?", "What was Kaufman diagnosed with?", "Which show is Kaufman on when he refuses to speak his lines?", "What is Kaufman's dream venue?", "How is Andy banned from Saturday Night Live?", "Where does Kaufman meet Lynne?", "How does Kaufman feel about Taxi?", "Where does Kaufman go for a medical miracle?", "Who informs Kaufman that Taxi was cancelled?", "Who gets in fight with Lawler on David Letterman's show?", "What sport does Kaufman decide to become a professional of?" ]

[ [ "his talent agent", "his agent" ], [ "Latka Gravas", "latka gravas " ], [ "Andy Kaufman in disguise.", "a villain character that was created by Haufman" ], [ "Lynne Marguiles.", "Lynn Margulies" ], [ "his creative partner", "His creative partner." ], [ "lung cancer", "A rare form of lung cancer." ], [ "Late Night with David Letterman", "On Late Night with David Letterman." ], [ "professional wrestler", "wrestler" ], [ "Carnegie Hall", "Carnegie Hall" ], [ "He won't tell conventional jokes.", "He doesn't tell conventional jokes." ], [ "Elvis.", "Elvis" ], [ "Taxi.", "taxi " ], [ "He does not like them.", "he hates sitcoms" ], [ "Saturday Night Live.", "saturday night live" ], [ "The Great Gatsby.", "The Great Gatsby" ], [ "He will only wrestle women.", "would wrestle women only" ], [ "Say his lines.", "recite his lines" ], [ "A neck brace.", "neck brace" ], [ "To go out for milk and cookies.", "He invites them out for milk and cookies." ], [ "A rare form of lung cancer.", "rare lung cancer" ], [ "ABC's Fridays.", "ABC's Fridays" ], [ "Carnegie Hall.", "Carnegie Hall" ], [ "Through a vote of the audience members.", "the audience voted to ban him" ], [ "In a wrestling match.", "in a wrestling match" ], [ "He hates it.", "he doesn't like it" ], [ "The Phillipines.", "Philippines" ], [ "Shapiro.", "Shapiro" ], [ "Kaufman.", "andy kaufman" ], [ "Wrestling", "wrestling" ] ]

[ [ "Still clutching Randolph's ankle, he starts to lose his\ngrip. He desperately grabs Randolph's foot, but\nRandolph's shoe slips off and Buggy begins his long\nplunge to the next life.", "106.\n\nCONTINUED:\n\n BURKE\n It'll all be over tonight.\n Buggy's gonna take care of\n everything.", "Everyone in the arena screams and heads for the exits.\nIt's pandemonium. Thanks to Randolph, Buggy's shot was\ntoo high and just missed Sheldon's skull.", "Randolph reaches the catwalk as the orchestra plays a\ndramatic series of smashing notes. He tackles Buggy just\nas he squeezes off the SHOT.\n\n\nRINK", "Randolph tries to get the rifle away from Buggy. They\nstruggle on a narrow beam high above the rink. The cops\nhave reached the outer edge of the catwalk now. Tommy", "he and Buggy lose their footing and slip from the\ncatwalk. Randolph is able to grab onto the edge and hold\non. Buggy clutches Randolph's leg which threatens to", "Buggy Ding-Dong, still in his Rhinette costume, settles\ninto his assassin's roost. He begins to assemble the\nrifle and check the scope.", "Buggy manages to shove Randolph off him. He raises the\nRIFLE and SHOOTS at the cops. Randolph grabs him. Both", "Buggy Ding-Dong's hand ENTERS the FRAME and snubs out his\nCamel. Stokes looks up.", "Buggy aims the rifle.\n\n\nPOV THROUGH RIFLE SCOPE\n\nSmoochy glides THROUGH the cross-hairs followed by a\nRhinette.", "knocking a few over. They get back in the car and speed\naway. Moochy's lifeless foam body rolls into the gutter\nand lays motionless. Blood seeps through his foamy", "Burke hands a folded envelope to Buggy who puts it into\nhis jacket pocket. He lights another Camel.\n\n 107.", "bring them both down. They dangle 80 feet above the\nrink. Randolph desperately tries to hold onto the\ncatwalk as Buggy clings to Randolph's ankle.", "Buggy finishes loading the rifle. He shines the barrel\nwith his sleeve and looks through the scope as Smoochy\nand company continue to perform below.\n\n\nPOV THROUGH RIFLE SCOPE", "Spinner turns around. The door to the fire exit swings\nopen. Two of Merv's thugs emerge and grab Spinner (who's\nstill in full Moochy costume) and drag him into the\nstairwell.", "INT. RINK - HIGH OVERHEAD SHOT\n\nBuggy screams the whole way down, still holding onto\nRandolph's shoe.\n\n\nRINK", "STOKES\n (attempting to\n sound cheerful)\n Buggy. You're looking good.\n\n\n\nANGLE ON BUGGY", "STOKES\n Buggy? Buggy Ding-Dong? The guy\n who hosted 'Buggy's Bumpy\n Railroad'?", "Buggy, in his ill-fitting Rhinette costume, emerges from\nthe sub-basement carrying a thin suitcase. As far as\nanyone's concerned, he's just another usher. He heads\nfor the stairwell.", "CONTINUED:\n\n BURKE\n Not anymore, pal. You're a\n cigarette butt. Go lay in the\n gutter.\n\nBurke walks off." ], [ "Sheldon skates on the ice rink, Merv enters with Roy and\nDanny. Sheldon skates over to them. Nora walks over,\ntoo.", "SHELDON\n Yes. Some very good news. After\n giving it a lot of thought... I've\n decided to do the ice show.\n\nBurke gleefully slaps Sheldon on the shoulder.", "Sheldon looks toward the network box. Beyond it, through\nthe smoke, he sees Burke shoving his way through people\nwho jam the exit trying to escape. Sheldon reaches into\nhis costume and pulls out his gun.", "BURKE\n Sheldon, you can't do an ice show\n and cut out the vendors. And more\n importantly, you can't cut out the\n Parade of Hope. It's suicide.", "Burke smirks as he releases Sheldon. Sheldon jumps up\nand takes the gun from Nora. He shakily points it at\nBurke.", "Burke runs off through the panicked crowd. Stokes looks\naround and heads off in the opposite direction.\n\n 114.\n\nOUTSIDE RINK", "Sheldon walks slowly into the alley, gun drawn.\nSuddenly, Burke jumps out from behind some boxes. He", "People continue to run through the rink. Felled\nRhinettes litter the ice like broken dolls. Smoke fills\nthe air. Sheldon is helping a random woman to her feet\nas Nora finally reaches him. She embraces him.", "One of Merv's thugs leans in, whispers something to\nMerv, who looks up to see.\n\nBurke standing in the mouth of the alley.", "whacks Sheldon's head with a garbage can lid. The gun\ngoes flying. Burke goes for it, but Sheldon is quickly\non his feet and pounces on him. The two men fight it", "Stokes flips through a thick stack of files. He suddenly\nstops at one.\n\n STOKES\n What's going on with Sheldon Mopes\n these days.", "Burke makes a run for it down 33rd Street. A moment\nlater, Sheldon emerges from the building. He sees Burke", "Burke and Merv walk along 42nd Street. A poster\nadvertises Peter Pan \"Sponsored by Parade of Hope --\nGiving Children the Gift of Promise!\" Merv's\nthugs trail behind.", "SHELDON\n Until now. Smoochy doesn't sell\n out, Burke. You should be proud\n of that. Proud that you represent\n a client who paves driveways, not\n paints them over.", "SHELDON\n (big sigh)\n You know, I never agreed to an\n ice show, nor would I ever agree", "A few moments later Sheldon rounds the corner. He looks\ndown the street and sees no sign of Burke. He notices an\nalley by an abandoned building.\n\n\nEXT. ALLEY - CONTINUOUS ACTION", "Sheldon and Burke sit at a table in the dark club having\na conversation.\n\n SHELDON\n Burke, I never agreed to do an ice\n show.", "out. Burke manages to get on top of Sheldon and starts\nto strangle him.", "SHELDON\n It's my fault. He'd still be\n alive if it wasn't for me. He\n would have been so proud to be in\n the ice show.", "She pushes him. He goes down hard. She starts to climb\nout of the box. Burke tries to grab her, but she spins\naround and punches him. She runs for the rink." ], [ "TOMMY\n It wasn't Smiley who killed\n Spinner. It was Parade of Hope.\n\n NORA\n Merv Green?", "A bloodied Merv Green is tied to a chair in the middle\nof the warehouse as he begs Tommy for his life. Merv's\ntwo henchmen lay dead nearby. Roy, Jimmy and Sammy --\nTommy's guys -- stand behind her.", "TOMMY\n What's that guy's name over there?\n Green?\n\n LEON\n Yeah, Merv Green.", "CHICK\n (to Sambo and Tobi)\n Okay, boys, chop him up, bag him\n and dump him in the woods.\n\nSambo and Tobi start to advance on Stokes.", "Stokes is gone. Randolph takes a swig from his flask and\nwipes his chin with his sleeve. He stares out at the\nriver.", "knocking a few over. They get back in the car and speed\naway. Moochy's lifeless foam body rolls into the gutter\nand lays motionless. Blood seeps through his foamy", "BURKE\n Merv Green. How's tricks, kid?\n\n MERV\n Well, if it ain't smilin' Burke.\n Whose bones are you pickin' today?", "and Nora. They have their arms around each other.\nRandolph's eyes widen. He starts to hyperventilate.\nAngelo looks up.", "Randolph rolls Sheldon to the bottom. Nora reaches for a\nfireplace poker and whacks Randolph with it. Randolph", "We hear the sound of the HATCHET HITTING its target.\nMerv's pleading stops.\n\n TOMMY\n Now you know why charities go\n under sometimes.", "towards Randolph. He suddenly notices the felled\nRhinette on the ice and looks skyward. He can make out\na rifle barrel protruding from the catwalk.", "He cackles insanely as he picks up a bottle of gin and\ntakes a deep swig. He passes out and falls off the\nchair. Angelo leans down and lifts his head off the\nfloor.", "Merv nods to one of the thugs who releases Peter Pan. He\nslumps to the ground. Merv kneels down and lifts his\nhead from the pavement.", "as Tommy's boys advance on him. Just as they round the\ncorner there is the sound of TWO GUNSHOTS. Sheldon looks\nat Nora.", "Angelo punches Randolph in the mouth and flips him over.\nHe now sits on Randolph, pointing the revolver to his face.", "... where several thugs in overcoats emerge from the\nshadows and start beating him with lead pipes. One of", "Spinner turns around. The door to the fire exit swings\nopen. Two of Merv's thugs emerge and grab Spinner (who's\nstill in full Moochy costume) and drag him into the\nstairwell.", "Two thugs emerge from the car. They pull Spinner/Moochy\nfrom the trunk and toss his body by some garbage cans,", "Randolph just looks at him for a moment. He looks at all\nthe rhino-related imagery. He starts shaking and\nsuddenly jumps over the table and attacks the Man.", "He accidentally spills some hot tea on himself.\n\n RANDOLPH\n Son-of-a-bitch!" ], [ "REPORTER #1\n How does it feel to be voted the\n most hated man in America,\n Randolph?", "POLL: RAINBOW RANDOLPH MOST HATED MAN IN AMERICA\n\n\nPUBLIC OUTCRY: \"WE'RE SORRY SMOOCHY!\"", "SHELDON\n This is a mix-up! I'm innocent!\n I don't hate anyone!\n\n REPORTER #4\n Does that mean you don't hate\n Nazis?", "RANDOLPH\n I hate you! I fucking hate you!!!\n You devil-horned mind fucker!\n Die, die, die!!", "RANDOLPH\n Listen, I barely know that broad.\n She's a wacko. An opportunist.\n I'm the most accused man since\n Jimmy Hoffa.", "RANDOLPH\n (snapping)\n Come on, he's a fucking asshole!\n You hate him! Admit it!", "The network CEO, a hog of a man, cuts him off.", "CONTINUED:\n\n BURKE\n Not anymore, pal. You're a\n cigarette butt. Go lay in the\n gutter.\n\nBurke walks off.", "RANDOLPH\n Damn it, Nora! The public is\n clamoring for me! I'm a fucking", "We hear the sound of the HATCHET HITTING its target.\nMerv's pleading stops.\n\n TOMMY\n Now you know why charities go\n under sometimes.", "things they say he done. He ain't\n no Nazi. Someone's making stuff\n up. I just know it, Tommy.\n Someone's making stuff up!", "depict Smoochy with his head cut off... with a knife in\nhis heart... being pissed on by Randolph, etc. \"Die,\nRhino, Die\" is scrawled hundreds of times, filling page", "CEO\n Save it for the papers, Stokes.\n We've got nervous sponsors and an\n angry public -- a combination\n uglier than two monkeys fucking.\n What are you doing about it?", "He majestically stands center stage and nods to the kids\nwho are giving him a standing ovation. The song\ncrescendos with a rousing final chorus from the\nSmoochyland Band who sing, \"His truth is marching on!\"", "RANDOLPH\n (quietly to himself)\n Bad... very bad... too much for\n brain... pressure building... ears\n ringing... eyes burning...\n contempt overflowing...", "thanks to his recent exoneration\n as a Nazi sympathizer. In fact,\n several movie studios are offering\n big bucks for a chance to bring", "REPORTER #4\n How does it feel to be a hate-\n filled racist scumbag?", "They hold signs with words like \"SCANDAL\" and \"SHAME.\"\nSmoochy skates to a section of the rink resembling", "Merv's anger builds. He turns to a picture of Smoochy\nwhich is tacked to a bulletin board along with other kid\nshow personalities that the foundation extorts. Merv", "restaurant, ten guys reached for\n my hat. When I stood up to take a\n piss, they cleared the rest room.\n I'd walk down the street and" ], [ "RANDOLPH\n Hello, Mr. Mopes? My name is\n Benjamin Kunklepeck and I'm", "Randolph skates out, somewhat shakily, to huge applause.\nSheldon puts his arm around him. The audience is now on\ntheir feet. Randolph especially basks in the adulation.", "RANDOLPH\n Don't be silly. The chance to\n have Smoochy the Rhino perform at", "RANDOLPH\n I'm sorry to do this, people.\n Don't try to talk me out of it.\n\nThe crowd starts to applaud. Randolph looks baffled.", "Randolph tries to light another match, but it's wet from\nthe gasoline. The crowd laughs and starts taunting him.", "He pushes a sullen Randolph through the cluster of\npeople.\n\n\nINT. BACKSTAGE - STUDIO C - DAY", "MAN\n It's Rainbow Randolph! Someone\n stop him!\n\nRandolph finds a side exit and slips into the arena.", "LESTER\n Sound advice, Mr. Mopes. If I\n ever get any power I'll give that\n a whirl.\n (notices crowd\n up ahead)\n Hey, what's going on up there?", "RANDOLPH\n This is it, folks! It's showtime!\n I'm sorry to do this, but he's\n left me no choice!", "RANDOLPH\n Sir, we're having a banquet\n tomorrow and we'd be honored to\n have you perform for us. We would", "Randolph stands on the table directly in front of the\nKidnet Building. He raises the megaphone to his mouth.", "Randolph looks at him for a moment before turning to\nNora.\n\n (CONTINUED)\n\n 105.\n\nCONTINUED:", "72.\n\nCONTINUED:\n\nThe BROADCAST CONTINUES. Smoochy images flash across the\nscreen. Randolph has been mumbling the whole time.", "Randolph just looks at him for a moment. He looks at all\nthe rhino-related imagery. He starts shaking and\nsuddenly jumps over the table and attacks the Man.", "Randolph gets up and walks over to him.", "Randolph keeps trying to light the match. Finally, after\nseveral attempts, it lights. He holds it up. The crowd\nburst into applause.", "RANDOLPH\n (points to gun)\n Remember, I have Mr. Boomy.", "A disheveled Randolph paces on a deserted dock. The\nBrooklyn Bridge looms in the b.g. A car pulls up in the\nb.g. Stokes gets out. Randolph moves under an awning.", "ANNOUNCER (V.O.)\n All proceeds from tonight's\n performance, will benefit the\n Rainbow Randolph Center for\n Alcoholism and Delusional\n Behavior.", "traffic stopped, mouths gaped.\n You know why? You know why,\n Frank?\n (now shouting)\n I was Rainbow fucking Randolph!" ], [ "Or to be more specific, SHELDON MOPES.", "Stokes flips through a thick stack of files. He suddenly\nstops at one.\n\n STOKES\n What's going on with Sheldon Mopes\n these days.", "NORA\n Mr. Mopes?\n\nSheldon stops.\n\n SHELDON\n Yeah?\n\n (CONTINUED)", "SHELDON\n Until now. Smoochy doesn't sell\n out, Burke. You should be proud\n of that. Proud that you represent\n a client who paves driveways, not\n paints them over.", "A happy Spinner (still in costume as Moochy) pokes his\nhead into Sheldon's dressing room. Sheldon, still in\ncostume as well, looks drained after the difficult\ntaping.", "Sheldon laughs nervously.\n\n MERV\n Sheldon, I represent the Parade of\n Hope Foundation. Maybe you've\n heard of us.", "Merv gets in behind him and shuts the door. Sheldon is\nnow wedged between the two men as the limo heads down\nBroadway. Merv extends his hand.", "INT. SHELDON'S OFFICE - SHORT WHILE LATER\n\nSheldon is in a meeting with a man, SONNY GORDON.", "NORA\n I probably have ten acts in my\n development file -- acts I've been\n cultivating -- that are more\n deserving than Sheldon Mopes.", "Sheldon exits the Kidnet building and walks to the curb\nto hail a cab. A friendly-looking man in a suit and bow\ntie approaches him. This is MERV GREEN.", "Sheldon skates on the ice rink, Merv enters with Roy and\nDanny. Sheldon skates over to them. Nora walks over,\ntoo.", "REPORTER #2\n What about Ms. Bishop's charge that\n you have an unhealthy obsession\n with Sheldon Mopes?", "SHELDON\n Anyhoo, I'd like to turn the floor\n over to my new agent, Mr. Burke\n Bennett. So... heeeeeere's Burke!", "Burke makes a run for it down 33rd Street. A moment\nlater, Sheldon emerges from the building. He sees Burke", "Randolph stares at them blankly. He looks down. The\nLittle Girl is gone. Sheldon gets out of the limo.\nThe crowd cheers him as he waves to them before going", "SHELDON\n I knew this day would come!\n After all these years I finally\n meet someone in the business who", "INT. TOWN CAR - CONTINUOUS ACTION\n\nSheldon is in the back seat. The Smoochy costume is next\nto him. Behind the wheel is Randolph. He's in disguise.", "Sheldon stands in front of the methadone clinic he used\nto perform at. It's boarded up. He just stares at it.\nAn OLD VAGRANT walks up to him.", "SHELDON\n I'm not Smoochy.\n\nSheldon is shaking as he extends the gun to Burke's head.", "cries out and drops the gun. Sheldon grabs it and points\nit at Randolph who lies on the floor, blubbering like a\nchild. He's bleeding." ], [ "Marquees announcing upcoming live appearances, etc. We\nget the picture. Rainbow Randolph is the king of the\nkid shows.", "side are the words: \"Rainbow Randolph crap.\" He walks\nover and pulls the box out. He slowly opens the flaps.\nInside is his old costume. He pulls it out and clutches", "Smoochy skates out to thunderous applause.\n\n ANNOUNCER (V.O.)\n With his partner and comrade...\n the one, the only... Rainbow\n Randolph!", "MAN\n It's Rainbow Randolph! Someone\n stop him!\n\nRandolph finds a side exit and slips into the arena.", "SHELDON\n Randolph.\n\n RANDOLPH\n Yes. Rainbow Randolph. What a\n scoundrel! He's probably gay too.", "traffic stopped, mouths gaped.\n You know why? You know why,\n Frank?\n (now shouting)\n I was Rainbow fucking Randolph!", "A suburban-looking HUSBAND and WIFE enter. They find\nRainbow Randolph sitting alone, drinking a Scotch. Hair", "The Rainbow Randolph/Krinkle Kid set is being dismantled.\nBackdrops are rolled up and the giant rainbow centerpiece", "RANDOLPH\n (to tune of\n 'Ol' MacDonald)\n 'Rainbow Randolph is the man.", "Angelo puts the gun in his waistband and walks to the\ndoor. He slowly slides the chain off and opens the door\na crack. Peering in at him are the bloodshot eyes of\nRainbow Randolph.", "RANDOLPH\n (softly to himself)\n Don't worry, little ones. Rainbow\n Randolph will return...\n (with rising anger)\n After these messages!", "laugh, laugh there.\n Here a dance, there a song,\n Everything is fun, fun.\n Rainbow Randolph is the King, the", "It's the taping of another children's show -- \"Rainbow\nRandolph and the Krinkle Kids.\" RANDOLPH SMILEY, a", "RANDOLPH\n Fuck you! Fuck all you people! I\n was the last of the Mohicans!\n You'll never see another Rainbow", "RANDOLPH\n He's the real thing. Smoochy's the\n real thing. And I've been a fraud.\n A wicked man doing wicked acts.", "Randolph skates out, somewhat shakily, to huge applause.\nSheldon puts his arm around him. The audience is now on\ntheir feet. Randolph especially basks in the adulation.", "NORA\n The only reason you're on TV right\n now is because Rainbow Randolph is\n a degenerate scumbag. I didn't", "Randolph gets up and walks over to him.", "Randolph just looks at him for a moment. He looks at all\nthe rhino-related imagery. He starts shaking and\nsuddenly jumps over the table and attacks the Man.", "RANDOLPH\n Don't be silly. The chance to\n have Smoochy the Rhino perform at" ], [ "RANDOLPH\n This is it, folks! It's showtime!\n I'm sorry to do this, but he's\n left me no choice!", "Three burly Kidnet security guards drag Randolph down the\nstairwell. They beat the shit out of him and toss him\nthrough the exit door.", "RANDOLPH\n I'm sorry to do this, people.\n Don't try to talk me out of it.\n\nThe crowd starts to applaud. Randolph looks baffled.", "RANDOLPH\n I just looove your show, by the\n way. It's such a refreshing\n change of pace from that dreadful", "Randolph skates out, somewhat shakily, to huge applause.\nSheldon puts his arm around him. The audience is now on\ntheir feet. Randolph especially basks in the adulation.", "Randolph stares at them blankly. He looks down. The\nLittle Girl is gone. Sheldon gets out of the limo.\nThe crowd cheers him as he waves to them before going", "72.\n\nCONTINUED:\n\nThe BROADCAST CONTINUES. Smoochy images flash across the\nscreen. Randolph has been mumbling the whole time.", "traffic stopped, mouths gaped.\n You know why? You know why,\n Frank?\n (now shouting)\n I was Rainbow fucking Randolph!", "RANDOLPH\n (softly to himself)\n Don't worry, little ones. Rainbow\n Randolph will return...\n (with rising anger)\n After these messages!", "Randolph throws his arms around Sheldon and cries into\nhis shoulder. Sheldon pats his back. He glances down at\nRandolph's gun and sees that it's a toy.", "Stokes is gone. Randolph takes a swig from his flask and\nwipes his chin with his sleeve. He stares out at the\nriver.", "RANDOLPH\n Fuck you! Fuck all you people! I\n was the last of the Mohicans!\n You'll never see another Rainbow", "Randolph just looks at him for a moment. He looks at all\nthe rhino-related imagery. He starts shaking and\nsuddenly jumps over the table and attacks the Man.", "Randolph slams the briefcase shut, startling the couple.\n\n RANDOLPH\n You want your kid on the show?\n\n (CONTINUED)", "RANDOLPH\n I hate you! I fucking hate you!!!\n You devil-horned mind fucker!\n Die, die, die!!", "cries out and drops the gun. Sheldon grabs it and points\nit at Randolph who lies on the floor, blubbering like a\nchild. He's bleeding.", "Randolph looks at him for a moment before turning to\nNora.\n\n (CONTINUED)\n\n 105.\n\nCONTINUED:", "Buggy manages to shove Randolph off him. He raises the\nRIFLE and SHOOTS at the cops. Randolph grabs him. Both", "NORA\n The only reason you're on TV right\n now is because Rainbow Randolph is\n a degenerate scumbag. I didn't", "Angelo punches Randolph in the mouth and flips him over.\nHe now sits on Randolph, pointing the revolver to his face." ], [ "NORA\n This is network television, not a\n sprout farm. We're here to sell\n sugar and plastic. That's what\n keeps the lights on.", "KIDNET STUDIO -C.\n\nSets, props, and camera equipment are rolled into the\nstudio. Through a SERIES of DISSOLVES we see the\nSmoochyland Magic Jungle take shape.", "The Kidnet CEO stands before a cluster of reporters and\nnetwork cameras. We can see the Times Square zipper\nmarquee THROUGH the glass doors behind him.", "It's the taping of another children's show -- \"Rainbow\nRandolph and the Krinkle Kids.\" RANDOLPH SMILEY, a", "SHELDON\n 'Nora Bishop. V.P. of\n Development. Kidnet.'\n (to Nora)\n Good gravy. You work for Kidnet?", "FOR EDUCATIONAL\n PURPOSES ONLY\n\nBEGIN CREDITS\n\nEXT. KIDNET STUDIO -C - EVENING", "STOKES\n The truth of the matter is, a\n successful children's show has\n always depended on two simple", "on Japanese television. The sweat\n shops are working overtime trying\n to keep up with the demand.\n Record albums, toys, cereal, tee", "The \"Smoochy Show\" is in the middle of a taping. The\nSmoochyland Band is playing a fast, jazzy number (\"Doin'", "also like to present you with a\n plaque for your ongoing commitment\n to children's television. The\n presenter will be a young orphan", "KIDNET STUDIO WARDROBE ROOM. A team of designers and\nseamstresses cut, sew and shape endless sheets of orange", "On Nora's TV screen, we see the black and white image of\nRickets the Hippo doing the \"Klunky-Wunky Dance.\" Nora", "Nora is alone in Stokes' office, rearranging cards on\nthe giant cork board that displays the network schedule.\nShe is startled to hear a deep voice behind her.", "It's the middle of a Smoochy taping. Smoochy and the\nGang are wrapping up a song entitled, \"My Stepdad's Not", "NORA\n Really? He was my inspiration to\n work in children's television.", "INT. NETWORK BOARDROOM - KIDNET - DAY\n\nWe are TIGHT ON the sweating face of a MAN who looks like\nhe's about to be executed.", "SHELDON\n Hold the phone. You're telling me\n that Kidnet is finally ready to do\n a show of Smoochy quality? Of\n Smoochy caliber?", "INT. KIDNET STUDIO - STAGE B - DAY", "It's thirty minutes before a Smoochy taping. Dozens of\ngiddy children are led into the studio where they take\nseats on the bleachers.\n\n\nBACKSTAGE", "Marquees announcing upcoming live appearances, etc. We\nget the picture. Rainbow Randolph is the king of the\nkid shows." ], [ "RANDOLPH\n (blubbering)\n I missed you so much. Can I stay\n here? I got no place to go.\n\nAngelo sighs and puts the gun away.", "ANGELO\n That's it! I want you out of\n here!\n\n RANDOLPH\n (suddenly scared)\n Where am I supposed to go?", "Randolph sniffs and manages a small pitiful smile.\nAngelo musses his hair.\n\n ANGELO\n Atta boy.\n\n (CONTINUED)", "Angelo punches Randolph in the mouth and flips him over.\nHe now sits on Randolph, pointing the revolver to his face.", "Randolph is napping on Angelo's couch with an ice pack on\nhis sore jaw thanks to Nora's fist. There is a sudden\nLOUD POUNDING at the door. Randolph startles awake.", "INT. ANGELO'S APARTMENT - SHORT WHILE LATER\n\nAngelo and Randolph sit at the small kitchen table.\nAngelo watches as Randolph ravenously eats a bowl of\nsoup.", "ANGELO\n Just like you asked for.\n\n RANDOLPH\n Can I have some, please?\n\n ANGELO\n For a smile.", "ANGELO\n Randy?\n\nRandolph suddenly kicks the door open and tackles Angelo.\nRandolph sits on top of the little man.", "Angelo puts the gun in his waistband and walks to the\ndoor. He slowly slides the chain off and opens the door\na crack. Peering in at him are the bloodshot eyes of\nRainbow Randolph.", "ANGELO\n Stop doing this to yourself!\n\nRandolph doesn't respond. Angelo slaps his face.", "He looks Randolph squarely in the eye.\n\n STOKES\n You're totally broke? You don't\n have a dime left to your name?", "ANGELO\n Now you're talkin', kid. This is\n a big step... I'm proud of you.\n\nHe strokes Randolph's head.", "ANGELO\n Randy, is that you?\n\n (CONTINUED)\n\n 108.\n\nCONTINUED:", "Randolph looks at him for a moment before turning to\nNora.\n\n (CONTINUED)\n\n 105.\n\nCONTINUED:", "RANDOLPH\n (pleading)\n You gotta fix it, Frank. You\n gotta get me my slot back.\n\nHe now clings to Stokes' lapels.", "ANGELO\n You okay? Randy?\n\nFinally, Randolph expels a blood-curdling scream that\nECHOES through the factory.", "RANDOLPH\n I was an altar boy once. Did you\n know that? I wanted to be a\n priest. Do you believe in angels,\n Angie?", "RANDOLPH\n Yes, Angelo, my little Twinkie,\n shouldn't you be getting ready for\n the big show?\n\n ANGELO\n Listen, Buggy's been here.", "RANDOLPH\n Come on. Have you lost all\n affection for me? After what we\n once had?\n\n (CONTINUED)\n\n 65.", "Angelo hops up on the conveyor belt to console Randolph.\nRandolph rests his head on Angelo's shoulder." ], [ "Spinner turns around. The door to the fire exit swings\nopen. Two of Merv's thugs emerge and grab Spinner (who's\nstill in full Moochy costume) and drag him into the\nstairwell.", "Two thugs emerge from the car. They pull Spinner/Moochy\nfrom the trunk and toss his body by some garbage cans,", "Spinner is dragged into the garage and knocked to the\npavement. Several more thugs emerge from the shadows,\nincluding Henry, Merv's main henchman. They start", "The Smoochyland Band plays a happy little song as Spinner\nDunn, in costume as Moochy, runs on stage. The Moochy", "A happy Spinner (still in costume as Moochy) pokes his\nhead into Sheldon's dressing room. Sheldon, still in\ncostume as well, looks drained after the difficult\ntaping.", "Spinner stands up to take a bow and almost knocks the\nentire bandstand over. There is a smattering of confused\napplause from the kids in the bleachers. Spinner drops\nthe cowbell and it clangs on the studio floor.", "Burke and Sheldon look up and notice the hulking,\ngrinning figure of SPINNER DUNN standing over them.\nSpinner has the smile of a little boy despite his\ncrooked nose and scarred face. He extends his hand.", "FLASHBACK - INT. BOXING RING(S) - SOMETIME IN THE PAST\n\nThrough a SERIES OF CUTS we see Spinner getting pummeled\nin various fights.", "LESTER\n Sound advice, Mr. Mopes. If I\n ever get any power I'll give that\n a whirl.\n (notices crowd\n up ahead)\n Hey, what's going on up there?", "Merv nods to one of the thugs who releases Peter Pan. He\nslumps to the ground. Merv kneels down and lifts his\nhead from the pavement.", "SPINNER\n Great! I get to hit something!\n\nSpinner dances off. A beat later, Nora enters and shuts\nthe door. There's an awkward beat of silence.", "We WIDEN OUT to see Smoochy and the Rhinettes attempting\nto dance to the off-kilter rhythm. The song finally\nends. The Rhinettes glare at Spinner. Smoochy addresses\nthe camera.", "INT. SPINNER DUNN'S RESTAURANT (PRESENT)\n\nSpinner is still pumping Sheldon's hand.", "In the same frame, detectives and uniformed cops are now\nat the scene gathering evidence. Where Spinner once lay,\nthere is now a bright yellow chalk outline in the shape\nof a rhinoceros.", "TOMMY\n It wasn't Smiley who killed\n Spinner. It was Parade of Hope.\n\n NORA\n Merv Green?", "SMOOCHY\n Howdy, Moochy! Welcome to the\n Jungle! You wanna say howdy to\n the kids?\n\nSpinner freezes. He stares at the camera.", "Spinner releases the Senator's hand and rushes off.\n\n BURKE\n I think you made a new friend,\n kid.\n\n 35.", "knocking a few over. They get back in the car and speed\naway. Moochy's lifeless foam body rolls into the gutter\nand lays motionless. Blood seeps through his foamy", "TOMMY\n Fine, nothin'. And as Christ is\n my witness, no one's touchin' a\n hair on your fuckin' head.\n Spinner would have wanted it that\n way.", "SMOOCHY\n Moochy?\n\n SPINNER\n My name is Moochy." ], [ "Still clutching Randolph's ankle, he starts to lose his\ngrip. He desperately grabs Randolph's foot, but\nRandolph's shoe slips off and Buggy begins his long\nplunge to the next life.", "Buggy manages to shove Randolph off him. He raises the\nRIFLE and SHOOTS at the cops. Randolph grabs him. Both", "Randolph tries to get the rifle away from Buggy. They\nstruggle on a narrow beam high above the rink. The cops\nhave reached the outer edge of the catwalk now. Tommy", "he and Buggy lose their footing and slip from the\ncatwalk. Randolph is able to grab onto the edge and hold\non. Buggy clutches Randolph's leg which threatens to", "Randolph reaches the catwalk as the orchestra plays a\ndramatic series of smashing notes. He tackles Buggy just\nas he squeezes off the SHOT.\n\n\nRINK", "INT. RINK - HIGH OVERHEAD SHOT\n\nBuggy screams the whole way down, still holding onto\nRandolph's shoe.\n\n\nRINK", "Angelo punches Randolph in the mouth and flips him over.\nHe now sits on Randolph, pointing the revolver to his face.", "Randolph takes another drink from the vodka bottle.\nSheldon suddenly lunges at Randolph and tries to grab\nthe gun. Randolph shrieks. The two men wrestle on the", "Randolph just looks at him for a moment. He looks at all\nthe rhino-related imagery. He starts shaking and\nsuddenly jumps over the table and attacks the Man.", "RANDOLPH\n Yes, Angelo, my little Twinkie,\n shouldn't you be getting ready for\n the big show?\n\n ANGELO\n Listen, Buggy's been here.", "106.\n\nCONTINUED:\n\n BURKE\n It'll all be over tonight.\n Buggy's gonna take care of\n everything.", "and Nora. They have their arms around each other.\nRandolph's eyes widen. He starts to hyperventilate.\nAngelo looks up.", "bring them both down. They dangle 80 feet above the\nrink. Randolph desperately tries to hold onto the\ncatwalk as Buggy clings to Randolph's ankle.", "cries out and drops the gun. Sheldon grabs it and points\nit at Randolph who lies on the floor, blubbering like a\nchild. He's bleeding.", "Everyone in the arena screams and heads for the exits.\nIt's pandemonium. Thanks to Randolph, Buggy's shot was\ntoo high and just missed Sheldon's skull.", "Angelo puts the gun in his waistband and walks to the\ndoor. He slowly slides the chain off and opens the door\na crack. Peering in at him are the bloodshot eyes of\nRainbow Randolph.", "Randolph looks at him for a moment before turning to\nNora.\n\n (CONTINUED)\n\n 105.\n\nCONTINUED:", "Randolph throws his arms around Sheldon and cries into\nhis shoulder. Sheldon pats his back. He glances down at\nRandolph's gun and sees that it's a toy.", "RANDOLPH\n (blubbering)\n I missed you so much. Can I stay\n here? I got no place to go.\n\nAngelo sighs and puts the gun away.", "A disheveled Randolph paces on a deserted dock. The\nBrooklyn Bridge looms in the b.g. A car pulls up in the\nb.g. Stokes gets out. Randolph moves under an awning." ], [ "Buggy Ding-Dong, still in his Rhinette costume, settles\ninto his assassin's roost. He begins to assemble the\nrifle and check the scope.", "106.\n\nCONTINUED:\n\n BURKE\n It'll all be over tonight.\n Buggy's gonna take care of\n everything.", "Everyone in the arena screams and heads for the exits.\nIt's pandemonium. Thanks to Randolph, Buggy's shot was\ntoo high and just missed Sheldon's skull.", "Randolph tries to get the rifle away from Buggy. They\nstruggle on a narrow beam high above the rink. The cops\nhave reached the outer edge of the catwalk now. Tommy", "Burke hands a folded envelope to Buggy who puts it into\nhis jacket pocket. He lights another Camel.\n\n 107.", "Randolph reaches the catwalk as the orchestra plays a\ndramatic series of smashing notes. He tackles Buggy just\nas he squeezes off the SHOT.\n\n\nRINK", "Buggy aims the rifle.\n\n\nPOV THROUGH RIFLE SCOPE\n\nSmoochy glides THROUGH the cross-hairs followed by a\nRhinette.", "RANDOLPH\n Yes, Angelo, my little Twinkie,\n shouldn't you be getting ready for\n the big show?\n\n ANGELO\n Listen, Buggy's been here.", "Buggy finishes loading the rifle. He shines the barrel\nwith his sleeve and looks through the scope as Smoochy\nand company continue to perform below.\n\n\nPOV THROUGH RIFLE SCOPE", "Still clutching Randolph's ankle, he starts to lose his\ngrip. He desperately grabs Randolph's foot, but\nRandolph's shoe slips off and Buggy begins his long\nplunge to the next life.", "STOKES\n Buggy? Buggy Ding-Dong? The guy\n who hosted 'Buggy's Bumpy\n Railroad'?", "Buggy, in his ill-fitting Rhinette costume, emerges from\nthe sub-basement carrying a thin suitcase. As far as\nanyone's concerned, he's just another usher. He heads\nfor the stairwell.", "he and Buggy lose their footing and slip from the\ncatwalk. Randolph is able to grab onto the edge and hold\non. Buggy clutches Randolph's leg which threatens to", "Buggy manages to shove Randolph off him. He raises the\nRIFLE and SHOOTS at the cops. Randolph grabs him. Both", "Buggy Ding-Dong's hand ENTERS the FRAME and snubs out his\nCamel. Stokes looks up.", "bring them both down. They dangle 80 feet above the\nrink. Randolph desperately tries to hold onto the\ncatwalk as Buggy clings to Randolph's ankle.", "STOKES\n (attempting to\n sound cheerful)\n Buggy. You're looking good.\n\n\n\nANGLE ON BUGGY", "A shadow falls across their table. Burke looks up.\n\n BURKE\n Speak of the devil. Have a seat,\n Bug.", "Atmospheric fog created by the smoke machine is so thick\nthat Buggy has difficulty FINDING Sheldon THROUGH the", "The Smoochyland Band plays a happy little song as Spinner\nDunn, in costume as Moochy, runs on stage. The Moochy" ], [ "FLASHBACK - INT. BOXING RING(S) - SOMETIME IN THE PAST\n\nThrough a SERIES OF CUTS we see Spinner getting pummeled\nin various fights.", "Spinner starts violently pounding his head on the bar,\ncausing GLASSES to RATTLE.", "Burke and Sheldon look up and notice the hulking,\ngrinning figure of SPINNER DUNN standing over them.\nSpinner has the smile of a little boy despite his\ncrooked nose and scarred face. He extends his hand.", "TOMMY\n Fine, nothin'. And as Christ is\n my witness, no one's touchin' a\n hair on your fuckin' head.\n Spinner would have wanted it that\n way.", "Spinner stands up to take a bow and almost knocks the\nentire bandstand over. There is a smattering of confused\napplause from the kids in the bleachers. Spinner drops\nthe cowbell and it clangs on the studio floor.", "Spinner is dragged into the garage and knocked to the\npavement. Several more thugs emerge from the shadows,\nincluding Henry, Merv's main henchman. They start", "Two thugs emerge from the car. They pull Spinner/Moochy\nfrom the trunk and toss his body by some garbage cans,", "Spinner turns around. The door to the fire exit swings\nopen. Two of Merv's thugs emerge and grab Spinner (who's\nstill in full Moochy costume) and drag him into the\nstairwell.", "SPINNER\n Great! I get to hit something!\n\nSpinner dances off. A beat later, Nora enters and shuts\nthe door. There's an awkward beat of silence.", "A bloodied, defeated Spinner happily holds up the arm of\nhis opponent after a match. He then hugs the referee.\nHe jumps down from the ring and hugs the three judges.", "SPINNER\n I'm so excited to meet you! I'm\n Spinner!\n\nSpinner's massive hand engulfs Sheldon's.", "INT. SPINNER DUNN'S RESTAURANT (PRESENT)\n\nSpinner is still pumping Sheldon's hand.", "A happy Spinner (still in costume as Moochy) pokes his\nhead into Sheldon's dressing room. Sheldon, still in\ncostume as well, looks drained after the difficult\ntaping.", "ANCHOR (V.O.)\n Former heavyweight contender and\n restaurateur Lawrence 'Spinner'\n Dunn was found shot to death in a", "SPINNER\n Hiya, Smoochy! I'm Spinner!\n Spinner!\n\n SHELDON\n Hi there.", "SHELDON\n You were behind the Spinner hit,\n weren't you?\n\n (CONTINUED)\n\n 118.", "INT. SPINNER DUNN'S RESTAURANT - DAY\n\nSpinner sleeps forever in an open casket, clutching his\ncowbell. Dozens of Spinner's relatives are at the wake.", "INT. KIDNET STUDIOS - BACKSTAGE - TIGHT ON DISAPPOINTED\nFACE OF SPINNER DUNN - DAY", "We WIDEN OUT to see Smoochy and the Rhinettes attempting\nto dance to the off-kilter rhythm. The song finally\nends. The Rhinettes glare at Spinner. Smoochy addresses\nthe camera.", "He points to a nasty bump near his eye.\n\n RANDOLPH\n And of course, there's this...\n\nHe yanks his lip back to reveal a missing tooth." ], [ "One of Merv's thugs leans in, whispers something to\nMerv, who looks up to see.\n\nBurke standing in the mouth of the alley.", "BURKE\n Merv Green. How's tricks, kid?\n\n MERV\n Well, if it ain't smilin' Burke.\n Whose bones are you pickin' today?", "LESTER\n Sound advice, Mr. Mopes. If I\n ever get any power I'll give that\n a whirl.\n (notices crowd\n up ahead)\n Hey, what's going on up there?", "Burke looks behind and sees the nightmarish image of a\ndisfigured Smoochy chasing after him. He quickly rounds\nthe corner.\n\n\nEXT. STREET", "BURKE\n I'm not here to aggravate, just\n educate. I think Mopes might be\n talking to people he shouldn't be\n talking to.", "Burke smirks as he releases Sheldon. Sheldon jumps up\nand takes the gun from Nora. He shakily points it at\nBurke.", "Sheldon looks horrified. The Smoochyland Band quickly\nlaunches into some music. Smoochy, Moochy and a few", "Burke and Merv walk along 42nd Street. A poster\nadvertises Peter Pan \"Sponsored by Parade of Hope --\nGiving Children the Gift of Promise!\" Merv's\nthugs trail behind.", "SHELDON\n Until now. Smoochy doesn't sell\n out, Burke. You should be proud\n of that. Proud that you represent\n a client who paves driveways, not\n paints them over.", "BURKE\n I'm thrilled, Shel. Knocked out.\n\nBurke just sits there, stunned. A waitress, SANDY,\npasses by the booth.", "SHELDON\n I'm not Smoochy.\n\nSheldon is shaking as he extends the gun to Burke's head.", "Burke makes a run for it down 33rd Street. A moment\nlater, Sheldon emerges from the building. He sees Burke", "Stokes buries his head in his hands.\n\n STOKES\n I don't know, Burke... this whole\n thing...", "depict Smoochy with his head cut off... with a knife in\nhis heart... being pissed on by Randolph, etc. \"Die,\nRhino, Die\" is scrawled hundreds of times, filling page", "and swigging from a bottle of root beer. He passes a\nconstruction site and notices some graffiti on a wall --\na crudely-drawn goose-stepping Smoochy in a Nazi uniform", "BURKE\n He's got it in his head that he's\n gonna clean up the way we do\n business.\n (beat)\n Truthfully? I wouldn't be\n surprised if he's wearing a wire.", "Or to be more specific, SHELDON MOPES.", "Burke and Sheldon look up and notice the hulking,\ngrinning figure of SPINNER DUNN standing over them.\nSpinner has the smile of a little boy despite his\ncrooked nose and scarred face. He extends his hand.", "BURKE\n Oh my. What are you gonna do?\n Kill me? That wouldn't be very\n Smoochy-like behavior.", "BURKE\n Yeah, before the asshole found\n religion. Anyway, Stokes was\n trying to screw my boy out of some" ], [ "Tommy and his boys runs off to find Sheldon. The COPS\nhelp Randolph off the catwalk. He's a nervous wreck.\n\n COP #1\n You okay?", "TOMMY\n Danny, go give Mr. Smiley a little\n back rub.\n\nDanny advances toward a shaking Randolph, fist clenched\nand rolling up his sleeve.", "RANDOLPH\n I'm trying to sleep, asshole!\n Read the fucking meter some other\n time!\n\nAfter a beat, the door is kicked open and Tommy and his\ncrew are standing there.", "Angelo punches Randolph in the mouth and flips him over.\nHe now sits on Randolph, pointing the revolver to his face.", "Tommy and her boys notice the commotion in the audience.\nThey see cops pursuing someone. They realize it's\nRandolph. Tommy, Jimmy and Sammy take off after him.\n\n\nCATWALK", "TOMMY\n He really loved you, Shel. And\n this I guarantee -- that fucking\n Randolph has seen his last", "Three burly Kidnet security guards drag Randolph down the\nstairwell. They beat the shit out of him and toss him\nthrough the exit door.", "EXT. POLICE PRECINCT - DAY\n\nRandolph, bruised and battered, emerges from the police\nstation with his LAWYER. REPORTERS and photographers\nrush forward.", "Randolph tries to get the rifle away from Buggy. They\nstruggle on a narrow beam high above the rink. The cops\nhave reached the outer edge of the catwalk now. Tommy", "Randolph looks at him for a moment before turning to\nNora.\n\n (CONTINUED)\n\n 105.\n\nCONTINUED:", "Randolph is napping on Angelo's couch with an ice pack on\nhis sore jaw thanks to Nora's fist. There is a sudden\nLOUD POUNDING at the door. Randolph startles awake.", "A bloodied Merv Green is tied to a chair in the middle\nof the warehouse as he begs Tommy for his life. Merv's\ntwo henchmen lay dead nearby. Roy, Jimmy and Sammy --\nTommy's guys -- stand behind her.", "Angelo puts the gun in his waistband and walks to the\ndoor. He slowly slides the chain off and opens the door\na crack. Peering in at him are the bloodshot eyes of\nRainbow Randolph.", "Randolph just looks at him for a moment. He looks at all\nthe rhino-related imagery. He starts shaking and\nsuddenly jumps over the table and attacks the Man.", "Randolph sniffs and manages a small pitiful smile.\nAngelo musses his hair.\n\n ANGELO\n Atta boy.\n\n (CONTINUED)", "cries out and drops the gun. Sheldon grabs it and points\nit at Randolph who lies on the floor, blubbering like a\nchild. He's bleeding.", "ANGELO\n It's heatin' up out there. Every\n cop in New York is looking for\n you. And Tommy Cotter's boys are", "TOMMY\n You wanna tell me about the rhino?\n\n RANDOLPH\n Hey, this is private property,\n creep! And you're trespassing!", "and slides it to Randolph. Randolph takes a gulp of his\nScotch. He unsnaps the briefcase and opens it. Five\ngrand stares him in the face.", "Randolph throws his arms around Sheldon and cries into\nhis shoulder. Sheldon pats his back. He glances down at\nRandolph's gun and sees that it's a toy." ], [ "Angelo punches Randolph in the mouth and flips him over.\nHe now sits on Randolph, pointing the revolver to his face.", "Randolph is napping on Angelo's couch with an ice pack on\nhis sore jaw thanks to Nora's fist. There is a sudden\nLOUD POUNDING at the door. Randolph startles awake.", "ANGELO\n Stop doing this to yourself!\n\nRandolph doesn't respond. Angelo slaps his face.", "INT. ANGELO'S APARTMENT - SHORT WHILE LATER\n\nAngelo and Randolph sit at the small kitchen table.\nAngelo watches as Randolph ravenously eats a bowl of\nsoup.", "ANGELO\n Randy?\n\nRandolph suddenly kicks the door open and tackles Angelo.\nRandolph sits on top of the little man.", "He jumps up and kicks the TV over. He picks up a lamp\nand starts beating the TV.", "Randolph just looks at him for a moment. He looks at all\nthe rhino-related imagery. He starts shaking and\nsuddenly jumps over the table and attacks the Man.", "A look of utter frustration now comes over Randolph.\n\n\nOVERHEAD SHOT\n\nRandolph drops to his knees on the table, looks skyward,\nand screams.", "Randolph sniffs and manages a small pitiful smile.\nAngelo musses his hair.\n\n ANGELO\n Atta boy.\n\n (CONTINUED)", "RANDOLPH\n (blubbering)\n I missed you so much. Can I stay\n here? I got no place to go.\n\nAngelo sighs and puts the gun away.", "Angelo puts the gun in his waistband and walks to the\ndoor. He slowly slides the chain off and opens the door\na crack. Peering in at him are the bloodshot eyes of\nRainbow Randolph.", "ANGELO\n You okay? Randy?\n\nFinally, Randolph expels a blood-curdling scream that\nECHOES through the factory.", "ANGELO\n What are you doing?! That's a\n Zenith!\n (notices cheese curls)\n Look at this place!\n\nHe grabs the lamp from Randolph.", "RANDOLPH\n Motherfucker!!!!!!!\n\nAngelo drops the soup. Birds in the factory flutter from\nthe rafters.", "ANGELO\n That's it! I want you out of\n here!\n\n RANDOLPH\n (suddenly scared)\n Where am I supposed to go?", "RANDOLPH\n We could've worked through all\n that.\n\nHe leans in to kiss her and she shoves him away so\nviolently he almost falls over the coffee table.", "Randolph looks at him for a moment before turning to\nNora.\n\n (CONTINUED)\n\n 105.\n\nCONTINUED:", "He cackles insanely as he picks up a bottle of gin and\ntakes a deep swig. He passes out and falls off the\nchair. Angelo leans down and lifts his head off the\nfloor.", "RANDOLPH\n (half-conscious)\n It's the rhino, Angie. He's been", "Randolph sits in front of the TELEVISION in a daze. He's\nwearing a ratty bathrobe and absentmindedly tosses cheese" ], [ "Still clutching Randolph's ankle, he starts to lose his\ngrip. He desperately grabs Randolph's foot, but\nRandolph's shoe slips off and Buggy begins his long\nplunge to the next life.", "106.\n\nCONTINUED:\n\n BURKE\n It'll all be over tonight.\n Buggy's gonna take care of\n everything.", "Buggy manages to shove Randolph off him. He raises the\nRIFLE and SHOOTS at the cops. Randolph grabs him. Both", "Everyone in the arena screams and heads for the exits.\nIt's pandemonium. Thanks to Randolph, Buggy's shot was\ntoo high and just missed Sheldon's skull.", "Buggy aims the rifle.\n\n\nPOV THROUGH RIFLE SCOPE\n\nSmoochy glides THROUGH the cross-hairs followed by a\nRhinette.", "Burke hands a folded envelope to Buggy who puts it into\nhis jacket pocket. He lights another Camel.\n\n 107.", "he and Buggy lose their footing and slip from the\ncatwalk. Randolph is able to grab onto the edge and hold\non. Buggy clutches Randolph's leg which threatens to", "Randolph tries to get the rifle away from Buggy. They\nstruggle on a narrow beam high above the rink. The cops\nhave reached the outer edge of the catwalk now. Tommy", "Randolph reaches the catwalk as the orchestra plays a\ndramatic series of smashing notes. He tackles Buggy just\nas he squeezes off the SHOT.\n\n\nRINK", "knocking a few over. They get back in the car and speed\naway. Moochy's lifeless foam body rolls into the gutter\nand lays motionless. Blood seeps through his foamy", "STOKES\n (attempting to\n sound cheerful)\n Buggy. You're looking good.\n\n\n\nANGLE ON BUGGY", "Buggy, in his ill-fitting Rhinette costume, emerges from\nthe sub-basement carrying a thin suitcase. As far as\nanyone's concerned, he's just another usher. He heads\nfor the stairwell.", "Buggy finishes loading the rifle. He shines the barrel\nwith his sleeve and looks through the scope as Smoochy\nand company continue to perform below.\n\n\nPOV THROUGH RIFLE SCOPE", "CONTINUED:\n\n BURKE\n Not anymore, pal. You're a\n cigarette butt. Go lay in the\n gutter.\n\nBurke walks off.", "bring them both down. They dangle 80 feet above the\nrink. Randolph desperately tries to hold onto the\ncatwalk as Buggy clings to Randolph's ankle.", "INT. RINK - HIGH OVERHEAD SHOT\n\nBuggy screams the whole way down, still holding onto\nRandolph's shoe.\n\n\nRINK", "Buggy Ding-Dong, still in his Rhinette costume, settles\ninto his assassin's roost. He begins to assemble the\nrifle and check the scope.", "Buggy, in position again, looks through the rifle scope.\n\n\nPOV THROUGH RIFLE SCOPE", "CLOSE ON BUGGY'S FINGER\n\nHe's about to squeeze the trigger.\n\n\nCATWALK", "Buggy Ding-Dong's hand ENTERS the FRAME and snubs out his\nCamel. Stokes looks up." ], [ "The car pulls to the curb.\n\n MERV\n And as far as the ice show goes...\n I recommend you start shopping\n for skates.", "no vendors, no crooks. Not one\n dirty hand will touch this. Not\n one person will make a dollar off\n these kids. Smoochy on Ice will", "to do an ice show, and let me add\n that none of this is your concern,\n sir.\n (shakes his head)\n Sheesh.", "MERV\n Listen carefully, son: Parade of\n Hope has sponsored every Kidnet\n ice show since 1964. We take a", "NORA\n Hi.\n\n SHELDON\n Hi.\n\n NORA\n I read about the ice show.", "MERV\n No one freezes me out of an ice\n show. No one. I don't care how\n many fucking clinics he's trying\n to save.", "BURKE (V.O.)\n The real one. My advice?\n Consider the ice show and stay\n healthy.", "Smoochy skates out to thunderous applause. The entire\narena is on its feet. The Rhinettes part as Smoochy", "Sheldon skates on the ice rink, Merv enters with Roy and\nDanny. Sheldon skates over to them. Nora walks over,\ntoo.", "They hold signs with words like \"SCANDAL\" and \"SHAME.\"\nSmoochy skates to a section of the rink resembling", "by the book. No skim, no\n percentage. Nothing. The network\n wanted squeaky clean and they got\n it. And believe me, Mopes is", "The \"Opera on Ice\" continues. The soprano continues\nsinging as Smoochy reenacts the incidents of his recent", "SHELDON\n Ice shows represent everything I'm\n against. They're mindless\n spectacles whose main purpose is", "He reaches into the bag, and with a grand flourish, pulls\nout a flaming red penis cookie. The cookie is somewhat\nmisshapen and not perfectly formed. Smoochy gets a big\ngrin.", "SHELDON\n (big sigh)\n You know, I never agreed to an\n ice show, nor would I ever agree", "SHELDON\n Well, I appreciate the offer, but\n for the gazillionth time, I'm not\n doing an ice show, so we have", "SHELDON\n Yes. Some very good news. After\n giving it a lot of thought... I've\n decided to do the ice show.\n\nBurke gleefully slaps Sheldon on the shoulder.", "SHELDON\n As far as food concessions go,\n I'll supply the refreshments. For\n free. Low sodium, whole wheat", "LESTER\n Sound advice, Mr. Mopes. If I\n ever get any power I'll give that\n a whirl.\n (notices crowd\n up ahead)\n Hey, what's going on up there?", "in the distance and takes off after him. He's still in\nhis skates and wearing the partially-blown-off Smoochy\nhead." ], [ "The headline reads: \"Rainbow Randolph Interrupts Smoochy\nTaping.\" The subhead reads: \"Runs Onstage Shouting\nPenis Related Obscenities.\"\n\n\nWIDE", "Marquees announcing upcoming live appearances, etc. We\nget the picture. Rainbow Randolph is the king of the\nkid shows.", "traffic stopped, mouths gaped.\n You know why? You know why,\n Frank?\n (now shouting)\n I was Rainbow fucking Randolph!", "RANDOLPH\n (softly to himself)\n Don't worry, little ones. Rainbow\n Randolph will return...\n (with rising anger)\n After these messages!", "It's the taping of another children's show -- \"Rainbow\nRandolph and the Krinkle Kids.\" RANDOLPH SMILEY, a", "RANDOLPH\n Fuck you! Fuck all you people! I\n was the last of the Mohicans!\n You'll never see another Rainbow", "SHELDON\n Randolph.\n\n RANDOLPH\n Yes. Rainbow Randolph. What a\n scoundrel! He's probably gay too.", "NORA\n The only reason you're on TV right\n now is because Rainbow Randolph is\n a degenerate scumbag. I didn't", "RANDOLPH\n This is it, folks! It's showtime!\n I'm sorry to do this, but he's\n left me no choice!", "side are the words: \"Rainbow Randolph crap.\" He walks\nover and pulls the box out. He slowly opens the flaps.\nInside is his old costume. He pulls it out and clutches", "72.\n\nCONTINUED:\n\nThe BROADCAST CONTINUES. Smoochy images flash across the\nscreen. Randolph has been mumbling the whole time.", "The Rainbow Randolph/Krinkle Kid set is being dismantled.\nBackdrops are rolled up and the giant rainbow centerpiece", "RANDOLPH\n (to tune of\n 'Ol' MacDonald)\n 'Rainbow Randolph is the man.", "RANDOLPH\n I just looove your show, by the\n way. It's such a refreshing\n change of pace from that dreadful", "RANDOLPH\n I'm sorry to do this, people.\n Don't try to talk me out of it.\n\nThe crowd starts to applaud. Randolph looks baffled.", "Randolph slams the briefcase shut, startling the couple.\n\n RANDOLPH\n You want your kid on the show?\n\n (CONTINUED)", "Randolph just looks at him for a moment. He looks at all\nthe rhino-related imagery. He starts shaking and\nsuddenly jumps over the table and attacks the Man.", "Randolph stares at them blankly. He looks down. The\nLittle Girl is gone. Sheldon gets out of the limo.\nThe crowd cheers him as he waves to them before going", "Randolph tries to light another match, but it's wet from\nthe gasoline. The crowd laughs and starts taunting him.", "Randolph skates out, somewhat shakily, to huge applause.\nSheldon puts his arm around him. The audience is now on\ntheir feet. Randolph especially basks in the adulation." ], [ "Randolph looks at him for a moment before turning to\nNora.\n\n (CONTINUED)\n\n 105.\n\nCONTINUED:", "RANDOLPH\n (blubbering)\n I missed you so much. Can I stay\n here? I got no place to go.\n\nAngelo sighs and puts the gun away.", "RANDOLPH\n We could've worked through all\n that.\n\nHe leans in to kiss her and she shoves him away so\nviolently he almost falls over the coffee table.", "Stokes is gone. Randolph takes a swig from his flask and\nwipes his chin with his sleeve. He stares out at the\nriver.", "Randolph tries to light another match, but it's wet from\nthe gasoline. The crowd laughs and starts taunting him.", "A down-and-out Randolph shuffles along in ratty bedroom\nslippers. He passes a MAN who sits behind a small table", "STOKES\n I think it's fair to say we helped\n each other.\n\nRandolph suddenly breaks down.", "A disheveled Randolph paces on a deserted dock. The\nBrooklyn Bridge looms in the b.g. A car pulls up in the\nb.g. Stokes gets out. Randolph moves under an awning.", "Randolph is napping on Angelo's couch with an ice pack on\nhis sore jaw thanks to Nora's fist. There is a sudden\nLOUD POUNDING at the door. Randolph startles awake.", "He looks Randolph squarely in the eye.\n\n STOKES\n You're totally broke? You don't\n have a dime left to your name?", "Randolph rolls Sheldon to the bottom. Nora reaches for a\nfireplace poker and whacks Randolph with it. Randolph", "Randolph skates out, somewhat shakily, to huge applause.\nSheldon puts his arm around him. The audience is now on\ntheir feet. Randolph especially basks in the adulation.", "RANDOLPH\n I'm the one who needs to be saved!\n Me. I'm broke! I lost my lawyer!", "Randolph sniffs and manages a small pitiful smile.\nAngelo musses his hair.\n\n ANGELO\n Atta boy.\n\n (CONTINUED)", "Randolph just looks at him for a moment. He looks at all\nthe rhino-related imagery. He starts shaking and\nsuddenly jumps over the table and attacks the Man.", "RANDOLPH\n Go ahead, kill me! Finish me off.\n My life's over anyway. Everything\n I touch turns to shit. Put me out\n of my misery.", "Randolph gets up and walks over to him.", "RANDOLPH\n I don't know. I'm kind of fucked\n up in general, so it's hard to\n gauge.\n\nThey pat the dazed Randolph on the back. He passes out.", "RANDOLPH\n I'm sorry to do this, people.\n Don't try to talk me out of it.\n\nThe crowd starts to applaud. Randolph looks baffled.", "RANDOLPH\n Fuck you! Fuck all you people! I\n was the last of the Mohicans!\n You'll never see another Rainbow" ], [ "RANDOLPH\n (blubbering)\n I missed you so much. Can I stay\n here? I got no place to go.\n\nAngelo sighs and puts the gun away.", "Randolph looks at him for a moment before turning to\nNora.\n\n (CONTINUED)\n\n 105.\n\nCONTINUED:", "Randolph sniffs and manages a small pitiful smile.\nAngelo musses his hair.\n\n ANGELO\n Atta boy.\n\n (CONTINUED)", "Randolph gets up and walks over to him.", "STOKES\n I think it's fair to say we helped\n each other.\n\nRandolph suddenly breaks down.", "Randolph throws his arms around Sheldon and cries into\nhis shoulder. Sheldon pats his back. He glances down at\nRandolph's gun and sees that it's a toy.", "Randolph skates out, somewhat shakily, to huge applause.\nSheldon puts his arm around him. The audience is now on\ntheir feet. Randolph especially basks in the adulation.", "Stokes is gone. Randolph takes a swig from his flask and\nwipes his chin with his sleeve. He stares out at the\nriver.", "RANDOLPH\n (a pitiful child)\n Thank you.\n\nShe walks over to Sheldon.", "Randolph sits up and looks at Sheldon through watery\neyes.\n\n (CONTINUED)\n\n 103.", "ANGELO\n Now you're talkin', kid. This is\n a big step... I'm proud of you.\n\nHe strokes Randolph's head.", "A down-and-out Randolph shuffles along in ratty bedroom\nslippers. He passes a MAN who sits behind a small table", "Randolph freezes as he looks down at the Little Girl. A\nslight look of hope comes over his face. She smiles", "RANDOLPH\n Yes! Exactly! That's what I'm\n trying to tell you!\n\nRandolph looks at him hopefully as Stokes straightens his\ntie.", "and Nora. They have their arms around each other.\nRandolph's eyes widen. He starts to hyperventilate.\nAngelo looks up.", "Randolph is napping on Angelo's couch with an ice pack on\nhis sore jaw thanks to Nora's fist. There is a sudden\nLOUD POUNDING at the door. Randolph startles awake.", "Randolph just looks at him for a moment. He looks at all\nthe rhino-related imagery. He starts shaking and\nsuddenly jumps over the table and attacks the Man.", "A disheveled Randolph paces on a deserted dock. The\nBrooklyn Bridge looms in the b.g. A car pulls up in the\nb.g. Stokes gets out. Randolph moves under an awning.", "Randolph opens the door a crack and listens. We hear an\nO.S. VOICE from inside.", "RANDOLPH\n I don't know. I'm kind of fucked\n up in general, so it's hard to\n gauge.\n\nThey pat the dazed Randolph on the back. He passes out." ], [ "Tommy and his boys runs off to find Sheldon. The COPS\nhelp Randolph off the catwalk. He's a nervous wreck.\n\n COP #1\n You okay?", "Tommy extends her hand for the gun. Sheldon looks down\nat the gun. He can't believe he's even holding it. He\nhands it to Tommy.", "Sheldon turns around. It's Tommy and her boys.\n\n (CONTINUED)\n\n 119.\n\nCONTINUED:", "SHELDON\n Whatever I can do, Tommy, just say\n it. You know I love Spinner. And\n I owe you.", "TOMMY\n Something I can help you with?\n\n NORA\n I have to talk to him. It's about\n Sheldon.", "SHELDON\n (sternly)\n Stay out of it, Tommy. This is my\n business.\n\nTommy walks closer to Sheldon.", "Spinner dutifully hurries over to Tommy.\n\n SHELDON\n He seems pretty popular. It must\n take real talent to run a place\n like this.", "A bloodied Merv Green is tied to a chair in the middle\nof the warehouse as he begs Tommy for his life. Merv's\ntwo henchmen lay dead nearby. Roy, Jimmy and Sammy --\nTommy's guys -- stand behind her.", "as Tommy's boys advance on him. Just as they round the\ncorner there is the sound of TWO GUNSHOTS. Sheldon looks\nat Nora.", "TOMMY\n Big news, Shel.\n\n SHELDON\n What's that?", "Sheldon laughs again. Tommy gets quiet.\n\n TOMMY\n This makes me sad. Very, very,\n sad.", "Tommy pats Sheldon's shoulder affectionately.\n\n TOMMY\n We'll take it from here, kid, you\n run along with your girl. Get on\n with your life.", "TOMMY\n So, I was wondering if maybe you\n could give him a little floor\n space.\n\n SHELDON\n I'm sorry?", "TOMMY\n It's all taken care of, Shel.\n\n SHELDON\n What does that mean?\n\n 96.", "ANGLE ON SPINNER\n\nHe shakes the Senator's hand as Tommy and a few other\ntough Irish guys stand around. Spinner looks over\ntowards Sheldon.", "Tommy and the boys walk over. Tommy puts his arm around\nSheldon as he gazes somberly at Spinner.", "Tommy now smiles and walks over to Sheldon. She musses\nSheldon's hair.", "Sheldon jumps. He's surprised to Tommy from Spinner\nDunn's restaurant. Tommy's crew, ROY, DANNY, JIMMY and\nSAMMY occupy the sofa.", "Sheldon exits. Burke sits there, looking very concerned.\n\nOn his way out the door, Tommy stops Sheldon. Spinner's\nCOWBELL CLANGING continues.", "SHELDON\n That's okay, Tommy. I'll be fine." ], [ "They all run away from Randolph and over to Sheldon's\nlimo as it pulls in front of the Kidnet Building.", "Three burly Kidnet security guards drag Randolph down the\nstairwell. They beat the shit out of him and toss him\nthrough the exit door.", "cries out and drops the gun. Sheldon grabs it and points\nit at Randolph who lies on the floor, blubbering like a\nchild. He's bleeding.", "Randolph stares at them blankly. He looks down. The\nLittle Girl is gone. Sheldon gets out of the limo.\nThe crowd cheers him as he waves to them before going", "Randolph throws his arms around Sheldon and cries into\nhis shoulder. Sheldon pats his back. He glances down at\nRandolph's gun and sees that it's a toy.", "floor, but Randolph is not much of a fighter. He\nscreams as Sheldon rolls him toward the fireplace.", "We hear APPLAUSE. Randolph quickly opens the rusty door.\n\n RANDOLPH\n Knock 'em dead, kid!\n\nHe shoves Sheldon inside.", "Randolph rolls Sheldon to the bottom. Nora reaches for a\nfireplace poker and whacks Randolph with it. Randolph", "Randolph sits up and looks at Sheldon through watery\neyes.\n\n (CONTINUED)\n\n 103.", "Randolph takes another drink from the vodka bottle.\nSheldon suddenly lunges at Randolph and tries to grab\nthe gun. Randolph shrieks. The two men wrestle on the", "Tommy and his boys runs off to find Sheldon. The COPS\nhelp Randolph off the catwalk. He's a nervous wreck.\n\n COP #1\n You okay?", "Randolph skates out, somewhat shakily, to huge applause.\nSheldon puts his arm around him. The audience is now on\ntheir feet. Randolph especially basks in the adulation.", "CONTINUED:\n\n RANDOLPH\n Would you be my friend?\n\n SHELDON\n Sure.", "Sheldon loads his gun as Randolph is curled up on the\ncouch like a little puppy. Nora hands him a cup of tea.", "Sheldon slowly takes the gun away from Randolph's head.", "SHELDON\n Are you sure? The cops have tons\n of evidence on Randolph.\n\n (CONTINUED)\n\n 95.", "INT. TOWN CAR - CONTINUOUS ACTION\n\nSheldon is in the back seat. The Smoochy costume is next\nto him. Behind the wheel is Randolph. He's in disguise.", "RANDOLPH\n (a pitiful child)\n Thank you.\n\nShe walks over to Sheldon.", "SHELDON\n Randolph.\n\n RANDOLPH\n Yes. Rainbow Randolph. What a\n scoundrel! He's probably gay too.", "Sheldon's head is swimming. Suddenly the front door to\nto the penthouse bursts open. Randolph, dressed like\nhe's about to do his old show, stumbles in waving a gun." ], [ "Sheldon starts doing the rather insane-looking Klunky-\nWunky dance. Nora does it with him. They both stop and\nlook at each other. Sheldon impulsively leans in and\nkisses her.", "Sheldon suddenly jumps up and grabs her. He kisses her\npassionately. Nora immediately starts ripping off his\ncostume as they make out. They fall to the floor in\na lustful embrace.", "He moves on. Nora stares at him as he walks away. He\nobviously got to her. As Sheldon heads toward the", "CONTINUED:\n\n RANDOLPH\n Would you be my friend?\n\n SHELDON\n Sure.", "Sheldon looks at her. They embrace as BAGPIPE MUSIC\nSWELLS.\n\n\nOMITTED\n\n\nEXT. TIMES SQUARE - NIGHT", "SHELDON\n No it's not. It's just beginning.\n\nThey kiss passionately as MUSIC SWELLS and the CAMERA\nCRANES HIGH ABOVE the rink.", "She looks down, somewhat ashamed. A look of utter shock\n\ncomes over Sheldon.\n\n SHELDON\n Oh good Lord in Heaven.", "Burke hangs up. After a beat, Sheldon's DOORBELL RINGS.\nHe walks over to the door and opens it. To his surprise,\nNora is standing there.", "Sheldon follows her to the door. She stops and looks at\nhim for a moment. The PHONE starts to RING. Neither of\nthem says anything for a beat.", "Sheldon sits at the bar in the restaurant, nursing a\ndrink and talking to the BARTENDER. He seems slightly\ndrunk.", "INT. SHELDON'S OFFICE - SHORT WHILE LATER\n\nSheldon is in a meeting with a man, SONNY GORDON.", "RANDOLPH\n (a pitiful child)\n Thank you.\n\nShe walks over to Sheldon.", "Tommy pats Sheldon's shoulder affectionately.\n\n TOMMY\n We'll take it from here, kid, you\n run along with your girl. Get on\n with your life.", "INT. TOWN CAR - CONTINUOUS ACTION\n\nSheldon is in the back seat. The Smoochy costume is next\nto him. Behind the wheel is Randolph. He's in disguise.", "Nora stops. She looks Sheldon in the eye for the first\ntime.\n\n NORA\n Can I make this real easy for you?\n\n SHELDON\n Sure.", "NORA\n No, Sheldon, don't!\n\nSheldon runs off leaving Nora.\n\n\nEXIT", "SHELDON\n Shhh... you don't have to\n explain...\n\nThey continue to kiss. Nora abruptly stops.\n\n NORA\n I should go.", "She looks at him, but doesn't say anything.\n\n SHELDON\n Holy mother of Toledo. When\n exactly were you planning to let\n me know about this?!", "Sheldon laughs, trying to lighten the mood. Burke gives\nhim an affectionate slap.", "A makeup woman dabs Sheldon's forehead as he's about to\ngo on. Nora stands next to him. A LOW TYMPANY ROLL is\nheard from the stage." ], [ "SHELDON\n Yes. Some very good news. After\n giving it a lot of thought... I've\n decided to do the ice show.\n\nBurke gleefully slaps Sheldon on the shoulder.", "SHELDON\n (big sigh)\n You know, I never agreed to an\n ice show, nor would I ever agree", "NORA\n Hi.\n\n SHELDON\n Hi.\n\n NORA\n I read about the ice show.", "SHELDON\n It's my fault. He'd still be\n alive if it wasn't for me. He\n would have been so proud to be in\n the ice show.", "Sheldon skates on the ice rink, Merv enters with Roy and\nDanny. Sheldon skates over to them. Nora walks over,\ntoo.", "Randolph skates out, somewhat shakily, to huge applause.\nSheldon puts his arm around him. The audience is now on\ntheir feet. Randolph especially basks in the adulation.", "SHELDON\n Well, I appreciate the offer, but\n for the gazillionth time, I'm not\n doing an ice show, so we have", "SHELDON\n Well, it's always a pleasure to\n help out a worthy cause. And\n believe me, I've learned lately", "SHELDON\n Ice shows represent everything I'm\n against. They're mindless\n spectacles whose main purpose is", "Sheldon hangs up stunned. Nora walks in holding the daily\nnews.\n\n NORA\n Congratulations on your little ice\n show.", "BURKE\n Sheldon, you can't do an ice show\n and cut out the vendors. And more\n importantly, you can't cut out the\n Parade of Hope. It's suicide.", "SHELDON\n All profits from ticket sales will\n be used to built a state-of-the-\n art methadone clinic in Coney\n Island.\n\nBurke looks pale.", "We hear APPLAUSE. Randolph quickly opens the rusty door.\n\n RANDOLPH\n Knock 'em dead, kid!\n\nHe shoves Sheldon inside.", "People continue to run through the rink. Felled\nRhinettes litter the ice like broken dolls. Smoke fills\nthe air. Sheldon is helping a random woman to her feet\nas Nora finally reaches him. She embraces him.", "to do an ice show, and let me add\n that none of this is your concern,\n sir.\n (shakes his head)\n Sheesh.", "Sheldon laughs nervously.\n\n MERV\n Sheldon, I represent the Parade of\n Hope Foundation. Maybe you've\n heard of us.", "SHELDON\n You raise money to build\n children's hospitals, right?\n\n MERV\n We've been known to add a brick or\n two, sure.", "CONTINUED:\n\n RANDOLPH\n Would you be my friend?\n\n SHELDON\n Sure.", "Sheldon and Burke sit at a table in the dark club having\na conversation.\n\n SHELDON\n Burke, I never agreed to do an ice\n show.", "MERV\n Sheldon, let me get right to the\n point -- there's talk on the\n street that you're pulling out of\n the ice show. Is that true?" ], [ "Burke looks behind and sees the nightmarish image of a\ndisfigured Smoochy chasing after him. He quickly rounds\nthe corner.\n\n\nEXT. STREET", "BURKE\n Oh my. What are you gonna do?\n Kill me? That wouldn't be very\n Smoochy-like behavior.", "CHICK\n Look, Stokes, let's cut the\n bullshit. We want Takashi in\n that Smoochy slot and we're willing\n to do whatever it takes to get it.", "Stokes gazes out the window at the city.\n\n STOKES\n Go find Smoochy.\n\n\nEXT. CONEY ISLAND - EARLY EVENING", "NORA\n It's Stokes. He's behind the\n whole thing! He cut some kind of\n deal for the Smoochy slot!", "It's the middle of a Smoochy taping. Smoochy and the\nGang are wrapping up a song entitled, \"My Stepdad's Not", "BURKE\n To the star and new executive\n producer of the Smoochy show! May\n your reign be a long and healthy\n one!\n\nThey clink glasses.", "CONTINUED:\n\n\n HENRY\n Who knew Smoochy had a cousin\n Moochy? They look fucking\n identical.", "Buggy finishes loading the rifle. He shines the barrel\nwith his sleeve and looks through the scope as Smoochy\nand company continue to perform below.\n\n\nPOV THROUGH RIFLE SCOPE", "BURKE\n 'Cause I'm holding all the\n gunpowder. I represent the man\n who created, owns, and controls\n every square inch of Smoochy the\n Rhino.", "Randolph sneaks into the prop room and shuts the door.\nHe scurries over to the prop shelf and locates Smoochy's", "The kids in the bleachers howl along with Smoochy.\n\n SMOOCHY\n Okay, I just wanted to get that\n off my chest. Who wants to do the\n Hokey-Pokey?!", "SHELDON\n Until now. Smoochy doesn't sell\n out, Burke. You should be proud\n of that. Proud that you represent\n a client who paves driveways, not\n paints them over.", "The kids cheer as Smoochy and the Rhinettes featuring Angelo\nPike, go into their \"It's a Fantabulous Day in Smoochyland\"", "BURKE\n Yeah, before the asshole found\n religion. Anyway, Stokes was\n trying to screw my boy out of some", "KIDS\n Smoochy!\n\nSmoochy bounds out on stage followed by the Rhinettes who\nform a dancing circle around him.", "CONTINUED:\n\n BURKE\n Not anymore, pal. You're a\n cigarette butt. Go lay in the\n gutter.\n\nBurke walks off.", "SHELDON\n I'm not Smoochy.\n\nSheldon is shaking as he extends the gun to Burke's head.", "RANDOLPH\n You're lucky to have a guy like\n Smoochy.\n\n NORA\n You just rest, Randolph.", "106.\n\nCONTINUED:\n\n BURKE\n It'll all be over tonight.\n Buggy's gonna take care of\n everything." ], [ "Burke smirks as he releases Sheldon. Sheldon jumps up\nand takes the gun from Nora. He shakily points it at\nBurke.", "whacks Sheldon's head with a garbage can lid. The gun\ngoes flying. Burke goes for it, but Sheldon is quickly\non his feet and pounces on him. The two men fight it", "Burke makes a run for it down 33rd Street. A moment\nlater, Sheldon emerges from the building. He sees Burke", "Sheldon looks toward the network box. Beyond it, through\nthe smoke, he sees Burke shoving his way through people\nwho jam the exit trying to escape. Sheldon reaches into\nhis costume and pulls out his gun.", "SHELDON\n I'm not Smoochy.\n\nSheldon is shaking as he extends the gun to Burke's head.", "A few moments later Sheldon rounds the corner. He looks\ndown the street and sees no sign of Burke. He notices an\nalley by an abandoned building.\n\n\nEXT. ALLEY - CONTINUOUS ACTION", "out. Burke manages to get on top of Sheldon and starts\nto strangle him.", "cries out and drops the gun. Sheldon grabs it and points\nit at Randolph who lies on the floor, blubbering like a\nchild. He's bleeding.", "Just as Sheldon begins to lose consciousness, we hear a\nGUNSHOT. Burke looks up. Nora stands there, pointing\nSheldon's gun directly at him.\n\n NORA\n Let him go.", "Sheldon's head is swimming. Suddenly the front door to\nto the penthouse bursts open. Randolph, dressed like\nhe's about to do his old show, stumbles in waving a gun.", "Sheldon walks slowly into the alley, gun drawn.\nSuddenly, Burke jumps out from behind some boxes. He", "Burke is almost through the cluster of people. He\nglances over his shoulder and sees Sheldon heading\ntoward him. He shoves even harder now and finally\ngets through.", "SHELDON\n It's funny, that never crossed my\n mind.\n\nBurke downs the rest of his drink and stands up.", "Sheldon loads his gun as Randolph is curled up on the\ncouch like a little puppy. Nora hands him a cup of tea.", "as Tommy's boys advance on him. Just as they round the\ncorner there is the sound of TWO GUNSHOTS. Sheldon looks\nat Nora.", "EXT. TH AVENUE - CONTINUOUS ACTION\n\nThe car heads into the night, passing Sheldon and Nora,\nwho have exited the alley. This will be Frank Stokes'\nfinal limo ride.", "Randolph peers through the restaurant's front window. He\nshivers from the cold as he watches Sheldon and Burke\nshake hands. Burke heads for the exit. Randolph quickly", "BURKE\n I'm thrilled, Shel. Knocked out.\n\nBurke just sits there, stunned. A waitress, SANDY,\npasses by the booth.", "Burke and Sheldon look up and notice the hulking,\ngrinning figure of SPINNER DUNN standing over them.\nSpinner has the smile of a little boy despite his\ncrooked nose and scarred face. He extends his hand.", "Sheldon laughs, trying to lighten the mood. Burke gives\nhim an affectionate slap." ], [ "Burke smirks as he releases Sheldon. Sheldon jumps up\nand takes the gun from Nora. He shakily points it at\nBurke.", "Just as Sheldon begins to lose consciousness, we hear a\nGUNSHOT. Burke looks up. Nora stands there, pointing\nSheldon's gun directly at him.\n\n NORA\n Let him go.", "Sheldon looks toward the network box. Beyond it, through\nthe smoke, he sees Burke shoving his way through people\nwho jam the exit trying to escape. Sheldon reaches into\nhis costume and pulls out his gun.", "SHELDON\n I'm not Smoochy.\n\nSheldon is shaking as he extends the gun to Burke's head.", "Sheldon walks slowly into the alley, gun drawn.\nSuddenly, Burke jumps out from behind some boxes. He", "whacks Sheldon's head with a garbage can lid. The gun\ngoes flying. Burke goes for it, but Sheldon is quickly\non his feet and pounces on him. The two men fight it", "Sheldon looks over at Burke, who's petrified.\n\n SHELDON\n Tommy, you're not going to --", "Burke makes a run for it down 33rd Street. A moment\nlater, Sheldon emerges from the building. He sees Burke", "SHELDON\n It's funny, that never crossed my\n mind.\n\nBurke downs the rest of his drink and stands up.", "A few moments later Sheldon rounds the corner. He looks\ndown the street and sees no sign of Burke. He notices an\nalley by an abandoned building.\n\n\nEXT. ALLEY - CONTINUOUS ACTION", "cries out and drops the gun. Sheldon grabs it and points\nit at Randolph who lies on the floor, blubbering like a\nchild. He's bleeding.", "out. Burke manages to get on top of Sheldon and starts\nto strangle him.", "Randolph peers through the restaurant's front window. He\nshivers from the cold as he watches Sheldon and Burke\nshake hands. Burke heads for the exit. Randolph quickly", "SHELDON\n Until now. Smoochy doesn't sell\n out, Burke. You should be proud\n of that. Proud that you represent\n a client who paves driveways, not\n paints them over.", "Sheldon and Nora take a final look at Burke before\nwalking out of the alley. Burke is wide-eyed with fear", "Burke is almost through the cluster of people. He\nglances over his shoulder and sees Sheldon heading\ntoward him. He shoves even harder now and finally\ngets through.", "SHELDON\n Burke, of course, is in no way\n comparing me to God.\n\n BURKE\n Yes I am.\n\n (CONTINUED)", "Sheldon laughs, trying to lighten the mood. Burke gives\nhim an affectionate slap.", "Randolph throws his arms around Sheldon and cries into\nhis shoulder. Sheldon pats his back. He glances down at\nRandolph's gun and sees that it's a toy.", "Sheldon slowly takes the gun away from Randolph's head." ] ]

[ "How does Buggy Ding Dong die?", "Who do Burke and Stokes hire to kill Sheldon Mopes during an ice show?", "Who do Green's men mistakenly murder?", "Who is called the most hated man in America by the media?", "Randolph tricks Mopes into performing at what sort of rally?", "Who is Sheldon Mopes's agent?", "What character replaces the Rainbow Randolph character?", "Why is Randolph fired and his show cancelled?", "What is the name of the fictional network for children's television series?", "What favor did Randolph ask of Angelo after losing his job and home?", "What happens when Spinner gets mistaken for Mopes?", "What do Randolph and Buggy struggle over just before Buggy dies?", "What was Buggy Ding Dong hired to do?", "Why did Spinner have numerous head injuries with brain damage?", "Why is Mopes horrified when he learns that Burke signed him up to star in a Smoochy ice show?", "What does Tommy Cotter make Randolph do before beating him up and turning him in to the police?", "What happened after Randolph smashes Angelo's television in a fit of rage?", "How did Buggy die?", "What kind of snacks does Mopes plan to provide at the ice show?", "What causes The Rainbow Randolph Show get cancelled?", "Who refuses to help Randolph after he has been fired and is homeless?", "Who feels pity for Randolph and allows Randolph to stay with him?", "What favor does mob boss Tommy Cotter ask of Sheldon?", "How does Randolph get Sheldon fired from Kidnet?", "With whom does Sheldon engage in a romantic relationship?", "When Sheldon decides to join the ice show, where does he want the profits to go?", "Who do Burke and Stokes engage to get rid of Smoochy permanently?", "When Sheldon realizes that Burke and Stokes tried to have him killed, what does he do?", "For what reasons does Sheldon end up not shooting Burke?" ]

[ [ "Falls to death in the ice rink", "He falls in the ice rink." ], [ "Buggy Ding Dong", "Buggy Ding Dong." ], [ "Spinner Dunn", "Spinner" ], [ "Randolph Smiley", "Randolph." ], [ "A neo-Nazi rally", "Neo-Nazi" ], [ "Burke Bennett", "Burke Bennett." ], [ "Smoochy the Rhino", "Sheldon Mopes." ], [ "He accepts bribes from parents who want their children on the show.", "He is an alcoholic and accepts bribes from parents who want to get their children on his show. " ], [ "Kidnet", "Kidnet." ], [ "He asks to stay in Angelo's apartment.", "To stay in his apartment. " ], [ "He is murdered.", "He is murdered by Green's men." ], [ "A sniper rifle.", "a sniper rifle" ], [ "Assassinate Mopes during his ice show.", "To assassinate Mopes." ], [ "He was a former boxer.", "His career as a boxer is responsible" ], [ "Because he is afraid the show is going to exploit children.", "He thinks the event will exploit children." ], [ "They make him confess that he tricked Mopes.", "confess to setting Mopes up" ], [ "Angelo kicks Randolph out of his apartment.", "Randolph s thrown out of Angelo's apartment." ], [ "He fell to his death in the ice rink.", "he fell onto an ice rink" ], [ "Healthy snacks.", "healthy snacks" ], [ "Randolph is publicly exposed in an FBI sting as a rotten person.", "He was accepting brides from parents who want their children on the show and it was exposed by the FBI. " ], [ "Randolph's former associate, Frank Stokes, will not help him.", "Marion \"Frank\" Stokes." ], [ "Randolph's former partner Angelo allows Randolph live in his apartment.", "sheldon mopes" ], [ "Tommy wants Sheldon to hire her punch-drunk cousin to be part of the show.", "To make a spot on his show for her cousin." ], [ "Randolph tricks Sheldon into making an appearance as Smoochy at a racist rally that is raided by the police.", "He was exposed by the FBI for accepting brides." ], [ "Sheldon gets together with Kidnet producer Nora.", "Nora." ], [ "Sheldon wants half of the money to go to a children's literacy fund and half to a drug rehab where he used to work.", "half will go to children's literacy program and half to the drug rehab he used to work at" ], [ "Burke and Stokes hire Buggy Ding Dong, a former kids' show host, as a hit man.", "Buggy Ding Dong." ], [ "Sheldon chases after them and threatens to shoot Burke.", "He wants to kill them but did not and lets Tommy deals with it." ], [ "Tommy and her men convince him to maintain his high morals.", "Tommy Cotter and her men convince him he shouldn't compromise his ideals." ] ]

[ [ "a leather sap arcs through the air and descends onto her left\n shoulder, paralyzing her arm. Other arms grab her, push her\n head down. The same sap backhands with massive force across\n the back of her neck...", "No reply. Isabella wonders where he's taking her, what will\n happen to her, but she won't ask.\n\n CUT TO:", "ISABELLA\n\n stares at him. Incredulous. For the first time she realizes\n he's the police and has been undercover. And now she hits\n him...", "Her lieson with Crockett is the last thing we expected to\n hear from Isabella.\n\n MONTOYA\n And...?", "CROCKETT\n Where's she now?\n\n ISABELLA\n She's dead...", "ISABELLA\n What are you going to do with me?\n Are you taking me to jail? You\n think I will turn into your\n informant, is that it?", "ISABELLA\n I know.\n (quietly)\n And now?", "sees Isabella, moves.\n\n COLEMAN\n\n sees Isabella, swings his assault rifle onto her as...", "Deeper in the trailer, her clothes torn, blindfolded, is Gina\n with the C-4 necklace. Beyond her, the woman in the house\n dress and her large, retarded son.", "He touches her hand. And she leans all her weight against\n his arm.\n\n CUT TO:", "Door opens. Crockett leads Isabella in. He uncuffs her.\n She rips away from his hand holding her arm. She walks to", "Alonzo's wife, Francine, is bound - clothes torn - to a chair\n in a TV room. On the floor are two young boys bound with", "And, now, she gets it. Gina is in the kitchen. Alone, in\n their secret safe-house location. She and Tubbs have nothing", "He plays in the corner and watches a small TV with a coat\n hanger for an antenna. The Old Woman pays Gina no attention\n On her face is zero affect. There are other sounds in the", "ISABELLA (CONT'D)\n Don't stop, bad man...\n\n As they continue, we...\n\n CUT TO:", "He reaches for her hand and brings her to him. She kisses\n him and he puts aside his cigar, pulls her face into his\n neck, and she runs her hands down him...\n\n CUT TO:", "She kicks him in the head. Tubbs grabs her to pull her off.\n\n TUBBS\n He's dead!", "ISABELLA\n Tell me everything.\n\n CROCKETT\n No.\n\n ISABELLA\n I insist.", "runs from cover into the clear with her handgun firing at the\n crazy whites, furious at the betrayal by Yero. She's shouting\n in Spanish. It's insane.\n\n CROCKETT", "staring out the window at the narrow jetty. Isabella sits,\n distantly, alone at the end.\n\n CLOSER: ISABELLA" ], [ "CROCKETT\n Alonzo...!\n\n STEVENS (O.S.)\n Goodbye.\n\n Crockett's phone goes dead.", "CROCKETT\n Who is this?\n\n INTERCUT\n WITH:\n\n INT. BENTLEY - ALONZO STEVENS - NIGHT", "STEVENS (O.S.)\n Sonny...?\n\n CROCKETT\n Yeah.\n\n STEVENS (O.S.)\n Where's Riccardo?", "TUBBS\n What is it?\n\n CROCKETT\n Alonzo...\n\n TUBBS\n Stevens?", "CROCKETT\n On the phone.\n\n STEVENS (O.S.)\n I'm sorry. I'm sorry, Sonny...", "Alonzo Stevens has a strange look in his eyes. He looks at\n Crockett and Tubbs, as if to say something. He doesn't.", "ALONZO STEVENS\n\n exits the Bentley and walks toward Crockett and Tubbs. He\n holds his hand out to keep them at a distance.", "STEVENS\n They had me from the gate.\n\n CROCKETT\n I don't understand...", "Crockett. Stevens' head rotates loosely on his\n shoulders...his mind's elsewhere...", "CROCKETT\n He is saying they had him from the\n gate. He is saying to my partner\n and I and to his family \"goodbye.\"\n What does that tell you?", "Stevens takes a low-resolution E-mailed image from his pocket\n and hands it to Tubbs. Tubbs looks up, shocked, hands it to", "CROCKETT\n How do I know?\n (beat)\n I got the call from Alonzo on an", "STEVENS\n How do I know? But it was from the\n get-go. Knew the FBI had run me\n into them.\n (beat)\n Sonny, I gotta go...!", "Alonzo Stevens. Now, he's YOUR\n informant. Stevens, called us. I\n haven't spoken to him for six\n months.", "STEVENS (cont'd)\n (shouts)\n So I gave them up, man! Gave up\n the Feds! Gave up everything\n I knew. Now I got to go home...", "STEVENS\n They said they wouldn't hurt them,\n wouldn't hurt them if...\n\n TUBBS\n They lied.", "CROCKETT\n He tried to...\"do business\"...with\n you. Around ten. His place. Be\n there.\n\n JOSÉ YERO\n I'll be there.", "And Crockett wants to possess her; to protect her. He wants\n no one else to have her. He wants no harm to come to her.", "STEVENS\n I gave up nothing on you guys.\n Don't worry. I kept you and Rico", "Crockett looks at Trudy. There's a connection between\n Crockett and Trudy. It's filial. Crockett has a special\n regard for her judgment." ], [ "ALONZO STEVENS\n\n exits the Bentley and walks toward Crockett and Tubbs. He\n holds his hand out to keep them at a distance.", "STEVENS (O.S.)\n Sonny...?\n\n CROCKETT\n Yeah.\n\n STEVENS (O.S.)\n Where's Riccardo?", "Crockett drives. Tubbs is on the throttles. Isabella's\n between them. Then, Tubbs is sent a page. Reads the number.", "INT. MERCEDES - TUBBS\n\n They approach a town. He nudges Crockett. A police\n roadblock's ahead.\n\n CROCKETT", "CUT TO:\n\n INT. MERCEDES CL 600 ON A MIAMI STREET - CROCKETT + TUBBS -\n BRILLIANT DAYLIGHT", "Freeway traffic roars past. Crockett and Tubbs don't get too\n close, heeding Alonzo's warning...", "Alonzo Stevens has a strange look in his eyes. He looks at\n Crockett and Tubbs, as if to say something. He doesn't.", "appears around the corner. Rearview mirror: flashing lights\n on his tail. Nowhere to go. Crockett stops.\n\n ISABELLA", "CROCKETT\n Alonzo...!\n\n STEVENS (O.S.)\n Goodbye.\n\n Crockett's phone goes dead.", "to the early 60's ranch house under tropical palms. Tubbs'\n mood is dark. As Crockett approaches, he looks blankly at\n Tubbs, offering no explanation...", "drive. Crockett reaches into a paper bag full of cell phones\n and grabs one. He dials up a number, grabs another and hands\n it to Tubbs.", "INT. MERCEDES CL-500 - CROCKETT + TUBBS - NIGHT\n\n Grim, silent, race through Miami traffic to the crime scene\n we know is ahead because...", "CROCKETT\n (cuts him off)\n This is Detective Crockett. Miami-", "Crockett's alarmed. He catches Tubbs' eye and waves him\n outside...", "Tubbs pilots it while Crockett gets the location of Alonzo's\n car and repeats it into the headset to Tubbs as the...", "lands. Tubbs bails, grabbing his duffle bag and the rifle and\n turns down the street towards the firefight and Crockett...\n\n CUT TO:", "CROCKETT\n Who is this?\n\n INTERCUT\n WITH:\n\n INT. BENTLEY - ALONZO STEVENS - NIGHT", "INT. PORT-AU-PRINCE HOTEL ROOM - DOOR - DAY\n\n Crockett and Tubbs make a careful entry. Hands on weapons,\n carrying bags...", "That's what's surprising. Tubbs pulls his cell phone.\n Meanwhile, they're slowing down for the police roadblock.\n Crockett gets tense...\n\n TUBBS", "TUBBS\n You wearing a wire?\t\n\n Tubbs rips open Yero's shirt.\n\n CROCKETT\n Or DEA? The Feeb?" ], [ "exchange a look. Then they get it. The cops work as\n security for the narcotrafficker. The caravan advances\n towards a major intersection. This one is blocked-off by\n Haitian military.", "They want 22% of the value on loads\n they run into South Florida. It's\n the Juarez cartel model.\n They guarantee the loads. The", "FUJIMA\n Not anymore. This is a distribution\n network out of South Florida,\n moving poly-drug loads, crystal", "COLEMAN\n So...?\n\n EL TIBURON\n (in Spanish)\n Meth precursors and the Dutch party\n favors are en route.", "Zo Pounders, plastic-tied, are thrown into the truck with the\n thousand kilos of cocaine. But not Neptune. The gate is\n rolled down and padlocked.", "There are no customers. They're cautious. Men stop them\n and frisk them. They expected that.\n\n CROCKETT\n We're from Nicholas to meet José...", "Crockett puts him on speaker.\n\n JOSÉ YERO (cont'd)\n (beat)\n So I want you to deliver my\n product, how I want my product\n delivered.", "of crystal meth precursors from the\n Malaysian ship. For collection in\n North Miami. You warehouse it.\n Release it when we say.", "\"You a good pilot?\n Make a lot of money for Pablo?\n Thank you very much.\" And then\n Pablo would kill his ass. After", "the white collars from Cali. When\n the gringos got him, he was nobody.\n We're three times better than Pablo\n Escobar.", "Subterranean alarms are going off. Tubbs finds himself in\n this small city, occupied by narcotraffickers and their", "walk. Cochi Loco's security leads and tails behind as...\n\n JOSÉ YERO\n (to El Tiburon)\n You know what Escobar used to do?", "TUBBS\n He's talking to you, bro.\n (beat)\n What he means to say is he is\n reluctant to abandon the\n penetration of a major\n narcotrafficking organization...", "He's a former right-wing Colombian paramilitary from the\n North Valle near the Pacific coast. He runs operations,", "lines run from the freighter to two go-fast boats. The fuel\n bladders with crampons slide down the rope into the smaller\n \"cigarette\" boats...\"dope-on-a-rope.\"", "votre drugs.\n (What are we doing? What's it look\n like we're doing, fool? We are\n stealing all your dope.)", "MONTOYA (V.O.)\n (in Spanish)\n Isabella likes them. We made their\n deal.\n\n Montoya hangs up. José Yero looks at the phone.", "50 yards away. All meaning is transmitted. And Tubbs\n nods...and the nod means: \"get her out of here...\"", "JOSÉ YERO\n (suspicious)\n I walk into Neptune's house...very\n nice. But I also see you... and\n our drugs that got ripped from\n Maguda.", "800 individually-wrapped bricks of North Valle Colombian\n cocaine are on a table.\n\n TUBBS\n Comme on dit...\n (Like they said...)" ], [ "and a Miami PD SWAT team crash through the front door.\n Another team through the back. Trudy in a tactical vest is", "TRUDY\n April Fool, motherfucker.\n\n Trudy whips the butt end of the shotgun around, caving in\n Neptune's cheekbone and nose...", "BLAM. That's all he gets out. Trudy does exactly that.\n Aryan Brother falls like a felled tree. Tubbs retrieves the", "MEANWHILE:\n\n INT. ALONZO STEVENS' HOUSE - TRUDY - NIGHT", "TRUDY\n (into radio, to Castillo)\n Have eyes on her. She's alive.\n Moving in...", "TRUDY\n (on radio, to Castillo)\n ...got Gina. She's okay.\n\n CUT TO:", "Trudy DOESN'T answer. She's totally focused on a clamshell\n video screen connected to a fiber optic... FOLLOW THE FIBER\n OPTIC...as a SWAT technician feeds it into...", "twice across the back of his neck. He's out. Handcuffed,\n and Tubbs and Trudy are in the interior...", "TRUDY\n (no)\n If you're down, we're down for the\n play.\n\n CUT TO:", "INT. HONDURAN FREIGHTER, BRIDGE - TRUDY + CROCKETT - DAWN\n\n The Freighter is anchored a half mile offshore.", "EXT. HONDURAN FREIGHTER - TRUDY\n\n with Switek and Zito. Trudy's in a tank top. José looks at\n Trudy appreciatively...", "TRUDY\n (after changing channel)\n Hello, Sonny...?\n\n EXT. FREEWAY - TUBBS\n\n on police radio listens to a message from Trudy while...", "And Trudy and we SEE in fish-eye a long-haired Nazi Low-Rider\n and the bulked-out Brother with the Hefty garbage-bag apron.", "(A) TRUDY + TUBBS DISCOVER + ASSAULT THE PERIMETER SECURITY\n OF THE TRAILER IN WHICH GINA IS HOSTAGE.", "TRUDY JOPLIN is a tall African-American. She whispers into a\n small mic. If you looked closely, she's ripped...as if steel", "TRUDY\n PUT DOWN THE DETONATOR!", "EXT. TRAILER PARK, DOUBLE-WIDE TRAILER - OVER TRUDY", "EXT. TRAILER PARK, DOUBLE-WIDE TRAILER - TRUDY - NIGHT\n\n CASTILLO (O.S.)\n (radio filter)\n Do you have her?!", "TUBBS\n Why?\n\n TRUDY\n Because you cannot kill him.\n\n SWITEK", "GINA\n Oh, bullshit. She cops his joint.\n He pushes the button.\n\n TRUDY\n What's so fucking difficult?" ], [ "ISABELLA\n My aunt. She's ancient. She looks\n after the place...\n (beat)\n This was my mother's family's\n home...", "lands. The door opens. Isabella emerges. CLOSER...she\n searches, looking for someone as she descends the ramp.\n Then...\n\n CROCKETT", "ISABELLA\n I am no one's wife. I live in my\n own house. I do not live in a", "No reply. Isabella wonders where he's taking her, what will\n happen to her, but she won't ask.\n\n CUT TO:", "ISABELLA\n I know.\n (quietly)\n And now?", "ISABELLA\n Off a little alley with\n cobblestones. Hemingway went\n there...\n\n CROCKETT\n The Keys?", "Wherever we are in the world, this place is out of the\n stream, outside history. And Isabella, this woman from a\n different world, enters, brings him an oversized cup of", "ISABELLA\n Blanca...a rubio like you.\n (pause)\n I see her in a dress...an old", "If Isabella is pleased, she doesn't show it. Montoya\n continues to stare at her unwavering expression, frozen in\n stone. He smiles, then, and starts to take off her clothes.", "ISABELLA\n Would you? Because if you\n couldn't, I would be very lonely...\n I would have left the only world I", "CROCKETT\n Where's she now?\n\n ISABELLA\n She's dead...", "ISABELLA\n (sarcastic)\n Of course! That is why I placed\n myself here, with you, knowing Yero\n would pull this crap.", "ISABELLA\n\n stares at him. Incredulous. For the first time she realizes\n he's the police and has been undercover. And now she hits\n him...", "She won't look at him. She won't reply. She's frozen,\n immobile, withdrawn deep, darkly into herself.\n\n CROCKETT\n Isabella...?", "ISABELLA\n I never do business in Cuba.\n (beat)\n And nobody goes to Cuba but me.\n (smiles)\n And he is not my husband...", "staring out the window at the narrow jetty. Isabella sits,\n distantly, alone at the end.\n\n CLOSER: ISABELLA", "ISABELLA (cont'd)\n (deadly seriously)\n What if I tell you that your ideas\n are too big for your skin?\n (beat)\n That merely to propose this is a\n dangerous thing?", "ISABELLA\n My cousin is the harbor master.\n You must not bring in drugs. You\n cannot be armed. If you're", "ISABELLA\n Tell me everything.\n\n CROCKETT\n No.\n\n ISABELLA\n I insist.", "sees Isabella, moves.\n\n COLEMAN\n\n sees Isabella, swings his assault rifle onto her as..." ], [ "CROCKETT\n He tried to...\"do business\"...with\n you. Around ten. His place. Be\n there.\n\n JOSÉ YERO\n I'll be there.", "he makes a credible excuse and he \n stops....\n (beat)\n Her crew blackmailed and asset-\n stripped the last mark down to his", "There are no customers. They're cautious. Men stop them\n and frisk them. They expected that.\n\n CROCKETT\n We're from Nicholas to meet José...", "TUBBS\n He's talking to you, bro.\n (beat)\n What he means to say is he is\n reluctant to abandon the\n penetration of a major\n narcotrafficking organization...", "Everything goes from tense to lethal. Has Yero made them?\n\n TUBBS\n What do I care what you think about\n how he looks? You wanna fuck my\t\n partner or do business?", "50 yards away. All meaning is transmitted. And Tubbs\n nods...and the nod means: \"get her out of here...\"", "PA\n (loud hailer)\n Freeze! You're under arrest. Down\n on your knees. Put your hands on\n your head...\n\n CLOSE: YERO", "Tubbs clocks three beefy Russians in a corner, one is\n unusually fit.\n\n TUBBS\n And there's Dmitri...", "JEAN-LOUIS\n Oh, he'll show. This is his kind\n of deal. Crime on crime. Who's\n gonna call the cops?", "CROCKETT\n (re: Fujima) \n Hey, fuck him.\n\n TUBBS\n Chill out Sonny.", "TUBBS\n He did volunteer one time...\n\n TRUDY\n (entering)\n For a massage parlor bust?\n (beat)\n Why am I here...?", "She vouched for him. She has to stand behind it. He puts\n his arm around her waist.\n\n\n CUT TO:", "the next load?\n (beat)\n And no one would ever see him\n again. He'd disappear.\n (imitates Pablo)", "CROCKETT\n The honey trap. And there's the\n honey.\n\n TUBBS\n Hello, Miss Ukraine...", "BLAM. That's all he gets out. Trudy does exactly that.\n Aryan Brother falls like a felled tree. Tubbs retrieves the", "(beat)\n The means we kill these\n sonsabitches three times sooner.\n (beat)\n And do you know why Pablo Escobar", "Tubbs hands José Yero's assistant, El Tiburon, a pager.", "TRUDY\n (to Crockett)\n Eleven to seven he blows it.\n\n CROCKETT\n (whispers)\n Twenty on my man...", "twice across the back of his neck. He's out. Handcuffed,\n and Tubbs and Trudy are in the interior...", "Zo Pounders, plastic-tied, are thrown into the truck with the\n thousand kilos of cocaine. But not Neptune. The gate is\n rolled down and padlocked." ], [ "STEVENS\n After I check on Francine and the\n boys, then I'm gone. Sonny, tell\n Rico I'm so sorry. I wanted you to\n know...", "José Yero does NOT know Isabella's on board.\n\n CROCKETT\n Proof of life. How do I know Mrs.\n Rico's alive?", "JOSÉ YERO\n Mrs. Rico. But don't worry. She\n is safe. To insure that, I am", "STEVENS (O.S.)\n ...look after her. Ask Rico to.\n Okay? Do that for me. I had to do", "MONTOYA (V.O.)\n (in Spanish)\n Isabella likes them. We made their\n deal.\n\n Montoya hangs up. José Yero looks at the phone.", "He plays in the corner and watches a small TV with a coat\n hanger for an antenna. The Old Woman pays Gina no attention\n On her face is zero affect. There are other sounds in the", "50 yards away. All meaning is transmitted. And Tubbs\n nods...and the nod means: \"get her out of here...\"", "YERO\n (in Spanish)\n Isabella. The gringos are police.\n She's their informant...!\n\n CUT TO:", "runs from cover into the clear with her handgun firing at the\n crazy whites, furious at the betrayal by Yero. She's shouting\n in Spanish. It's insane.\n\n CROCKETT", "tell us nobody is here...nobody alive...and what they see\n gives even these veterans pause as blood pools around the\n legs of a family and overturned chairs. Alonzo didn't save", "The pavement, the car and Yero are cratered by the 7.62mm\n rounds. Yero goes down. Dead.", "TRUDY\n (on radio, to Castillo)\n ...got Gina. She's okay.\n\n CUT TO:", "CROCKETT\n How do I know?\n (beat)\n I got the call from Alonzo on an", "to say. He looks to Crockett. The message from Montoya-\n Londono is clear: I know you. I can reach out and locate", "JOSÉ YERO\n (extends hand)\n José...\n\n CROCKETT\n Sonny Burnett...this is my partner,\n Rico.", "She kicks him in the head. Tubbs grabs her to pull her off.\n\n TUBBS\n He's dead!", "JOSÉ YERO\n 'Cause she will tell you.\n\n He hangs up.\n\n ISABELLA\n That sonofabitch!", "CROCKETT\n \"No, viejo. That was José Yero,\n splattered all over his\n motherfucking wall.\"", "She looks at Montoya squarely. It hangs in the air. In his\n strange process of decision-making, Montoya reaches a\n conclusion...", "He waits. A phone rings. It's picked up by Gina.\n\n GINA (O.S.)\n Hello...?\n\n Tubbs is relieved..." ], [ "He's a former right-wing Colombian paramilitary from the\n North Valle near the Pacific coast. He runs operations,", "the white collars from Cali. When\n the gringos got him, he was nobody.\n We're three times better than Pablo\n Escobar.", "CROCKETT\n Montoya. We went to meet the\n village priest. It turns into\n Alice in the fucking Vatican and\n here's the Pope...of the North\n Valle Colombia dope trade.", "FUJIMA\n A Colombian producer. Named\n Archangel de Jesus Montoya-Londono.\n\n CROCKETT\n Never heard of him.", "INT. MONTOYA COMPOUND, GUAJIRA PENINSULA - COLOMBIAN MILITARY\n + DEA TYPES - DAY", "CROCKETT\n We could try to run loads into\n these guys.\n (to Fujima)\n Run a few loads for Montoya into\n South Florida. Into this group.", "you.\n (beat)\n And you can reach out for La Senora\n in Barranquilla or wherever 'cause", "COLEMAN\n Deal.\n\n Coleman hangs up.\n\n INT. HONDURAN FREIGHTER - FUNKY BRIDGE", "(beat)\n The means we kill these\n sonsabitches three times sooner.\n (beat)\n And do you know why Pablo Escobar", "Coleman takes the satellite phone, attached to a laptop. He\n enters a number. A frequency-response graphic displays in\n the computer. His conversation with El Tiburon is encrypted\n so the voices are distorted...", "walk. Cochi Loco's security leads and tails behind as...\n\n JOSÉ YERO\n (to El Tiburon)\n You know what Escobar used to do?", "exchange a look. Then they get it. The cops work as\n security for the narcotrafficker. The caravan advances\n towards a major intersection. This one is blocked-off by\n Haitian military.", "EXT. MONTOYA COMPOUND, GUAJIRA PENINSULA, COLOMBIA - ISABELLA\n - NIGHT", "CUT TO:\n\n INT. SHACK (GUAJIRA PENINSULA, COLOMBIA) - CROCKETT - DAWN", "\"You a good pilot?\n Make a lot of money for Pablo?\n Thank you very much.\" And then\n Pablo would kill his ass. After", "COLEMAN\n So...?\n\n EL TIBURON\n (in Spanish)\n Meth precursors and the Dutch party\n favors are en route.", "loads...this good pilot who\n facilitates so much good\n business... he would come back to\n Medellín or Barranquilla to pick up", "happens. LT. CASTILLO is there, out of a past somewhere\n between CIA and the Jesuits...", "They want 22% of the value on loads\n they run into South Florida. It's\n the Juarez cartel model.\n They guarantee the loads. The", "MONTOYA (V.O.)\n (in Spanish)\n Isabella likes them. We made their\n deal.\n\n Montoya hangs up. José Yero looks at the phone." ], [ "Alonzo Stevens. Now, he's YOUR\n informant. Stevens, called us. I\n haven't spoken to him for six\n months.", "STEVENS (cont'd)\n (shouts)\n So I gave them up, man! Gave up\n the Feds! Gave up everything\n I knew. Now I got to go home...", "STEVENS\n How do I know? But it was from the\n get-go. Knew the FBI had run me\n into them.\n (beat)\n Sonny, I gotta go...!", "STEVENS\n The Feeb gig was I front a coupla\n undercover, Russian-speakers to", "STEVENS\n They said they wouldn't hurt them,\n wouldn't hurt them if...\n\n TUBBS\n They lied.", "STEVENS\n I gave up nothing on you guys.\n Don't worry. I kept you and Rico", "STEVENS (O.S.)\n ...look after her. Ask Rico to.\n Okay? Do that for me. I had to do", "communications and security. He has cold eyes and a corpulent\n face. He's notorious for using torture to ferret-out\n informants. Right now he watches these two Americans", "STEVENS\n (voice cracks)\n It's fucked up. I'm sorry...", "STEVENS\n After I check on Francine and the\n boys, then I'm gone. Sonny, tell\n Rico I'm so sorry. I wanted you to\n know...", "ALONZO STEVENS\n\n exits the Bentley and walks toward Crockett and Tubbs. He\n holds his hand out to keep them at a distance.", "Stevens takes a low-resolution E-mailed image from his pocket\n and hands it to Tubbs. Tubbs looks up, shocked, hands it to", "now from undercover work through\n interdictions 'cause I have to\n assume our Operational Security is\n blown.", "STEVENS\n They had me from the gate.\n\n CROCKETT\n I don't understand...", "Alonzo Stevens has a strange look in his eyes. He looks at\n Crockett and Tubbs, as if to say something. He doesn't.", "TUBBS\n What is it?\n\n CROCKETT\n Alonzo...\n\n TUBBS\n Stevens?", "waits. The guy working the cell phone is the buzz-cut Aryan\n Brother we saw in the Stevens kitchen in the opening.", "STEVENS (O.S.)\n Sonny...?\n\n CROCKETT\n Yeah.\n\n STEVENS (O.S.)\n Where's Riccardo?", "CASTILLO\n (to Tubbs)\n About the Stevens family, I'm\n sorry. I know you were close to\n them.", "SAS). Russians are ex-KGB. Languages overheard: smatterings\n of Russian, Hebrew and English. Crockett and Tubbs look at" ], [ "\"You a good pilot?\n Make a lot of money for Pablo?\n Thank you very much.\" And then\n Pablo would kill his ass. After", "(beat)\n The means we kill these\n sonsabitches three times sooner.\n (beat)\n And do you know why Pablo Escobar", "He's a former right-wing Colombian paramilitary from the\n North Valle near the Pacific coast. He runs operations,", "the white collars from Cali. When\n the gringos got him, he was nobody.\n We're three times better than Pablo\n Escobar.", "walk. Cochi Loco's security leads and tails behind as...\n\n JOSÉ YERO\n (to El Tiburon)\n You know what Escobar used to do?", "runs from cover into the clear with her handgun firing at the\n crazy whites, furious at the betrayal by Yero. She's shouting\n in Spanish. It's insane.\n\n CROCKETT", "ISABELLA\n What are you going to do with me?\n Are you taking me to jail? You\n think I will turn into your\n informant, is that it?", "Everything goes from tense to lethal. Has Yero made them?\n\n TUBBS\n What do I care what you think about\n how he looks? You wanna fuck my\t\n partner or do business?", "CROCKETT\n Montoya. We went to meet the\n village priest. It turns into\n Alice in the fucking Vatican and\n here's the Pope...of the North\n Valle Colombia dope trade.", "you.\n (beat)\n And you can reach out for La Senora\n in Barranquilla or wherever 'cause", "If we wanted you dead, you would no\n longer be drawing breath in Miami.\n We wouldn't have brought you all\n the way here.", "to say. He looks to Crockett. The message from Montoya-\n Londono is clear: I know you. I can reach out and locate", "ISABELLA\n (low)\n And what is that?\n\n This is the wife of narcotrafficker Archangel de Jesus\n Montoya-Londono.", "They want 22% of the value on loads\n they run into South Florida. It's\n the Juarez cartel model.\n They guarantee the loads. The", "50 yards away. All meaning is transmitted. And Tubbs\n nods...and the nod means: \"get her out of here...\"", "She kicks him in the head. Tubbs grabs her to pull her off.\n\n TUBBS\n He's dead!", "COLEMAN\n Deal.\n\n Coleman hangs up.\n\n INT. HONDURAN FREIGHTER - FUNKY BRIDGE", "Zo Pounders, plastic-tied, are thrown into the truck with the\n thousand kilos of cocaine. But not Neptune. The gate is\n rolled down and padlocked.", "CROCKETT\n (skeptical)\n Usually his thing is street\n dealers. Torture their families\n until they cough up the stash.\n This...?", "MONTOYA (V.O.)\n (in Spanish)\n Isabella likes them. We made their\n deal.\n\n Montoya hangs up. José Yero looks at the phone." ], [ "STEVENS (cont'd)\n (shouts)\n So I gave them up, man! Gave up\n the Feds! Gave up everything\n I knew. Now I got to go home...", "STEVENS\n (voice cracks)\n It's fucked up. I'm sorry...", "backs away. Looks at them sadly. And before they can stop\n him, he steps out onto the freeway, opens his arms, and", "STEVENS\n They said they wouldn't hurt them,\n wouldn't hurt them if...\n\n TUBBS\n They lied.", "He's cruising at 85. He's floating in a magnolia leather\n interior. But it's bloodstained from his nose and mouth.", "STEVENS\n After I check on Francine and the\n boys, then I'm gone. Sonny, tell\n Rico I'm so sorry. I wanted you to\n know...", "the room. By herself. In a party\n dress. And she looked like she\n knew she would die alone...\n (beat...remembers)", "STEVENS\n I gave up nothing on you guys.\n Don't worry. I kept you and Rico", "STEVENS\n How do I know? But it was from the\n get-go. Knew the FBI had run me\n into them.\n (beat)\n Sonny, I gotta go...!", "Alonzo Stevens. Now, he's YOUR\n informant. Stevens, called us. I\n haven't spoken to him for six\n months.", "STEVENS (O.S.)\n ...look after her. Ask Rico to.\n Okay? Do that for me. I had to do", "Stevens takes a low-resolution E-mailed image from his pocket\n and hands it to Tubbs. Tubbs looks up, shocked, hands it to", "OVER TUBBS' SHOULDER we see all the lights from two dozen\n emergency vehicles a quarter mile ahead. Death is not", "CROCKETT\n Alonzo...!\n\n STEVENS (O.S.)\n Goodbye.\n\n Crockett's phone goes dead.", "The pavement, the car and Yero are cratered by the 7.62mm\n rounds. Yero goes down. Dead.", "CUT TO:\n\n INT. ALONZO STEVENS' HOUSE - A KITCHEN - NIGHT", "STEVENS\n (to Tubbs)\n I gotta, I gotta go...!\n\n TUBBS\n Alonzo...\n\n STEVENS\n What...?", "Meaning, who can tell? There may be a time for them\n somewhere else.\n\n CROCKETT\n Luck ran out.\n (beat)\n This was too good to last.", "And in the way he looks at them, hurt, like a betrayed lover,\n which he isn't and never could have been...we know now, the\n core of his antagonism.", "compels himself to a different place, now. Then, the shower\n curtain parts. It startles him..." ], [ "FUJIMA\n A Colombian producer. Named\n Archangel de Jesus Montoya-Londono.\n\n CROCKETT\n Never heard of him.", "He's a former right-wing Colombian paramilitary from the\n North Valle near the Pacific coast. He runs operations,", "Fujima is surprised...\n\n CROCKETT\n Yeah. CIA-level stuff...", "FUJIMA\n Not anymore. This is a distribution\n network out of South Florida,\n moving poly-drug loads, crystal", "CROCKETT\n (to Fujima)\n Who's the \"we\"? There's you and", "Fujima nods acquiescence.\n\n FUJIMA\n Okay.\n\n He leaves. When he's out of earshot...", "FUJIMA\n Get into business with this crew,\n identify them. Illuminate their\n network. If you're lucky, discover", "FUJIMA\n They're not. They collect in\n Miami. Montoya, the producer,", "FUJIMA\n They knew about Alonzo, before he\n made a move on them. They had our\n operation. They've cut into us.\n\n CROCKETT\n How?", "FUJIMA\n I don't know.\n\n CASTILLO\n Yes you do...\n\n FUJIMA\n I got to talk to my ADO...", "Fujima splits. Castillo waits until Fujima's car pulls away.", "FUJIMA\n We think NLR. We don't know!\n Alonzo only fronted as a broker for\n our guys to make the meet. He\n wasn't deep into the crew.", "CROCKETT\n (speculating)\n It says, \"We do not fear you.\"\n (to Fujima)", "FUJIMA\n We don't know. And that's the\n point. Maybe there's a mole.", "FUJIMA\n Sure.\n\n CASTILLO\n I mean full disclosure.", "CROCKETT\n We could try to run loads into\n these guys.\n (to Fujima)\n Run a few loads for Montoya into\n South Florida. Into this group.", "FUJIMA\n Of course. From my side, I don't\t\n WANT to know anything about what", "FUJIMA\n We're not certain...\n\n CASTILLO\n You said Nazi Low-riders...?", "FUJIMA\n They got a steady stream of supply.\n So, no...\n\n CROCKETT\n From whom...?", "FUJIMA\n But Miami PD wasn't part of the\n J.I.T. And from what Alonzo said,\n he didn't give you up." ], [ "CROCKETT\n (re: Fujima) \n Hey, fuck him.\n\n TUBBS\n Chill out Sonny.", "CROCKETT\n (to Fujima)\n Who's the \"we\"? There's you and", "Fujima is surprised...\n\n CROCKETT\n Yeah. CIA-level stuff...", "Crockett flips him a set of keys.\n\n FUJIMA (cont'd)\n What's this?", "CROCKETT\n Detective Crockett.\n\n FUJIMA (O.S.)\n What's your Miami PD badge number?", "CROCKETT\n Keys to the boat. Go do this\n motherfucker yourself.\n\n Fujima looks at Castillo...who is this insubordinate prick?", "FUJIMA\n They knew about Alonzo, before he\n made a move on them. They had our\n operation. They've cut into us.\n\n CROCKETT\n How?", "CROCKETT\n And the deal goes down at another\n place at another time.\n\n FUJIMA\n That's right.", "CROCKETT\n So what do you want?\n\n FUJIMA\n To recruit you.\n\n Pause.", "CROCKETT\n (speculating)\n It says, \"We do not fear you.\"\n (to Fujima)", "FUJIMA\n White supremacist types.\n\n Crockett's impatient.", "Crockett drives. Tubbs is on the throttles. Isabella's\n between them. Then, Tubbs is sent a page. Reads the number.", "FUJIMA\n (to Castillo)\n Control your men.\n\n CROCKETT\n I'm my own man. And anytime you\t\n want to see how much man I am?", "TUBBS\n You wearing a wire?\t\n\n Tubbs rips open Yero's shirt.\n\n CROCKETT\n Or DEA? The Feeb?", "CROCKETT\n (cuts him off)\n This is Detective Crockett. Miami-", "CROCKETT\n (waits, then hears a click\n on his Nextel)\n Hello?\n\n FUJIMA (O.S.)\n This is Agent James Fujima.", "Isabella says something in French. The Cops ease-up.\n Isabella's personal security frisks Crockett + Tubbs and\n remain. Paramilitary leave.", "Crockett knows the Sophie's choice Castillo may have to make.\n And it may cost Gina. Crockett glances at Tubbs. Crockett\n pushes the throttles forward...", "drive. Crockett reaches into a paper bag full of cell phones\n and grabs one. He dials up a number, grabs another and hands\n it to Tubbs.", "CROCKETT\n We set.\n\n Crockett kisses the girls, gracious about the gift. Tubbs\n looks out into the night." ], [ "TUBBS\n You wearing a wire?\t\n\n Tubbs rips open Yero's shirt.\n\n CROCKETT\n Or DEA? The Feeb?", "Yero gestures his security to calm down....one notch.\n Crockett and Tubbs still hold the grenades.\n\n Then Crockett opens his shirt. No wires. So does Tubbs.", "JOSÉ YERO\n (extends hand)\n José...\n\n CROCKETT\n Sonny Burnett...this is my partner,\n Rico.", "And she starts to leave...and sensing Crockett's gotten up\n and follows her. Meanwhile\n\n TUBBS\n (to Yero)\n Lay it out...", "CROCKETT (cont'd)\n (goes right up in Yero's\n face)", "CROCKETT\n (to Security)\n Dos café.\n\n He's security, not a fucking waiter. But Yero nods.\n Security fetches coffee, anyway.", "CROCKETT\n He tried to...\"do business\"...with\n you. Around ten. His place. Be\n there.\n\n JOSÉ YERO\n I'll be there.", "JOSÉ YERO\n (to Tubbs)\n You seem okay.\n (to Tubbs re: Crockett)\n But him? I don't like... how he\t\n looks...", "at the bar. It's jammed. \"Cochi Loco\" Yero and his\n permanent bodyguard, El Tiburon, pass, smile. Tubbs\n introduces Yero to Gina, as his wife.", "JOSÉ YERO\n What do you care?\n\n TUBBS\n (to Crockett)\n Do we need this...?", "CROCKETT\n Yero doesn't know she's here!\n\n Crockett looks at Isabella, who's distracted in calculating\n what's really happening.", "lights up. Beeps. Crockett's hand grabs it. It's the\n summons from José Yero.\n\n INT. KITCHEN - GINA - PRE-DAWN", "INT. PORT-AU-PRINCE HOTEL ROOM - DOOR - DAY\n\n Crockett and Tubbs make a careful entry. Hands on weapons,\n carrying bags...", "Yero shakes Gina's hand. He indicates to the bartender that\n Tubbs and Gina are to pay for nothing...and he moves towards", "JOSÉ YERO\n\n He watches them, too. His yellow eyes are lit by strobes.\n His eyes locked onto Isabella...dancing with Crockett, their\n bodies close...", "INT. MERCEDES - TUBBS\n\n They approach a town. He nudges Crockett. A police\n roadblock's ahead.\n\n CROCKETT", "Crockett flips the hand grenade and catches it with his left\n hand...and he drops it in front of José Yero. It spins on\n the table. He had reinserted the pin. And they back out.", "CROCKETT\n Really? So, what is this, a party?\n\n Crockett + Tubbs put down their weapons.", "Crockett drives. Tubbs is on the throttles. Isabella's\n between them. Then, Tubbs is sent a page. Reads the number.", "Crockett and Tubbs walk towards him, to reach him...to\n console him..." ], [ "He's a former right-wing Colombian paramilitary from the\n North Valle near the Pacific coast. He runs operations,", "exchange a look. Then they get it. The cops work as\n security for the narcotrafficker. The caravan advances\n towards a major intersection. This one is blocked-off by\n Haitian military.", "They want 22% of the value on loads\n they run into South Florida. It's\n the Juarez cartel model.\n They guarantee the loads. The", "the white collars from Cali. When\n the gringos got him, he was nobody.\n We're three times better than Pablo\n Escobar.", "CROCKETT\n Montoya. We went to meet the\n village priest. It turns into\n Alice in the fucking Vatican and\n here's the Pope...of the North\n Valle Colombia dope trade.", "FUJIMA\n Not anymore. This is a distribution\n network out of South Florida,\n moving poly-drug loads, crystal", "COLEMAN\n So...?\n\n EL TIBURON\n (in Spanish)\n Meth precursors and the Dutch party\n favors are en route.", "\"You a good pilot?\n Make a lot of money for Pablo?\n Thank you very much.\" And then\n Pablo would kill his ass. After", "lines run from the freighter to two go-fast boats. The fuel\n bladders with crampons slide down the rope into the smaller\n \"cigarette\" boats...\"dope-on-a-rope.\"", "800 individually-wrapped bricks of North Valle Colombian\n cocaine are on a table.\n\n TUBBS\n Comme on dit...\n (Like they said...)", "you.\n (beat)\n And you can reach out for La Senora\n in Barranquilla or wherever 'cause", "(beat)\n The means we kill these\n sonsabitches three times sooner.\n (beat)\n And do you know why Pablo Escobar", "CROCKETT\n We could try to run loads into\n these guys.\n (to Fujima)\n Run a few loads for Montoya into\n South Florida. Into this group.", "six loads.\n (pause)\n And who was Pablo Escobar? A\n provincial who got busted-out by", "walk. Cochi Loco's security leads and tails behind as...\n\n JOSÉ YERO\n (to El Tiburon)\n You know what Escobar used to do?", "JOSÉ YERO\n Fifty-gallon drums. Thirty-two. A\n hundred kilos in each. You\n transship that to the Malaysian\n boat.", "of crystal meth precursors from the\n Malaysian ship. For collection in\n North Miami. You warehouse it.\n Release it when we say.", "Coleman takes the satellite phone, attached to a laptop. He\n enters a number. A frequency-response graphic displays in\n the computer. His conversation with El Tiburon is encrypted\n so the voices are distorted...", "TUBBS\n He's talking to you, bro.\n (beat)\n What he means to say is he is\n reluctant to abandon the\n penetration of a major\n narcotrafficking organization...", "FUJIMA\n A Colombian producer. Named\n Archangel de Jesus Montoya-Londono.\n\n CROCKETT\n Never heard of him." ], [ "And Crockett wants to possess her; to protect her. He wants\n no one else to have her. He wants no harm to come to her.", "Crockett lets the boat rock over the swells while he arranges\n her headset around her ears. His fingers brush her hair,\n touch her skin...", "Crockett's thoughts and expression are about Isabella. They\n are criminal conspirators, a woman cheating on her", "CROCKETT\n Yero doesn't know she's here!\n\n Crockett looks at Isabella, who's distracted in calculating\n what's really happening.", "Crockett looks at Trudy. There's a connection between\n Crockett and Trudy. It's filial. Crockett has a special\n regard for her judgment.", "Alone. And she assaults Crockett with a passion that's\n desperate...as if making love to him puts her world back in\n balance. Their clothes come off, Crockett pauses...", "sees Crockett's carriage with this woman. It's different.\n Intuitively, she exchanges a look with Tubbs. Crockett makes", "Crockett's hand is around her waist and slips down her hip as\n he pulls her closer and takes off her glasses and she puts", "Crockett drives. Tubbs is on the throttles. Isabella's\n between them. Then, Tubbs is sent a page. Reads the number.", "As Crockett sits, he notices that at a table a few to the\n side is a woman. This is ISABELLA. Behind glasses, she", "And Crockett, close behind Isabella, now...", "now. Crockett wakes up. He looks around. She was there and\n now she's gone.", "tries to bring her .380 around. Crockett overpowers her.\n Takes the gun. She slams him in the face with a closed fist.", "CROCKETT\n Let me buy you a drink.\n\n Isabella pauses. Crockett may get killed right now. They're\n near the open doors to the patio.", "Crockett notices that Montoya lightly holds her hand. It's\n confident. And he sees the slight smile on Isabella's face\n as she watches he and Tubbs...", "ISABELLA\n Tell me everything.\n\n CROCKETT\n No.\n\n ISABELLA\n I insist.", "TUBBS\n You're not makin' a move on her...?\n\n CROCKETT\n We're makin' moves on each other.", "Crockett looks at her. Her perspective is that of the '60's\n and '70's, the politics of national liberation, the\n perspective of Marcuse and Franz Fanon.", "Crockett picks up the phone and dials. His eyes contact with\n Tubbs has Tubbs take Isabella out of the Captain's Bridge.", "opens. Crockett and Isabella climb in. The rear is\n customized cream leather, luxurious with three telephones and" ], [ "Aryan Brother #1 reaches into the bag at the wrapped stacks\n of hundreds. Flips through a couple, takes one or two at\n random. Russian nods for him to go ahead.", "The Aryan Brother pops him a couple of vials.", "The three Aryan Brothers approach the steaming cars with the\n chopped-up occupants and take the gym bag full of cash. The", "BLAM. That's all he gets out. Trudy does exactly that.\n Aryan Brother falls like a felled tree. Tubbs retrieves the", "WIDEN. Everybody goes back to their cars. As the two\n \"Russians\" get into theirs, Aryan Brother #1 turns from the\n running board of the Escalade with his driver's door open.", "ARYAN BROTHER\n Don't...\n\n Too late. Door's opened.\n\n EXT. DOUBLE-WIDE TRAILER - TUBBS,", "ARYAN BROTHER\n Shoot me, she dies. Hey, fuck it,\n man. We can all go.", "the AB Brother to crawl, bleeding, with a 10-inch butcher\n knife through his kidney into his right lung... AND Tubbs'", "chested Aryan Brother we saw from the Stevens' house and\n Coleman's double-wide. MOVE IN ON GINA. He reaches below", "INT. METAL SHED - ARYAN BROTHERS", "right now: he snaps a ROUND into the wounded Aryan Brother's\n head. And, that fast, Tubbs' gun is back on target.", "waits. The guy working the cell phone is the buzz-cut Aryan\n Brother we saw in the Stevens kitchen in the opening.", "bails off the freighter onto the dock. DARK-HAIRED ARYAN\n BROTHER with a full auto AK is with him. They move from", "ARYAN BROTHER\n Fuck...", "Three Aryan Brothers in business suits get out of the rear of\n the Escalade and Suburban with a driver in each. Our two", "Alonzo's wife, Francine, is bound - clothes torn - to a chair\n in a TV room. On the floor are two young boys bound with", "50 yards away. All meaning is transmitted. And Tubbs\n nods...and the nod means: \"get her out of here...\"", "wrist, Tubbs took the knife, and as the Aryan Brother swings\n the bat...", "CLOSER: ARYAN BROTHERS. Friendly. Hip-hop culture has\n invaded White Supremacist gangs. Buzz cuts. Goatees. A\n couple of diamond earrings.", "ARYAN BROTHER\n Hey, Ivan! I forgot to ask you\n something, my brother...\n\n He looks at his partner and nods, who says something into a\n Nextel." ], [ "and a Miami PD SWAT team crash through the front door.\n Another team through the back. Trudy in a tactical vest is", "TRUDY\n April Fool, motherfucker.\n\n Trudy whips the butt end of the shotgun around, caving in\n Neptune's cheekbone and nose...", "BLAM. That's all he gets out. Trudy does exactly that.\n Aryan Brother falls like a felled tree. Tubbs retrieves the", "MEANWHILE:\n\n INT. ALONZO STEVENS' HOUSE - TRUDY - NIGHT", "TRUDY\n (into radio, to Castillo)\n Have eyes on her. She's alive.\n Moving in...", "twice across the back of his neck. He's out. Handcuffed,\n and Tubbs and Trudy are in the interior...", "TRUDY\n (on radio, to Castillo)\n ...got Gina. She's okay.\n\n CUT TO:", "Trudy DOESN'T answer. She's totally focused on a clamshell\n video screen connected to a fiber optic... FOLLOW THE FIBER\n OPTIC...as a SWAT technician feeds it into...", "INT. HONDURAN FREIGHTER, BRIDGE - TRUDY + CROCKETT - DAWN\n\n The Freighter is anchored a half mile offshore.", "EXT. HONDURAN FREIGHTER - TRUDY\n\n with Switek and Zito. Trudy's in a tank top. José looks at\n Trudy appreciatively...", "TRUDY\n (no)\n If you're down, we're down for the\n play.\n\n CUT TO:", "TRUDY\n PUT DOWN THE DETONATOR!", "And Trudy and we SEE in fish-eye a long-haired Nazi Low-Rider\n and the bulked-out Brother with the Hefty garbage-bag apron.", "TUBBS\n Why?\n\n TRUDY\n Because you cannot kill him.\n\n SWITEK", "TRUDY\n (after changing channel)\n Hello, Sonny...?\n\n EXT. FREEWAY - TUBBS\n\n on police radio listens to a message from Trudy while...", "She kicks him in the head. Tubbs grabs her to pull her off.\n\n TUBBS\n He's dead!", "(A) TRUDY + TUBBS DISCOVER + ASSAULT THE PERIMETER SECURITY\n OF THE TRAILER IN WHICH GINA IS HOSTAGE.", "Crockett looks at Trudy. There's a connection between\n Crockett and Trudy. It's filial. Crockett has a special\n regard for her judgment.", "In the background Gina shakes her head about Switek. He blew\n it. Trudy looks at Crockett and sees Crockett's focused,\n hearing...", "TRUDY JOPLIN is a tall African-American. She whispers into a\n small mic. If you looked closely, she's ripped...as if steel" ], [ "TUBBS\n He's talking to you, bro.\n (beat)\n What he means to say is he is\n reluctant to abandon the\n penetration of a major\n narcotrafficking organization...", "he makes a credible excuse and he \n stops....\n (beat)\n Her crew blackmailed and asset-\n stripped the last mark down to his", "50 yards away. All meaning is transmitted. And Tubbs\n nods...and the nod means: \"get her out of here...\"", "Everything goes from tense to lethal. Has Yero made them?\n\n TUBBS\n What do I care what you think about\n how he looks? You wanna fuck my\t\n partner or do business?", "CROCKETT\n The honey trap. And there's the\n honey.\n\n TUBBS\n Hello, Miss Ukraine...", "TUBBS\n He did volunteer one time...\n\n TRUDY\n (entering)\n For a massage parlor bust?\n (beat)\n Why am I here...?", "communications and security. He has cold eyes and a corpulent\n face. He's notorious for using torture to ferret-out\n informants. Right now he watches these two Americans", "CROCKETT\n He tried to...\"do business\"...with\n you. Around ten. His place. Be\n there.\n\n JOSÉ YERO\n I'll be there.", "MONTOYA\n That's my girl...\n\n Montoya uses Isabella and her sexual allure to gather insight\n into the people he does business with. That's part of their\n deal.", "An interior light comes on. MOVE CLOSER. Two Russian\n slickster types. Patient. One looks at a watch. The other", "and a SWAT team in the weeds across the river. They include\n SGT. JEAN-LOUIS BASTIDE, a Haitian in dark sweats. They all\n are in plain clothes.", "(beat)\n The means we kill these\n sonsabitches three times sooner.\n (beat)\n And do you know why Pablo Escobar", "Tubbs clocks three beefy Russians in a corner, one is\n unusually fit.\n\n TUBBS\n And there's Dmitri...", "There are no customers. They're cautious. Men stop them\n and frisk them. They expected that.\n\n CROCKETT\n We're from Nicholas to meet José...", "TRUDY\n (to Crockett)\n Eleven to seven he blows it.\n\n CROCKETT\n (whispers)\n Twenty on my man...", "Zo Pounders, plastic-tied, are thrown into the truck with the\n thousand kilos of cocaine. But not Neptune. The gate is\n rolled down and padlocked.", "twice across the back of his neck. He's out. Handcuffed,\n and Tubbs and Trudy are in the interior...", "at the bar. It's jammed. \"Cochi Loco\" Yero and his\n permanent bodyguard, El Tiburon, pass, smile. Tubbs\n introduces Yero to Gina, as his wife.", "He waits. A phone rings. It's picked up by Gina.\n\n GINA (O.S.)\n Hello...?\n\n Tubbs is relieved...", "Tubbs hands José Yero's assistant, El Tiburon, a pager." ], [ "CROCKETT\n Alonzo...!\n\n STEVENS (O.S.)\n Goodbye.\n\n Crockett's phone goes dead.", "Alonzo Stevens. Now, he's YOUR\n informant. Stevens, called us. I\n haven't spoken to him for six\n months.", "STEVENS (cont'd)\n (shouts)\n So I gave them up, man! Gave up\n the Feds! Gave up everything\n I knew. Now I got to go home...", "STEVENS\n (to Tubbs)\n I gotta, I gotta go...!\n\n TUBBS\n Alonzo...\n\n STEVENS\n What...?", "ALONZO STEVENS\n\n exits the Bentley and walks toward Crockett and Tubbs. He\n holds his hand out to keep them at a distance.", "STEVENS\n After I check on Francine and the\n boys, then I'm gone. Sonny, tell\n Rico I'm so sorry. I wanted you to\n know...", "Alonzo Stevens has a strange look in his eyes. He looks at\n Crockett and Tubbs, as if to say something. He doesn't.", "CUT TO:\n\n INT. ALONZO STEVENS' HOUSE - A KITCHEN - NIGHT", "MEANWHILE:\n\n INT. ALONZO STEVENS' HOUSE - TRUDY - NIGHT", "TUBBS\n (voice cracks)\n Alonzo, you don't need to go home.\n\n Now Alonzo knows.", "BUT ALONZO STEVENS", "STEVENS (O.S.)\n ...look after her. Ask Rico to.\n Okay? Do that for me. I had to do", "CROCKETT\n Who is this?\n\n INTERCUT\n WITH:\n\n INT. BENTLEY - ALONZO STEVENS - NIGHT", "TUBBS\n What is it?\n\n CROCKETT\n Alonzo...\n\n TUBBS\n Stevens?", "STEVENS\n How do I know? But it was from the\n get-go. Knew the FBI had run me\n into them.\n (beat)\n Sonny, I gotta go...!", "STEVENS\n I gave up nothing on you guys.\n Don't worry. I kept you and Rico", "Dismissed, they exit.\n\n EXT. TOWN SQUARE - EXTREMELY CLOSE: TUBBS", "INT. ALONZO STEVENS' HOUSE - DOOR TO DEN - NIGHT", "STEVENS\n (voice cracks)\n It's fucked up. I'm sorry...", "STEVENS\n They said they wouldn't hurt them,\n wouldn't hurt them if...\n\n TUBBS\n They lied." ], [ "backs away. Looks at them sadly. And before they can stop\n him, he steps out onto the freeway, opens his arms, and", "STEVENS\n (voice cracks)\n It's fucked up. I'm sorry...", "STEVENS (cont'd)\n (shouts)\n So I gave them up, man! Gave up\n the Feds! Gave up everything\n I knew. Now I got to go home...", "He's cruising at 85. He's floating in a magnolia leather\n interior. But it's bloodstained from his nose and mouth.", "STEVENS\n After I check on Francine and the\n boys, then I'm gone. Sonny, tell\n Rico I'm so sorry. I wanted you to\n know...", "STEVENS\n They said they wouldn't hurt them,\n wouldn't hurt them if...\n\n TUBBS\n They lied.", "Stevens takes a low-resolution E-mailed image from his pocket\n and hands it to Tubbs. Tubbs looks up, shocked, hands it to", "the room. By herself. In a party\n dress. And she looked like she\n knew she would die alone...\n (beat...remembers)", "CROCKETT\n Alonzo...!\n\n STEVENS (O.S.)\n Goodbye.\n\n Crockett's phone goes dead.", "hesitates not at all. He grabs a late '80's Mercedes left\n with its door open. Its owner, a middle-aged man at the", "OVER TUBBS' SHOULDER we see all the lights from two dozen\n emergency vehicles a quarter mile ahead. Death is not", "STEVENS\n How do I know? But it was from the\n get-go. Knew the FBI had run me\n into them.\n (beat)\n Sonny, I gotta go...!", "compels himself to a different place, now. Then, the shower\n curtain parts. It startles him...", "CUT TO:\n\n INT. ALONZO STEVENS' HOUSE - A KITCHEN - NIGHT", "The pavement, the car and Yero are cratered by the 7.62mm\n rounds. Yero goes down. Dead.", "STEVENS\n (to Tubbs)\n I gotta, I gotta go...!\n\n TUBBS\n Alonzo...\n\n STEVENS\n What...?", "he makes a credible excuse and he \n stops....\n (beat)\n Her crew blackmailed and asset-\n stripped the last mark down to his", "He floors the Mercedes. It spins through 270 degrees,\n scattering gravel and dust, and pulls back onto the freeway,\n driving out of the city, away from Miami, out, into the\n night.", "ARYAN BROTHER\n Shoot me, she dies. Hey, fuck it,\n man. We can all go.", "thinks this is it. She's dead. SWAT, shotguns and assault\n rifles, approach.\n\n INT. MERCEDES - CROCKETT" ], [ "He's a former right-wing Colombian paramilitary from the\n North Valle near the Pacific coast. He runs operations,", "FUJIMA\n A Colombian producer. Named\n Archangel de Jesus Montoya-Londono.\n\n CROCKETT\n Never heard of him.", "the white collars from Cali. When\n the gringos got him, he was nobody.\n We're three times better than Pablo\n Escobar.", "you.\n (beat)\n And you can reach out for La Senora\n in Barranquilla or wherever 'cause", "CROCKETT\n Montoya. We went to meet the\n village priest. It turns into\n Alice in the fucking Vatican and\n here's the Pope...of the North\n Valle Colombia dope trade.", "FUJIMA\n They're not. They collect in\n Miami. Montoya, the producer,", "CROCKETT\n We could try to run loads into\n these guys.\n (to Fujima)\n Run a few loads for Montoya into\n South Florida. Into this group.", "INT. MONTOYA COMPOUND, GUAJIRA PENINSULA - COLOMBIAN MILITARY\n + DEA TYPES - DAY", "and a SWAT team in the weeds across the river. They include\n SGT. JEAN-LOUIS BASTIDE, a Haitian in dark sweats. They all\n are in plain clothes.", "communications and security. He has cold eyes and a corpulent\n face. He's notorious for using torture to ferret-out\n informants. Right now he watches these two Americans", "(beat)\n The means we kill these\n sonsabitches three times sooner.\n (beat)\n And do you know why Pablo Escobar", "800 individually-wrapped bricks of North Valle Colombian\n cocaine are on a table.\n\n TUBBS\n Comme on dit...\n (Like they said...)", "happens. LT. CASTILLO is there, out of a past somewhere\n between CIA and the Jesuits...", "exchange a look. Then they get it. The cops work as\n security for the narcotrafficker. The caravan advances\n towards a major intersection. This one is blocked-off by\n Haitian military.", "Coleman takes the satellite phone, attached to a laptop. He\n enters a number. A frequency-response graphic displays in\n the computer. His conversation with El Tiburon is encrypted\n so the voices are distorted...", "Subterranean alarms are going off. Tubbs finds himself in\n this small city, occupied by narcotraffickers and their", "runs from cover into the clear with her handgun firing at the\n crazy whites, furious at the betrayal by Yero. She's shouting\n in Spanish. It's insane.\n\n CROCKETT", "walk. Cochi Loco's security leads and tails behind as...\n\n JOSÉ YERO\n (to El Tiburon)\n You know what Escobar used to do?", "it doesn't matter. Because we are\n on the Guajira Peninsula. And all\n you see around you...look around...\n is Archangel de Jesus Montoya-", "FUJIMA\n Get into business with this crew,\n identify them. Illuminate their\n network. If you're lucky, discover" ], [ "JOSÉ YERO\n (extends hand)\n José...\n\n CROCKETT\n Sonny Burnett...this is my partner,\n Rico.", "CROCKETT (cont'd)\n (goes right up in Yero's\n face)", "is because Sonny can deliver what\n no one else can.\"", "CROCKETT\n (to Security)\n Dos café.\n\n He's security, not a fucking waiter. But Yero nods.\n Security fetches coffee, anyway.", "CROCKETT\n He tried to...\"do business\"...with\n you. Around ten. His place. Be\n there.\n\n JOSÉ YERO\n I'll be there.", "YERO\n (in Spanish)\n Isabella. The gringos are police.\n She's their informant...!\n\n CUT TO:", "Yero shakes Gina's hand. He indicates to the bartender that\n Tubbs and Gina are to pay for nothing...and he moves towards", "MONTOYA (V.O.)\n (in Spanish)\n Isabella likes them. We made their\n deal.\n\n Montoya hangs up. José Yero looks at the phone.", "Yero's people have weapons pointed their way. They outnumber\n Switek and Zito. Slack's taken up on triggers. It's on the", "be provided by me. It cost you\n nothing. You will contact and work\n through José Yero on logistics and\n communications. To do with money,", "JOSÉ YERO\n Mrs. Rico. But don't worry. She\n is safe. To insure that, I am", "The pavement, the car and Yero are cratered by the 7.62mm\n rounds. Yero goes down. Dead.", "Yero's certain about their motive.\n\n ISABELLA\n We want it back.\n\n CROCKETT\n Okay.", "CROCKETT\n Yero, by himself?\n\n ISABELLA\n Maybe. Maybe with the crazy\n whites.\n\n Zito enters, makes the situation...", "And, he crosses to the door and opens it as Yero cautiously\n enters.\n\n INT. LIVING ROOM - YERO\n\n And his face registers surprise.", "José Yero does NOT know Isabella's on board.\n\n CROCKETT\n Proof of life. How do I know Mrs.\n Rico's alive?", "Yero looks around the corner and sees Switek and Zito in the\n dining room, casually at ease with Galil assault\n rifles...meaning \"don't even think about it\"...", "Yero gestures his security to calm down....one notch.\n Crockett and Tubbs still hold the grenades.\n\n Then Crockett opens his shirt. No wires. So does Tubbs.", "Everything goes from tense to lethal. Has Yero made them?\n\n TUBBS\n What do I care what you think about\n how he looks? You wanna fuck my\t\n partner or do business?", "Crockett puts him on speaker.\n\n JOSÉ YERO (cont'd)\n (beat)\n So I want you to deliver my\n product, how I want my product\n delivered." ], [ "They want 22% of the value on loads\n they run into South Florida. It's\n the Juarez cartel model.\n They guarantee the loads. The", "exchange a look. Then they get it. The cops work as\n security for the narcotrafficker. The caravan advances\n towards a major intersection. This one is blocked-off by\n Haitian military.", "FUJIMA\n Not anymore. This is a distribution\n network out of South Florida,\n moving poly-drug loads, crystal", "Crockett puts him on speaker.\n\n JOSÉ YERO (cont'd)\n (beat)\n So I want you to deliver my\n product, how I want my product\n delivered.", "He's a former right-wing Colombian paramilitary from the\n North Valle near the Pacific coast. He runs operations,", "\"You a good pilot?\n Make a lot of money for Pablo?\n Thank you very much.\" And then\n Pablo would kill his ass. After", "of crystal meth precursors from the\n Malaysian ship. For collection in\n North Miami. You warehouse it.\n Release it when we say.", "COLEMAN\n So...?\n\n EL TIBURON\n (in Spanish)\n Meth precursors and the Dutch party\n favors are en route.", "the white collars from Cali. When\n the gringos got him, he was nobody.\n We're three times better than Pablo\n Escobar.", "Zo Pounders, plastic-tied, are thrown into the truck with the\n thousand kilos of cocaine. But not Neptune. The gate is\n rolled down and padlocked.", "lines run from the freighter to two go-fast boats. The fuel\n bladders with crampons slide down the rope into the smaller\n \"cigarette\" boats...\"dope-on-a-rope.\"", "TUBBS\n He's talking to you, bro.\n (beat)\n What he means to say is he is\n reluctant to abandon the\n penetration of a major\n narcotrafficking organization...", "JOSÉ YERO\n Fifty-gallon drums. Thirty-two. A\n hundred kilos in each. You\n transship that to the Malaysian\n boat.", "walk. Cochi Loco's security leads and tails behind as...\n\n JOSÉ YERO\n (to El Tiburon)\n You know what Escobar used to do?", "(beat)\n The means we kill these\n sonsabitches three times sooner.\n (beat)\n And do you know why Pablo Escobar", "Subterranean alarms are going off. Tubbs finds himself in\n this small city, occupied by narcotraffickers and their", "There are no customers. They're cautious. Men stop them\n and frisk them. They expected that.\n\n CROCKETT\n We're from Nicholas to meet José...", "MONTOYA (V.O.)\n (in Spanish)\n Isabella likes them. We made their\n deal.\n\n Montoya hangs up. José Yero looks at the phone.", "800 individually-wrapped bricks of North Valle Colombian\n cocaine are on a table.\n\n TUBBS\n Comme on dit...\n (Like they said...)", "CROCKETT\n Montoya. We went to meet the\n village priest. It turns into\n Alice in the fucking Vatican and\n here's the Pope...of the North\n Valle Colombia dope trade." ], [ "Aryan Brother #1 reaches into the bag at the wrapped stacks\n of hundreds. Flips through a couple, takes one or two at\n random. Russian nods for him to go ahead.", "CASTILLO (O.S.)\n (filter)\n Yeah?\n\n CROCKETT\n José Yero changed-up the drop plan\n on us. He's grabbed Gina.", "JOSÉ YERO\n (extends hand)\n José...\n\n CROCKETT\n Sonny Burnett...this is my partner,\n Rico.", "José Yero does NOT know Isabella's on board.\n\n CROCKETT\n Proof of life. How do I know Mrs.\n Rico's alive?", "runs from cover into the clear with her handgun firing at the\n crazy whites, furious at the betrayal by Yero. She's shouting\n in Spanish. It's insane.\n\n CROCKETT", "The three Aryan Brothers approach the steaming cars with the\n chopped-up occupants and take the gym bag full of cash. The", "(beat)\n The means we kill these\n sonsabitches three times sooner.\n (beat)\n And do you know why Pablo Escobar", "Yero's certain about their motive.\n\n ISABELLA\n We want it back.\n\n CROCKETT\n Okay.", "She kicks him in the head. Tubbs grabs her to pull her off.\n\n TUBBS\n He's dead!", "STEVENS (O.S.)\n ...look after her. Ask Rico to.\n Okay? Do that for me. I had to do", "YERO\n (in Spanish)\n Isabella. The gringos are police.\n She's their informant...!\n\n CUT TO:", "Crockett puts him on speaker.\n\n JOSÉ YERO (cont'd)\n (beat)\n So I want you to deliver my\n product, how I want my product\n delivered.", "50 yards away. All meaning is transmitted. And Tubbs\n nods...and the nod means: \"get her out of here...\"", "\"You a good pilot?\n Make a lot of money for Pablo?\n Thank you very much.\" And then\n Pablo would kill his ass. After", "And Crockett wants to possess her; to protect her. He wants\n no one else to have her. He wants no harm to come to her.", "Everything goes from tense to lethal. Has Yero made them?\n\n TUBBS\n What do I care what you think about\n how he looks? You wanna fuck my\t\n partner or do business?", "ZITO\n We're half loaded...\n\n TRUDY\n Gina. Like Alonzo's wife... Cochi\n Loco's got her.", "TUBBS\n He's talking to you, bro.\n (beat)\n What he means to say is he is\n reluctant to abandon the\n penetration of a major\n narcotrafficking organization...", "WIDEN. Everybody goes back to their cars. As the two\n \"Russians\" get into theirs, Aryan Brother #1 turns from the\n running board of the Escalade with his driver's door open.", "BLAM. That's all he gets out. Trudy does exactly that.\n Aryan Brother falls like a felled tree. Tubbs retrieves the" ], [ "TUBBS\n You wearing a wire?\t\n\n Tubbs rips open Yero's shirt.\n\n CROCKETT\n Or DEA? The Feeb?", "Aryan Brother #1 reaches into the bag at the wrapped stacks\n of hundreds. Flips through a couple, takes one or two at\n random. Russian nods for him to go ahead.", "only accept the money if Crockett accepts his Randall hunting\n knife. He does. Tubbs is in the doorway.", "TUBBS\n Aryan brothers are not going to\n change-up suppliers. So...\n\n CROCKETT\n Transpo? How they bringing the\n loads in...?", "Whatever Nicholas is soliciting, Crockett and Tubbs don't\n want. (Nicholas brokers \"go-fast\" runs, moving loads from", "Crockett knows the Sophie's choice Castillo may have to make.\n And it may cost Gina. Crockett glances at Tubbs. Crockett\n pushes the throttles forward...", "INT. MERCEDES - TUBBS\n\n They approach a town. He nudges Crockett. A police\n roadblock's ahead.\n\n CROCKETT", "SWITEK\n Same. But it's your call, boss.\n\n Tubbs joins them.\n\n CROCKETT\n What's your take?", "TUBBS\n He's talking to you, bro.\n (beat)\n What he means to say is he is\n reluctant to abandon the\n penetration of a major\n narcotrafficking organization...", "Crockett drives. Tubbs is on the throttles. Isabella's\n between them. Then, Tubbs is sent a page. Reads the number.", "Crockett's alarmed. He catches Tubbs' eye and waves him\n outside...", "drive. Crockett reaches into a paper bag full of cell phones\n and grabs one. He dials up a number, grabs another and hands\n it to Tubbs.", "Tubbs looks at Crockett. They thought it was a done deal.\t\n\n CROCKETT\n (dark)\t\n My mommy and daddy know me.", "INT. A-500 - CROCKETT\n\n throws a look sideways at Tubbs.\n\n EXT. SKY - A-500", "Crockett puts him on speaker.\n\n JOSÉ YERO (cont'd)\n (beat)\n So I want you to deliver my\n product, how I want my product\n delivered.", "And she starts to leave...and sensing Crockett's gotten up\n and follows her. Meanwhile\n\n TUBBS\n (to Yero)\n Lay it out...", "ALONZO STEVENS\n\n exits the Bentley and walks toward Crockett and Tubbs. He\n holds his hand out to keep them at a distance.", "CROCKETT\n You can't.\n\n TUBBS\n They'll kill Gina.", "The Aryan Brother pops him a couple of vials.", "right now: he snaps a ROUND into the wounded Aryan Brother's\n head. And, that fast, Tubbs' gun is back on target." ], [ "and a Miami PD SWAT team crash through the front door.\n Another team through the back. Trudy in a tactical vest is", "TRUDY\n April Fool, motherfucker.\n\n Trudy whips the butt end of the shotgun around, caving in\n Neptune's cheekbone and nose...", "BLAM. That's all he gets out. Trudy does exactly that.\n Aryan Brother falls like a felled tree. Tubbs retrieves the", "MEANWHILE:\n\n INT. ALONZO STEVENS' HOUSE - TRUDY - NIGHT", "TRUDY\n (into radio, to Castillo)\n Have eyes on her. She's alive.\n Moving in...", "twice across the back of his neck. He's out. Handcuffed,\n and Tubbs and Trudy are in the interior...", "TRUDY\n (on radio, to Castillo)\n ...got Gina. She's okay.\n\n CUT TO:", "Trudy DOESN'T answer. She's totally focused on a clamshell\n video screen connected to a fiber optic... FOLLOW THE FIBER\n OPTIC...as a SWAT technician feeds it into...", "INT. HONDURAN FREIGHTER, BRIDGE - TRUDY + CROCKETT - DAWN\n\n The Freighter is anchored a half mile offshore.", "EXT. HONDURAN FREIGHTER - TRUDY\n\n with Switek and Zito. Trudy's in a tank top. José looks at\n Trudy appreciatively...", "TRUDY\n (no)\n If you're down, we're down for the\n play.\n\n CUT TO:", "And Trudy and we SEE in fish-eye a long-haired Nazi Low-Rider\n and the bulked-out Brother with the Hefty garbage-bag apron.", "TRUDY\n PUT DOWN THE DETONATOR!", "TUBBS\n Why?\n\n TRUDY\n Because you cannot kill him.\n\n SWITEK", "TRUDY\n (after changing channel)\n Hello, Sonny...?\n\n EXT. FREEWAY - TUBBS\n\n on police radio listens to a message from Trudy while...", "She kicks him in the head. Tubbs grabs her to pull her off.\n\n TUBBS\n He's dead!", "(A) TRUDY + TUBBS DISCOVER + ASSAULT THE PERIMETER SECURITY\n OF THE TRAILER IN WHICH GINA IS HOSTAGE.", "Crockett looks at Trudy. There's a connection between\n Crockett and Trudy. It's filial. Crockett has a special\n regard for her judgment.", "In the background Gina shakes her head about Switek. He blew\n it. Trudy looks at Crockett and sees Crockett's focused,\n hearing...", "TRUDY JOPLIN is a tall African-American. She whispers into a\n small mic. If you looked closely, she's ripped...as if steel" ], [ "TUBBS\n You wearing a wire?\t\n\n Tubbs rips open Yero's shirt.\n\n CROCKETT\n Or DEA? The Feeb?", "lands. Tubbs bails, grabbing his duffle bag and the rifle and\n turns down the street towards the firefight and Crockett...\n\n CUT TO:", "Yero gestures his security to calm down....one notch.\n Crockett and Tubbs still hold the grenades.\n\n Then Crockett opens his shirt. No wires. So does Tubbs.", "And she starts to leave...and sensing Crockett's gotten up\n and follows her. Meanwhile\n\n TUBBS\n (to Yero)\n Lay it out...", "runs from cover into the clear with her handgun firing at the\n crazy whites, furious at the betrayal by Yero. She's shouting\n in Spanish. It's insane.\n\n CROCKETT", "YERO'S POV: HE SEES CROCKETT + ISABELLA\n\n behind structures on the jetty. Crockett fires with the MPD\n SWAT.", "to the early 60's ranch house under tropical palms. Tubbs'\n mood is dark. As Crockett approaches, he looks blankly at\n Tubbs, offering no explanation...", "lights up. Beeps. Crockett's hand grabs it. It's the\n summons from José Yero.\n\n INT. KITCHEN - GINA - PRE-DAWN", "Crockett drives. Tubbs is on the throttles. Isabella's\n between them. Then, Tubbs is sent a page. Reads the number.", "at the bar. It's jammed. \"Cochi Loco\" Yero and his\n permanent bodyguard, El Tiburon, pass, smile. Tubbs\n introduces Yero to Gina, as his wife.", "Crockett's alarmed. He catches Tubbs' eye and waves him\n outside...", "CROCKETT (cont'd)\n (goes right up in Yero's\n face)", "INT. MERCEDES - TUBBS\n\n They approach a town. He nudges Crockett. A police\n roadblock's ahead.\n\n CROCKETT", "AK's are aimed at Crockett and Tubbs' heads. Crockett's .45\n and his Para-Ordnance are in each hand. Tubbs' shotgun is", "JOSÉ YERO\n (to Tubbs)\n You seem okay.\n (to Tubbs re: Crockett)\n But him? I don't like... how he\t\n looks...", "She kicks him in the head. Tubbs grabs her to pull her off.\n\n TUBBS\n He's dead!", "TUBBS\n Cooool...\n\n They exit to...\n\n INT. PENTHOUSE CONDO - CROCKETT + TUBBS", "Suburban crashes through the wreckage of the door and backs\n to the table. Jean-Louis and SWAT #1 start throwing bricks\n into the back. Tubbs with Crockett exit.", "Crockett looks at her. He has no answer.\n\n INT. HOUSE - CROCKETT\n\n enters. While Tubbs is strapping up...", "JOSÉ YERO\n What do you care?\n\n TUBBS\n (to Crockett)\n Do we need this...?" ] ]

[ "What happens to Leonetta?", "What does Crockett learn about Stevens?", "What interstate did Crockett and Tubbs find Stevens on?", "Who is the cartel using to pass out drugs?", "How does Trudy become injured?", "Where is Isabella's home?", "What was the name of the pimp that was to be arrested?", "How does Rico learn about Leonetta's death?", "Who runs the Colombia Group?", "Who was Stevens working as an informant for when his cover was compromised?", "What did the Colombian cartel threated to murder Leonetta with?", "How did Stevens commit suicide?", "Who does Fujima believe to be running the Colombia group?", "Fujima makes Crockett and Tubbs deputies of what?", "What do Crockett and Tubbs pose as to offer their services to Yero?", "What group does the Colombia cartel use to distribute drugs?", "Who does Crockett begin a secret romance with?", "Who is kidnapped by the Aryan Brotherhood?", "How is Trudy critically injured?", "What is the name of the pimp that is center of the prostition sting operation?", "Why does Alonzo Stevens leave town?", "How does Stevens commit suicide?", "Who runs the Columbian group?", "What service do Sonny and Rico offer to Yero?", "Who does the cartel use to distribute drugs?", "Who orders the Aryan Brotherhood to kidnap Rico's girlfriend?", "What does the Aryan Brotherhood demand of Crockett and Tubbs?", "How is Trudy critically injured?", "Where do Crockett and Tubbs face off in a firefight against Yero and the Aryan Brotherhood?" ]

[ [ "She is murdered", "She is killed by a C-4 necklace bomb." ], [ "Stevens was working as an informant for the FBI", "that he's an FBI informant" ], [ "I-95", "I-95." ], [ "The Aryan Brotherhood", "The Aryan Brotherhood." ], [ "A bomb is detonated where she is being held", "she wasn't able to avoid the bomb" ], [ "In Cuba", "Cuba" ], [ "Neptune", "Neptune" ], [ "By telephone call", "From a phone call." ], [ "Jose Yero", "Jose Yero" ], [ "The FBI.", "The FBI." ], [ "A C-4 necklace bomb.", "c-4 necklace bomb" ], [ "He walked in front of a semi truck.", "by getting hit by a truck" ], [ "Jose Yero.", "John Ortiz." ], [ "The Organized Crime Drug Enforcement Task Force.", "The Organized Crime Drug Enforcement Task Force." ], [ "Drug smugglers.", "drug smugglers" ], [ "The Aryan Brotherhood.", "aryan brotherhood" ], [ "Isabella.", "Isabella." ], [ "Trudy.", "Trudy" ], [ "Tubbs failed to evacuate her before a bomb was detonated.", "a bomb" ], [ "Neptune.", "Neptune" ], [ "He is compromised as an FBI informant.", "he's safety has been compromised" ], [ "He steps in front of an oncoming semi truck.", "He steps in front of an oncoming truck." ], [ "Jose Yero.", "Arcangel de Jesus Montoya." ], [ "Drug smuggling.", "posing as drug smugglers" ], [ "The Aryan Brotherhood.", "The Aryan Brotherhood." ], [ "Yero.", "Yero" ], [ "To deliver the cartel's load directly to them.", "to get the delivery directly to them" ], [ "Yero remotely detonates a bomb.", "Bomb." ], [ "Port of Miami.", "the Miami port" ] ]

[ [ "her to escape, our not nessessarlly\n the same thing. She's a young girl, no food,\n no shelter, no shoes, who's just witnessed", "COL LANDA\n So the rumors you've heard have been of\n escape?\n\n PERRIER\n Yes.", "$HOSANNA, who miraculously escaped being struck by the nazi's bullets.\n With her dead family surrounding her, the young girl goes for freedom\n (represented by wire mesh vent).", "Somewhere in the last year it would appear\n they have vanished.\n Which leads me to the conclusion that\n they've ether made good their escape,", "Aldo and Hirschberg come down the stairs, showing open hands.\n Willi keeps his machine gunn trained on them.\n Aldo with his hands up, says;", "leave this circle alive, depends\n entirely on you.\n Aldo takes out a map of the area, and lays it out in front\n of his prisoner.", "143\n Aldo and Uitivich climb down from the truck.\n Col.Landa indicates for Herrman to remove the handcuffs from\n the two prisoners.\n He does.", "to do his job.\n Everybody saystheir farewells.\n Col Landa offers the young jew in hiding a seat at a small", "People frantically pound on locked doors, trapping them to\n there grizzly fate.\n The FLAMES and FIRE spread through thr auditorium...", "What we have here, is a rabbit hole like situation. No one\n inside is getting out, no one outside is getting in.\n The young German Sgt, YELLS in ENGLISH, to the outside;", "They both enter.\n Col.Landa closes the door behind him, and LOCKS IT.\n Bridget notices, but says nothing.\n Now the two Germans are alone.", "COL LANDA\n Herman, I sense` a question on your lips?\n Out with it?\n\n DRIVER\n Why did yoy allow a enemy of the state\n to escape?", "Bridget points at a fancy black sedan, telling them it's her's.\n Aldo, Hirschberg, Bridget, Donowitz, and Utivich pile in, and\n take off.", "grabs him by the hair, YANKS him to his feet, and KICKS him\n in the ass, sending him on his way.\n Most of The Bastreds sit in a circle, Indian style, with", "the massacre of her entire family.\n She may not survive the night. And after\n word spreads about what happened today,\n it's highly unlikely she will find any", "He gives her a little salute, and walks into the black of a\n curfew imposed night.\n She looks after him. She didn't show it, but he kinda got to", "Or, perhaps-she'll survive. She will\n elude capture. She will escape to America.\n She will move to New York city.\n Where she will be elected, President of", "a few words.\n The Farmers wife follows her husbands orders, and gathers her\n daughter's taking them outside, closing the door behind them.", "Please allow me, have a seat.\n The Gestapo Officer pulls out a chair, for the young lady to sit\n down. Shosanna takes the hot seat. Seated to her right is", "Donny hands her two tickets. She indicates for them to follow her.\n Donny and Hirschberg both exchange one last look with Aldo,\n then follow the young french girl into the auditorium." ], [ "BUTZ'S POV:\n on ground, looking up at them. Aldo has just carved the\n swastika, and he's holding the bloody knife. All The\n Basterds crowd around to admire his handy work.", "CARVED INTO HIS FOREHEAD.\n\n BACK TO BASTERDS", "THE SWASTIKA HAND CARVED INTO HIS FOREHEAD, UNDENIABLE MARK", "CU COL.LANDA\n The Dagger has just completed carving a swastika deep into his\n forehead.", "PVT.BUTZ(VO)\n .and tore out the identification page.\n Utivich RIPS the page out, and sticks it in his pocket.\n Tossing the torn book on the dead, scalpless body.", "BACK TO HITLER\n Pvt.Butz removes his combat helmet, hair hangs in his face,\n his moves it aside, and WE SEE a SWASTIKA has been HAND", "Marcel, holds his arm behind him, as he forces his head flat\n against the table top.\n Shosanna brings a HATCHET DOWN DEEP into the table, just by", "PVT.BUTZ\n Yes mine Fuhrer.\n\n HITLER\n Did they mark you like they did the\n other survivors?", "SHOSANNA\n Bring that fucker over here!\n Put his head down on that table.", "This is the last time they will ever see each other, too much\n to say. He holds her in his arms and lays a one kiss before I\n die wet one on her.", "BACK TO WASHROOM\n The Swastika Forehead Soldier, get a light for his cigarette.\n He takes a big drag.", "SHOSANNA\n Then after we kill this dog for\n Germans, we'll go and silence them.\n She lifts up the hatchet, raises it high...", "grabs him by the hair, YANKS him to his feet, and KICKS him\n in the ass, sending him on his way.\n Most of The Bastreds sit in a circle, Indian style, with", "SWASTIKA FOREHEAD\n\n (GERMAN)\n Hey Fritz, you owe me three cigarettes,\n now pay up.", "(CON'T)\n I am going to burn down the cinema\n on Nazi night.\n One of his fingers probes her mouth.\n\n SHOSANNA", "SWASTIKA FOREHEAD\n The Bear Jew!1!\n The Soldier's GUN is out of it's holster, and rising toward\n Donny's chest...", "The Soldiers are putting the shot in the leg, bleeding, and in\n excruciating pain, Bridget on the examining table.\n Donny, still holding on to the Old Man, points in the girls", "over the corpse. He moves over to the next corpse, a smile\n breaks out on his face.\n He says in GERMAN SUBTITLED into ENGLISH;", "busts his yoke at breakfast. Just\n try puttin a bag over his head, and\n hear what kinda sounds he makes.\n Utivich, giggles through the tears.", "front of you. You pick up the card\n without looking at it, lick the back,\n and stick it on your forehead like so.\n He demonstrates." ], [ "The Basterds laugh, a couple pat Hugo on the back.\n The NARRATOR comes back on the SOUNDTRACK.", "like you to meet.\n Shosanna joins the circle, and is handed a champagne glass.\n This is the first moment The Basterds are aware of Shosanna.", "The Basterds will be waiting for you.\n First thing, you go to a little village\n called, \"Nadine\".\n (He points it", "LT.ALDO\n Hows your English Werner? Cause if\n need be, we gotta a couple fellas\n can translate.\n Aldo points at one of The Basterds in the circle,", "them. One of the French Girls says in FRENCH, how exciting\n it is to meet a real live German war hero. Shosanna hears", "BACK TO BASTERDS\n We See in Bridget continues to brief Hicox on his identity.\n the B.G., the German Master Sgt stand up from his table, and\n head toward Fraulein Von Bammersmark.", "MRS.HIMMELSTEIN\n Good. A Basterds work is never done.\n Specially in Germany.\n Donny steps up to the plate, looking down at the Nazi;", "WE SEE the other Basterds, dressed in French civilian clothes,\n are in the room as well, they are, Donowitz, Hirschberg,", "Then Aldo points to another Basterd. A big scary looking\n Basterd, in a German Sgt's uniform, named, SGT.HUGO STIGLITZ", "LT. ALDO\n I'm Lt.Aldo Raine, and these are\n The Basterds. Ever heard of us?\n Hugo nods his head, yes.", "BUTZ'S POV:\n on ground, looking up at them. Aldo has just carved the\n swastika, and he's holding the bloody knife. All The\n Basterds crowd around to admire his handy work.", "NARRATOR(VO)\n Needless to say, once The Basterds\n heard about him, he never got there.", "9\n\n BACK TO BASTERDS", "NARRATOR(VO)\n The reason for Hugo Stiglitz's\n celebrity among German soldiers\n is simple.", "Gentlemen rise. She greets each warmly with a french cheek\n kiss, as if she knows them well.\n They all take a seat. The two Basterds, and one Brit, drink", "Germans will later call; \"The Basterds\". Lt.Aldo has one\n defining physical characteristic, a ROPE BURN around his", "You too Herrman, come over here.\n The four men, Col.Hans Landa, Lt.Aldo Raine, Pvt.Smithson", "And the gods are watching.\n The captured German Sgt, enters the circle of Basterds,\n stands straight before the sitting southern Lieutenant, and\n salutes his captor.", "SHOSANNA\n Oui.\n Col Landa takes another bite of strudel, Shosanna follows suit.\n\n COL LANDA\n So it would appear our young hero is\n quite smitten with you?", "And Enzo's camera assistant, Dominick\n Decocco.\n The German fraulein turns to the three tuxedo wearing\n Basterds." ], [ "Shosanna, wasn't falling for the young German, by any stretch.\n However his exploits, as well as his charming manner, can't", "SHOSANNA\n Oui.\n Col Landa takes another bite of strudel, Shosanna follows suit.\n\n COL LANDA\n So it would appear our young hero is\n quite smitten with you?", "them. One of the French Girls says in FRENCH, how exciting\n it is to meet a real live German war hero. Shosanna hears", "his legs, and sits on the lower step, between his legs. Her\n back up against his chest, his arms around her shoulders.\n Shosanna has only known this type of intimacy with Marcel.", "We see Shosanna enter from the area at the top of the big\n staircase in the lobby that overlooks the lobby parlor\n entrance. She descends the staircase, and busies herself with", "Joseph Goebbels, remaining seated, looks up at the young French\n girl, scrutinizing her as he spoons creme brule into his mouth.\n The excited Fredrick introduces Shosanna to the propaganda", "NARRATOR (VO)\n While Shosanna sits there pretending\n to be amused by the aryan antics of", "Do to his uniform, and Shosanna's situation, all his efforts\n at trying to make small talk, strikes the young Jewess in\n hiding as a Gestapo interrogation.", "During her conversation and strudel with the man that\n exterminated her entire family, shosanna pissed herself.\n She drops the German cigarette in to the piss puddle by her", "A YOUNG GERMAN SOLDIER(about the same age as Shosanna), walks\n out of the cinema. He sees the ladder with the young French\n girl on top, and walks over.", "sweat.\n Shosanna is lead through the French eatery by the Gestapo Major.\n Private Zoller see's her, and stands up, excuse's himself,", "after all she does operate a cinema.\n Francesca, tell her.\n Francesca tells Shosanna in French;", "Shosanna finds the two counterfeit Italians their seats.\n After she points out their seats, she turns to leave...\n Hirschberg...", "FREDRICK\n What the hell was that?\n While Fredrick's back is turned, Shosanna takes a GUN out of", "German brass band that's blaring Third Reich Marches, can be\n heard coming from below.\n Shosanna walks to her apartment window, and looks down at the", "GOEBBELS\n well I must say, you've made quite a\n impression on our boy.\n Francesca interprets Goebbels German for Shosanna.", "GOEBBLES(OS)\n Is that the young lady in question,\n Fredrick?\n Private Zoller turns in his direction, takes Shosanna by the\n arm, and leads her to him.", "Shosanna watches, pitiless.", "FREDRICK\n And normally, this is beer Goebbels French\n interpreter, Mademoiselle Francesca\n Mondino.\n\n FRANCESCA\n looks up at Shosanna.", "COL LANDA\n Till tonight.\n And with that he's gone.\n Shosanna breaths a sigh of relief." ], [ "LT. HICOX\n Lt. Archie Hicox, reporting sir.", "Aldo is dressed like a French civilian. Hicox is dressed in a\n German grey S.S. Cap't uniform. They look out of a window, in a", "LT.HICOX\n Yes. In that village we all speak like\n this. Have you seen the Riefenstahl film?\n\n MAJOR HELLSTROM\n Yes.", "BRIDGET\n Lt.Hicox was going as my escort.\n The other two were going as a German\n cameraman and his assistant.", "BACK TO BASTERDS\n We See in Bridget continues to brief Hicox on his identity.\n the B.G., the German Master Sgt stand up from his table, and\n head toward Fraulein Von Bammersmark.", "LT.HICOX\n - Obviously, I don't know,Sgt.\n The British officer watches the German soldier, who's not", "BRIDGET\n (To Hicox)\n You'll be going as Ernst Schuller.\n You'll say your a associate producer", "Hirschberg indicates/pantomimes, he can't set his bomb\n surrounded by all these Nazi's.\n Donowitz, pantomimes crossing his legs, setting bomb on ankle", "BRIDGET\n The English man, gave himself away.\n\n LT. ALDO\n How did he do that?", "LT.HICOX\n Well, now you put it like that,\n I guess you do.\n He turns his attention back to his blade.\n Hicox moves over to Aldo, and asks him privately;", "LT.HICOX\n Shit.\n Sgt.Donowitz chides him;\n\n SGT.DONOWITZ\n So what do you think your fraulein\n Von Hammer -", "In the BACKGROUND, WE SEE, our three counterfeit German\n Officers, Hicox, Wicki, and Stiglitz, enter the basement", "Pabst, gave him a Close Up.\n As Bridget Von Hammersmark places a cigarette in a ivory\n cigarette holder, which Hicox, as if on cue, lights for her,", "HICOX)\n I was speaking to Cap't I--don't-know-what.\n The Gestapo Major is now standing beside Sgt.Pola, before the", "NARRATOR (VO)\n As they left the little French\n cinema that night, all the Germans\n were very happy...\n We see Private Zoller hanging back, so he.can say goodbye.", "LT.HICOX\n No hurry, Frau Von Hammersmark.\n Take your time, enjoy yourself.\n\n BRIDGET\n (To Winnetou)\n So who are you?", "Herrman, behind the wheel, tells Landa in German;", "LT.HICOX\n All the way down, sir.\n\n GEN.FENECH\n Are you familiar with German cinema\n under the Third Reich?", "The Driver begins to translate, when the Gestapo Major holds up his\n hand, telling him not to bother. The Major looks at the young\n French girl and tells her in German;", "them. One of the French Girls says in FRENCH, how exciting\n it is to meet a real live German war hero. Shosanna hears" ], [ "SHOSANNA\n Oui.\n Col Landa takes another bite of strudel, Shosanna follows suit.\n\n COL LANDA\n So it would appear our young hero is\n quite smitten with you?", "INT - LA LOUISTANE- NIGHT\n Were back in the basement tavern. Colonel Hans Landa stands", "COL LANDA\n After you.\n Shosanna takes •a whip creamy bite of strudel, Landa follows her\n lead.\n\n COL LANDA", "Landa takes out a handsome looking cigarette case, with a S.S.\n LOGO on it. Removing on of the fags, he lights it up with a", "COL LANDA\n Where are they now?\n\n SHOSANNA\n My uncle was killed during blitzkrieg.\n\n COL LANDA\n Pity... . Continue.", "He slips it on her foot...\n .it fits like a glove.\n Bridget knows she's BUSTED.\n Col.Landa smiles and says in ENGLISH;", "to do his job.\n Everybody saystheir farewells.\n Col Landa offers the young jew in hiding a seat at a small", "COL LANDA\n Cigarette?\n\n SHOSANNA\n No thank you.\n\n COL LANDA\n Do you smoke?", "COL LANDA\n Col Hans Landa of the S.S. madame,\n at your service.\n He kisses her hand, then continues without letting go of his hostess\n hand...", "They both enter.\n Col.Landa closes the door behind him, and LOCKS IT.\n Bridget notices, but says nothing.\n Now the two Germans are alone.", "Yet the LaPadite women watch the Nazi soldiers, machine guns at ready,\n approach the house.\n The Soldiers enter the doorway, Col Landa, silently points out area of", "COL LANDA\n Doing what?\n\n SHOSANNA\n Projectionist.\n\n COL LANDA\n Is he any good?", "COL LANDA\n Till tonight.\n And with that he's gone.\n Shosanna breaths a sigh of relief.", "GOEBBELS\n Ah Landa, your here, this is the\n young lady in question.\n The S.S. Officer sits down, and it's our old friend from the\n first scene COL HANS LANDA.", "COL.LANDA'S VOICE(OS)\n Shut up!\n The faceless black hood does.\n Col.Landa, now standing directly in front of his hooded\n prisoner, says in ENGLISH;", "COL LANDA\n Pramed by the window, takes his LUGAR, and straight arm aims at the\n fleeing Jew, cocking back the hammer with his thumb.", "69.\n\n SHOSANNA\n The cinema originally belonged to\n my aunt and uncle -\n Col Landa removes alittle black book from his pocket.", "THEN...\n He removes from his heavy SS coat pocket, the pretty dress shoe\n the fraulein left behind at La Louisiane...", "During her conversation and strudel with the man that\n exterminated her entire family, shosanna pissed herself.\n She drops the German cigarette in to the piss puddle by her", "COL LANDA\n Have you tried the strudel here?\n\n SHOSANNA\n No." ], [ "going to get you in the premiere.\n It will be you, her, and two German\n born members of the Basterds. She's\n also made all the other arrangements", "WE SEE the other Basterds, dressed in French civilian clothes,\n are in the room as well, they are, Donowitz, Hirschberg,", "BACK TO THE PREMIERE\n Shosanna in the booth, she brings down the lights.\n In the packed, excited auditorium, the house lights go down.", "And Enzo's camera assistant, Dominick\n Decocco.\n The German fraulein turns to the three tuxedo wearing\n Basterds.", "like you to meet.\n Shosanna joins the circle, and is handed a champagne glass.\n This is the first moment The Basterds are aware of Shosanna.", "Gentlemen rise. She greets each warmly with a french cheek\n kiss, as if she knows them well.\n They all take a seat. The two Basterds, and one Brit, drink", "The Basterds will be waiting for you.\n First thing, you go to a little village\n called, \"Nadine\".\n (He points it", "BACK TO BASTERDS\n We See in Bridget continues to brief Hicox on his identity.\n the B.G., the German Master Sgt stand up from his table, and\n head toward Fraulein Von Bammersmark.", "BACK TO BRIDGET\n\n BRIDGET\n The Fuhrer's attending the premiere.", "BRIDGET\n Hand me my purse.\n They do. And she opens it, and takes out three tickets to the\n film premiere.", "MARCEL\n What the fuck are we suppose to do?\n\n SHOSANNA\n It looks like we're suppose to have\n a Nazi premier.", "of been suicide. But going as\n members of the German film industry,\n they wear tuxedos, and blend in with\n everybody else. I arranged a tailor", "would call a terrorist plot, as of\n this moment, is still a go.\n The two Basterds don't believe this. It can't be true.", "Then Aldo points to another Basterd. A big scary looking\n Basterd, in a German Sgt's uniform, named, SGT.HUGO STIGLITZ", "BUTZ'S POV:\n on ground, looking up at them. Aldo has just carved the\n swastika, and he's holding the bloody knife. All The\n Basterds crowd around to admire his handy work.", "Donowitz and Hirschberg watch...\n Shosanna, in the booth, watches through the little window...\n The CAMERA PANS OFF of Shosanna, to the clearly marked film", "NARRATOR (VO)\n While Shosanna sits there pretending\n to be amused by the aryan antics of", "MRS.HIMMELSTEIN\n Good. A Basterds work is never done.\n Specially in Germany.\n Donny steps up to the plate, looking down at the Nazi;", "The Basterds laugh, a couple pat Hugo on the back.\n The NARRATOR comes back on the SOUNDTRACK.", "German brass band that's blaring Third Reich Marches, can be\n heard coming from below.\n Shosanna walks to her apartment window, and looks down at the" ], [ "BACK TO THE PREMIERE\n Shosanna in the booth, she brings down the lights.\n In the packed, excited auditorium, the house lights go down.", "We see Shosanna enter from the area at the top of the big\n staircase in the lobby that overlooks the lobby parlor\n entrance. She descends the staircase, and busies herself with", "MARCEL\n What the fuck are we suppose to do?\n\n SHOSANNA\n It looks like we're suppose to have\n a Nazi premier.", "NARRATOR (VO)\n While Shosanna sits there pretending\n to be amused by the aryan antics of", "after all she does operate a cinema.\n Francesca, tell her.\n Francesca tells Shosanna in French;", "INT - SHOSANNA'S OFFICE - NIGHT\n Shosanna's cinema manager office. It's small, cluttered, and\n dominated by a desk.", "MARCEL\n Ready?\n Shosanna takes a deep breath, then;\n\n SHOSANNA\n Ready.\n\n MARCEL\n Action.", "SHOSANNA\n Well, good luck with your premier\n Private. I hope all goes well for\n Joseph and yourself. Au revoir.\n And with that, she disappears. Leaving the perplexed private\n alone.", "Shosanna watches, pitiless.", "EXT - ROOFTOP CINEMA - NIGHT\n Shosanna stands on the roof of her cinema, late at night,\n lighting up a cigarette. As she takes her first big drag,\n she remembers a voice.", "MARCEL\n I'm confused, what are we talking\n about?\n\n SHOSANNA\n Filling the cinema with Nazi's and\n their whores, and burning it down\n to the ground.", "Shosanna goes back to the full length mirror, places a very\n fashionable Forties style hat on her head, then lowers the\n period style black fish net veil over her face. She takes out", "As the FILM REEL on the lst PROJECTOR rolls out, Shosanna\n stands ready, waiting by the 2nd PROJECTOR...\n\n WHEN...", "Shosanna stands at the projector, watching the old German film\n she's projecting, waiting for the1st REEL CHANGE MARK...", "Shosanna, throws the lever on the first projector.", "Dieing or not, if Shosanna intends to get her revenge, she's\n going to have to lift her ass off the floor, and execute this\n fucking reel change.", "During her conversation and strudel with the man that\n exterminated her entire family, shosanna pissed herself.\n She drops the German cigarette in to the piss puddle by her", "Shosanna, gun in hand, looks out projection booth window into\n the audience...\n The ON SCREEN BATTLE rages so LOUDLY with GUNFIRE, that her", "going to get you in the premiere.\n It will be you, her, and two German\n born members of the Basterds. She's\n also made all the other arrangements", "Shosanna, looking like a Forties movie star, enters the\n projection booth.\n The scene in FRENCH SUBTITLED in ENGLISH;" ], [ "THE SWASTIKA HAND CARVED INTO HIS FOREHEAD, UNDENIABLE MARK", "CU COL.LANDA\n The Dagger has just completed carving a swastika deep into his\n forehead.", "CARVED INTO HIS FOREHEAD.\n\n BACK TO BASTERDS", "BUTZ'S POV:\n on ground, looking up at them. Aldo has just carved the\n swastika, and he's holding the bloody knife. All The\n Basterds crowd around to admire his handy work.", "SWASTIKA FOREHEAD\n The Bear Jew!1!\n The Soldier's GUN is out of it's holster, and rising toward\n Donny's chest...", "CU SWASTIKA FOREHEAD\n begins to notice...\n\n SOLDIER POV:\n Donny getting closer, begins to notice, German soldier notice\n him...", "BACK TO WASHROOM\n The Swastika Forehead Soldier, get a light for his cigarette.\n He takes a big drag.", "CU SWASTIKA FOREHEAD\n now Donny is close enough for the Soldier to recognize. His\n face SCREAMS;", "CU SWASTIKA FOREHEAD\n seeing him closer still...\n\n SOLDIER POV:\n Donny gets closer...", "CU SWASTIKA FOREHEAD\n seeing him get closer...\n\n SOLDIER POV:\n Donny gets closer...", "SWASTIKA FOREHEAD\n\n (GERMAN)\n Hey Fritz, you owe me three cigarettes,\n now pay up.", "Marcel, holds his arm behind him, as he forces his head flat\n against the table top.\n Shosanna brings a HATCHET DOWN DEEP into the table, just by", "his face, and waits for the Nazi convoy to arrive. After living for\n a year with the sword of Damocles suspended over his head, this may\n very well be the end.", "The Soldiers are putting the shot in the leg, bleeding, and in\n excruciating pain, Bridget on the examining table.\n Donny, still holding on to the Old Man, points in the girls", "BACK TO HITLER\n Pvt.Butz removes his combat helmet, hair hangs in his face,\n his moves it aside, and WE SEE a SWASTIKA has been HAND", "on their forehead. So they ask the others questions to figure\n out who they are.\n The Five Germans, five cards read; MASTER SGT #1(POLA NEGRI),", "the card off his forehead.\n The other Four German Soldiers drink down there beer(part of\n the game).\n Bridget Von Hammersmark knock backs her champagne.", "JULIE'S POV:\n A Nazi town car convertible, with two little nazi flags attached to", "nobody gonna know you was a Nazi.\n And that don't sit well with us.\n Aldo removes a LARGE KNIFE from a sheath on his belt.", "(CON'T)\n I am going to burn down the cinema\n on Nazi night.\n One of his fingers probes her mouth.\n\n SHOSANNA" ], [ "COLONEL.HANS LANDA offers the French Farmer PERRIER LAPADITE his hand.\n The Frenchman takes the German hand in his and shakes it.", "PERRIER\n But the meaning of your visit, pleasant\n though it is, is mysterious to me.\n The Germans looked through my house nine\n months ago for hiding Jews, and found\n nothing.", "FARMER\n I am Perrier LaPadite.\n The S.S. Colonel crosses the distance between them with long strides,\n and says in French with a smile on his face;", "PERRIER\n Yes.\n Colonel Landa stands up from the table, and switching to FRENCH says", "PERRIER\n Very well.\n The French Farmer sit's at his wooden dinner table across from\n The Nazi.\n The Women remain standing.\n Col Landa leans forward, and says to the Farmer in a low tone of", "FREDRICK\n And you've met the Major.\n The Gestapo officer steps up and says, to Fredrick in German;", "COL LANDA\n That was a question Monsieur LaPadite.\n In this time of war, What do you consider\n your number one duty?\n\n PERRIER\n To protect my family.", "The Driver begins to translate, when the Gestapo Major holds up his\n hand, telling him not to bother. The Major looks at the young\n French girl and tells her in German;", "COL LANDA\n So the rumors you've heard have been of\n escape?\n\n PERRIER\n Yes.", "PERRIER\n But of course.\n Farmer stands up, goes over to the ice box, and takes out the\n aft of milk. As he walks over and fills the Nazi Colonel's glass,\n German Officer talks.", "FARMER)\n What have you heard about The Dreyfusis\n Monsieur LaPadite?\n\n PERRIER\n Only rumors -", "COL LANDA\n You are sheltering enemies of the state,\n are you not?\n\n PERRIER\n Yes.", "PERRIER\n Merci. Please have a seat.\n The Farmer offers The S.S. Colonel a seat at the families wooden", "PERRIER\n Colonel Landa, this is my family.\n The S.S. COL clicks his heels together, and takes the hand of the\n French Farmers Wife...", "COL LANDA\n Your sheltering them underneath your\n floorboards aren't you?\n\n PERRIER\n Yes.", "Please allow me, have a seat.\n The Gestapo Officer pulls out a chair, for the young lady to sit\n down. Shosanna takes the hot seat. Seated to her right is", "operator, will get in the truck,\n drive to our lines. Upon crossing\n our lines, Colonel Landa and his\n man will surrender to you. You will", "NAZI OFFICER\n Is this the property of Perrier LaPadite?", "NAZI OFFICER\n This is the property of Perrier LaPadite?", "LaPadite, if you can assist me with\n answers, my department can close the\n file on your family.\n Taking his black leather attache case, and placing it on the table, he" ], [ "BUTZ'S POV:\n on ground, looking up at them. Aldo has just carved the\n swastika, and he's holding the bloody knife. All The\n Basterds crowd around to admire his handy work.", "LT.ALDO\n Lt.Aldo Raine, pleased to meet cha.\n You know what sit down means Werner?\n\n SGT.RACHTMAN\n Yes.", "because these yanks have been them\n the devil. Their leader is a chap\n named Lt.Aldo Raine. The Germans\n call him, \"Aldo the Apache\".", "CARVED INTO HIS FOREHEAD.\n\n BACK TO BASTERDS", "LT. ALDO\n I'm Lt.Aldo Raine, and these are\n The Basterds. Ever heard of us?\n Hugo nods his head, yes.", "Germans will later call; \"The Basterds\". Lt.Aldo has one\n defining physical characteristic, a ROPE BURN around his", "LT.ALDO\n My name is Lt.Aldo Raine, and I'm\n puttin together a special team.", "BACK TO HITLER\n Pvt.Butz removes his combat helmet, hair hangs in his face,\n his moves it aside, and WE SEE a SWASTIKA has been HAND", "PVT.BUTZ\n Yes, sir.\n\n LT.ALDO\n Point out on this map, the German\n position.\n His arm shoots out like a rocket, and points out the\n positions.", "PVT.BUTZ(VO)\n .and tore out the identification page.\n Utivich RIPS the page out, and sticks it in his pocket.\n Tossing the torn book on the dead, scalpless body.", "LT.ALDO\n I'm a slave to appearances.\n Then Aldo takes the Luger, and SHOOTS HERRMAN DEAD.\n The bound Col.Landa is appalled.", "of The Basterds, Lt.Aldo Raine, and Prvt.Smithson Uitivich,\n both with their hands cuffed behind there back.", "PVT.BUTZ(VO)\n The Basterds, took their lives, their\n hair, their valuables, their identity,", "nobody gonna know you was a Nazi.\n And that don't sit well with us.\n Aldo removes a LARGE KNIFE from a sheath on his belt.", "THE SWASTIKA HAND CARVED INTO HIS FOREHEAD, UNDENIABLE MARK", "MRS.HIMMELSTEIN\n Good. A Basterds work is never done.\n Specially in Germany.\n Donny steps up to the plate, looking down at the Nazi;", "LT.ALDO\n That's Sgt.Donny Donowitz. But you\n might know him better by his nickname,", "Aldo in the middle.\n As Sgt.Rachtman walks towards this circle of Basterds,\n A OFF SCREEN LITERARY NARRATOR (not Pvt.Butz) speaks over", "Then Aldo points to another Basterd. A big scary looking\n Basterd, in a German Sgt's uniform, named, SGT.HUGO STIGLITZ", "PVT.BUTZ\n Yes mine Fuhrer.\n\n HITLER\n Did they mark you like they did the\n other survivors?" ], [ "GOEBBLES(OS)\n Is that the young lady in question,\n Fredrick?\n Private Zoller turns in his direction, takes Shosanna by the\n arm, and leads her to him.", "conceded to have the venue changed\n to Shosannas cinema. Not only that,\n in a moment of inspiration, Heer\n Goebbels had a idea.", "SHOSANNA\n How has it done durring the war?\n\n FREDRICK\n Actually, in Germany, cinema\n attendance is up.", "after all she does operate a cinema.\n Francesca, tell her.\n Francesca tells Shosanna in French;", "German film industry, and now I'm a\n actor, my boss, Joseph Goebbels.\n Goebbels offers up his long spider-like fingers for Shosanna to", "GOEBBELS\n well I must say, you've made quite a\n impression on our boy.\n Francesca interprets Goebbels German for Shosanna.", "FREDRICK\n Shosanna, this4pol Hans Landa of\n the SS., he'll be running security\n for the premier.", "Joseph Goebbels, remaining seated, looks up at the young French\n girl, scrutinizing her as he spoons creme brule into his mouth.\n The excited Fredrick introduces Shosanna to the propaganda", "trying to convince Monsieur Goebbels\n to abandon previous plans for Private\n Zollers film premier, and change the\n venue to your cinema.", "FREDRICK\n And normally, this is beer Goebbels French\n interpreter, Mademoiselle Francesca\n Mondino.\n\n FRANCESCA\n looks up at Shosanna.", "BACK TO THE PREMIERE\n Shosanna in the booth, she brings down the lights.\n In the packed, excited auditorium, the house lights go down.", "them. One of the French Girls says in FRENCH, how exciting\n it is to meet a real live German war hero. Shosanna hears", "GERMAN SOLDIER\n I adore your cinema very much.\n\n SHOSANNA\n Merci.\n She busies herself with the marquee letters...", "NARRATOR (VO)\n As they left the little French\n cinema that night, all the Germans\n were very happy...\n We see Private Zoller hanging back, so he.can say goodbye.", "SHOSANNA\n My cinema , on German night, tends\n to show older German classics.\n Francesca interprets...\n\n GOEBBELS\n Why not my films?\n Francesca asks...", "SHOSANNA\n is your cinema still operatiing?\n\n FREDRICR\n Oui.\n\n SHOSANNA\n What's it called?", "MAJOR HELLSTROM\n Duly noted.\n Goebbels speaks German to Shosanna;\n\n GOEBBELS\n You have opera boxes?\n\n SHOSANNA", "ladies cinema before I can say,\n yes or no.\n (to Shosanna)\n So young lady, you are to close\n your cinema tonight, and have", "Donowitz and Hirschberg watch...\n Shosanna, in the booth, watches through the little window...\n The CAMERA PANS OFF of Shosanna, to the clearly marked film", "MARCEL\n What the fuck are we suppose to do?\n\n SHOSANNA\n It looks like we're suppose to have\n a Nazi premier." ], [ "after all she does operate a cinema.\n Francesca, tell her.\n Francesca tells Shosanna in French;", "Do to his uniform, and Shosanna's situation, all his efforts\n at trying to make small talk, strikes the young Jewess in\n hiding as a Gestapo interrogation.", "During her conversation and strudel with the man that\n exterminated her entire family, shosanna pissed herself.\n She drops the German cigarette in to the piss puddle by her", "We see Shosanna enter from the area at the top of the big\n staircase in the lobby that overlooks the lobby parlor\n entrance. She descends the staircase, and busies herself with", "MADAME MIMIEUX\n But your a bright little thing, that's\n clever disguise. Where is your family?\n\n SHOSANNA\n Murdered.", "them. One of the French Girls says in FRENCH, how exciting\n it is to meet a real live German war hero. Shosanna hears", "NARRATOR (VO)\n While Shosanna sits there pretending\n to be amused by the aryan antics of", "Shosanna goes back to the full length mirror, places a very\n fashionable Forties style hat on her head, then lowers the\n period style black fish net veil over her face. She takes out", "Considering Shosanna. grew up on a dairy farm, and the last time\n she was on a dairy farm, her strudel companion murdered her\n entire family, his ordering her milk is, to say the", "FREDRICK\n And normally, this is beer Goebbels French\n interpreter, Mademoiselle Francesca\n Mondino.\n\n FRANCESCA\n looks up at Shosanna.", "SHOSANNAS GIANT FACE\n My name is Shosanna Dreyfus, and this is\n the face of Jewish Vengeance! Marcel,\n\n BURN IT DOWN!", "SHOSANNA\n Oui.\n\n MADAME MIMIEUX\n Whats your name?\n\n SHOSANNA\n Shosanna.", "SHOSANNA\n We were from Nancy. The Bosch found us\n\n MADAME MIMIEUX\n Is this a sad story?\n\n SHOSANNA\n Oui.", "Shosanna finds the two counterfeit Italians their seats.\n After she points out their seats, she turns to leave...\n Hirschberg...", "German brass band that's blaring Third Reich Marches, can be\n heard coming from below.\n Shosanna walks to her apartment window, and looks down at the", "FREDRICK\n What the hell was that?\n While Fredrick's back is turned, Shosanna takes a GUN out of", "SHOSANNA\n You wish to see my papers?\n She hands him her excellently forged papers.\n That's obviously not what he meant, but he takes them anyway\n to read her name.", "BACK TO FRANCESCA\n looking at Shosanna.\n\n FRANCESCA\n Bon jour.\n\n SHOSANNA\n Bon jour.", "INT - FRENCH BISTRO - AFTERNOON\n Shosanna sits in the back of a French bistro, reading a", "EXT - ROOFTOP CINEMA - NIGHT\n Shosanna stands on the roof of her cinema, late at night,\n lighting up a cigarette. As she takes her first big drag,\n she remembers a voice." ], [ "LT.ALDO\n You said it was in a tavern?\n\n LT.HICOX\n it is a tavern.", "LT. HICOX\n Lt. Archie Hicox, reporting sir.", "LT.HICOX\n Well, now you put it like that,\n I guess you do.\n He turns his attention back to his blade.\n Hicox moves over to Aldo, and asks him privately;", "Which Lt.Hicox knows enough to mean, if Churchell isn't\n introduced, he ain't there.", "A young George Sanders type(The Saint and Private affairs of\n Bel Ami, years).\n Upon entering the room, Lt.Hicox is gobsmacked.", "LT.HICOX\n There's a special rung in hell reserved\n for people who waste good scotch.\n And seeing as I might be rapping on\n the door momentarily...\n He downs the stuff.", "Lt.Hicox approaches Stiglitz...", "Lt.Hicox watches Stiglitz off by himself on the other side of\n the room, SHARPENS his dagger menacingly.\n .Stiglitz is fucking werid...", "BRIDGET\n The English man, gave himself away.\n\n LT. ALDO\n How did he do that?", "LT.HICOX\n Indeed.\n General Fenech continues on with his exposition, moving over\n to a military map.", "LT.HICOX\n Three glasses.\n Eric brings the three glasses, and the old bottle, pouring for\n the three soldiers.\n Major Helistrom lifts up his beer stein, and toasts;", "your not finished spreading them for\n all the Hollywood Jews.\n Lt.Hicox picks up his thirty-three year old single malt\n scotch, and says;", "BRIDGET\n By all means, Major.\n The Gestapo Major sits at the table, opposite Lt.Hicox, and\n Wicki. The French Barmaid brings over the Majors beer stein.", "BRIDGET)\n .and sophisticated lady friends of\n officers. What say we play the game?\n Lt.Hicox begins to refuse, when Bridget (feeling she knows\n better), interrupts him;", "impostors table.\n Lt.Hicox, calmly explains his origin.", "GEN.FENECH\n That a boy, Lieutenant. Make it\n yourself, like a good chap,\n will you? Bars in the globe.\n Hicox heads over to the bar globe.", "LT.HICOX\n Shit.\n Sgt.Donowitz chides him;\n\n SGT.DONOWITZ\n So what do you think your fraulein\n Von Hammer -", "BRIDGET\n Lt.Hicox was going as my escort.\n The other two were going as a German\n cameraman and his assistant.", "LT.HICOX\n Like a Katzenjammer Kid.\n\n GEN.FENECH\n And your occupation before the war?\n His back still to us, as he bartends...", "LT.HICOX\n Major, I don't mean to be rude. But the\n four of us are very good friends. And" ], [ "guarded us, the rest removed the hair.\n All The Basterds wore German scalps\n tied to their belts.", "BUTZ'S POV:\n on ground, looking up at them. Aldo has just carved the\n swastika, and he's holding the bloody knife. All The\n Basterds crowd around to admire his handy work.", "And the gods are watching.\n The captured German Sgt, enters the circle of Basterds,\n stands straight before the sitting southern Lieutenant, and\n salutes his captor.", "Germans will later call; \"The Basterds\". Lt.Aldo has one\n defining physical characteristic, a ROPE BURN around his", "Then Aldo points to another Basterd. A big scary looking\n Basterd, in a German Sgt's uniform, named, SGT.HUGO STIGLITZ", "PVT.BUTZ(VO)\n The Basterds, took their lives, their\n hair, their valuables, their identity,", "prisoner takin business. We in the\n killin Nazi business. And cousin,\n business is boomin.\n The Basterds laugh.", "The Basterds will be waiting for you.\n First thing, you go to a little village\n called, \"Nadine\".\n (He points it", "PVT.BUTZ(VO)\n Throwing them away from the bodies...\n\n DEAD GERMANS\n scalps removed from their heads, pink bare feet...", "CU SCALPS\n hanging from belts.\n\n PVT.BUTZ(VO)\n They not only took valuables...", "because these yanks have been them\n the devil. Their leader is a chap\n named Lt.Aldo Raine. The Germans\n call him, \"Aldo the Apache\".", "LT.HICOX\n Scalps, sir?\n\n GEN.FENECH\n The hair.\n He runs his finger along his hairline.", "Nazi scalps, taken from the heads of\n one hundred dead Nazi's...\n .or you will die trying.", "MRS.HIMMELSTEIN\n Good. A Basterds work is never done.\n Specially in Germany.\n Donny steps up to the plate, looking down at the Nazi;", "WE SEE the other Basterds, dressed in French civilian clothes,\n are in the room as well, they are, Donowitz, Hirschberg,", "sharpening his S.S. DAGGER on his leather belt looped around his\n boot. Anybody not in the scene from the Basterds opening\n chapter, is dead.", "LT. ALDO\n I'm Lt.Aldo Raine, and these are\n The Basterds. Ever heard of us?\n Hugo nods his head, yes.", "9\n\n BACK TO BASTERDS", "LT.HICOX\n Why do they call him that?\n\n GEN.FENECH\n Best guess, is because he removes the\n scalps of the Nazi dead.", "BACK TO BASTERDS\n We See in Bridget continues to brief Hicox on his identity.\n the B.G., the German Master Sgt stand up from his table, and\n head toward Fraulein Von Bammersmark." ], [ "LT.HICOX\n How will I know her?\n\n GEN.FENECH\n I suspect that won't be too much\n trouble for you. Your contact is\n Bridget Von Hammersmark.", "COL.LANDA\n Bridget Von Hammersmark. Oh I'm sure\n she's in whatever, big bubbling\n cesspool in hell, the devil reserves\n for traitors of her ilk.", "(COR'T)\n Well, lets just say, she got what\n she deserved. And when you purchase\n friends like Bridget Von Hammersmark,", "BRIDGET\n Colonel Landa, it's been years.\n Dashing as ever I see.", "They both enter.\n Col.Landa closes the door behind him, and LOCKS IT.\n Bridget notices, but says nothing.\n Now the two Germans are alone.", "He slips it on her foot...\n .it fits like a glove.\n Bridget knows she's BUSTED.\n Col.Landa smiles and says in ENGLISH;", "COL.LANDA\n\n (GERMAN)\n Let me see your foot.\n\n BRIDGET\n\n (GERMAN)\n I beg your pardon?", "SHOSANNA\n Oui.\n Col Landa takes another bite of strudel, Shosanna follows suit.\n\n COL LANDA\n So it would appear our young hero is\n quite smitten with you?", "(GERMAN)\n What now Colonel?\n\n COL LANDA\n\n (GERMAN)\n Do you admit you treachery?\n She stares defiant daggers into him.", "THEN...\n .Bridget Von Hammersmark rises, and excuses herself from the\n Table. She removes the card stuck in her fedora, looking at\n the name Gengus Khaun for the first time.", "LT.HICOX\n Bridget Von Hammersmark? The German\n movie star is working for England?", "(FRENCH)\n And Mademoiselle, this battered, broken,\n and none worse for the wear German\n goddess, is Bridget Von Hammersmark.", "COL LANDA\n Col Hans Landa of the S.S. madame,\n at your service.\n He kisses her hand, then continues without letting go of his hostess\n hand...", "Pabst, gave him a Close Up.\n As Bridget Von Hammersmark places a cigarette in a ivory\n cigarette holder, which Hicox, as if on cue, lights for her,", "BACK TO BASTERDS\n We See in Bridget continues to brief Hicox on his identity.\n the B.G., the German Master Sgt stand up from his table, and\n head toward Fraulein Von Bammersmark.", "BRIDGET\n\n (GERMAN)\n Well, my two cameraman friends need\n to find there seats.\n Col.Landa stops a WAITER with a tray of champagne glasses.", "R\n On the floor, with a bullet in her BLOODY LEG, lies the\n alive Bridget Von Hammersmark.", "COL LANDA\n After you.\n Shosanna takes •a whip creamy bite of strudel, Landa follows her\n lead.\n\n COL LANDA", "COL.LANDA'S VOICE(OS)\n Shut up!\n The faceless black hood does.\n Col.Landa, now standing directly in front of his hooded\n prisoner, says in ENGLISH;", "COL LANDA\n Till tonight.\n And with that he's gone.\n Shosanna breaths a sigh of relief." ], [ "Shosanna's at the editing bench, REEL 4, is up on the\n rewinds...\n Shosanna SPLICES her and Marcels footage into REEL 4 of", "During her conversation and strudel with the man that\n exterminated her entire family, shosanna pissed herself.\n She drops the German cigarette in to the piss puddle by her", "after all she does operate a cinema.\n Francesca, tell her.\n Francesca tells Shosanna in French;", "NARRATOR (VO)\n While Shosanna sits there pretending\n to be amused by the aryan antics of", "SHOSANNA\n Because Marcel, my sweet, we're\n going to make a film. Just for the\n Nazi's.\n\n FADE TO BLACK", "Donowitz and Hirschberg watch...\n Shosanna, in the booth, watches through the little window...\n The CAMERA PANS OFF of Shosanna, to the clearly marked film", "We see Shosanna enter from the area at the top of the big\n staircase in the lobby that overlooks the lobby parlor\n entrance. She descends the staircase, and busies herself with", "them. One of the French Girls says in FRENCH, how exciting\n it is to meet a real live German war hero. Shosanna hears", "Shosanna stands at the projector, watching the old German film\n she's projecting, waiting for the1st REEL CHANGE MARK...", "(CON'T)\n I am going to burn down the cinema\n on Nazi night.\n One of his fingers probes her mouth.\n\n SHOSANNA", "German brass band that's blaring Third Reich Marches, can be\n heard coming from below.\n Shosanna walks to her apartment window, and looks down at the", "Dieing or not, if Shosanna intends to get her revenge, she's\n going to have to lift her ass off the floor, and execute this\n fucking reel change.", "Shosanna, looking like a Forties movie star, enters the\n projection booth.\n The scene in FRENCH SUBTITLED in ENGLISH;", "EXT - ROOFTOP CINEMA - NIGHT\n Shosanna stands on the roof of her cinema, late at night,\n lighting up a cigarette. As she takes her first big drag,\n she remembers a voice.", "GERMAN SOLDIER\n I adore your cinema very much.\n\n SHOSANNA\n Merci.\n She busies herself with the marquee letters...", "63\n As Francesca interprets this for Shosanna...\n ...the empty chair next to the young Jewish girl is suddenly\n filled with the bottom half of a grey S.S. officer uniform.", "SHOSANNA\n My cinema , on German night, tends\n to show older German classics.\n Francesca interprets...\n\n GOEBBELS\n Why not my films?\n Francesca asks...", "SHOSANNA\n How has it done durring the war?\n\n FREDRICK\n Actually, in Germany, cinema\n attendance is up.", "Marcel is behind a old (even then) BOLEX 35MM MOVIE CAMERA,\n positioned low looking up.\n Shosanna, the camera subject, stands on boxes looking down", "German film industry, and now I'm a\n actor, my boss, Joseph Goebbels.\n Goebbels offers up his long spider-like fingers for Shosanna to" ], [ "The Basterds will be waiting for you.\n First thing, you go to a little village\n called, \"Nadine\".\n (He points it", "going to get you in the premiere.\n It will be you, her, and two German\n born members of the Basterds. She's\n also made all the other arrangements", "like you to meet.\n Shosanna joins the circle, and is handed a champagne glass.\n This is the first moment The Basterds are aware of Shosanna.", "WE SEE the other Basterds, dressed in French civilian clothes,\n are in the room as well, they are, Donowitz, Hirschberg,", "Gentlemen rise. She greets each warmly with a french cheek\n kiss, as if she knows them well.\n They all take a seat. The two Basterds, and one Brit, drink", "LT.ALDO\n Hows your English Werner? Cause if\n need be, we gotta a couple fellas\n can translate.\n Aldo points at one of The Basterds in the circle,", "MRS.HIMMELSTEIN\n Good. A Basterds work is never done.\n Specially in Germany.\n Donny steps up to the plate, looking down at the Nazi;", "them. One of the French Girls says in FRENCH, how exciting\n it is to meet a real live German war hero. Shosanna hears", "BUTZ'S POV:\n on ground, looking up at them. Aldo has just carved the\n swastika, and he's holding the bloody knife. All The\n Basterds crowd around to admire his handy work.", "prisoner takin business. We in the\n killin Nazi business. And cousin,\n business is boomin.\n The Basterds laugh.", "Germans will later call; \"The Basterds\". Lt.Aldo has one\n defining physical characteristic, a ROPE BURN around his", "NARRATOR (VO)\n As they left the little French\n cinema that night, all the Germans\n were very happy...\n We see Private Zoller hanging back, so he.can say goodbye.", "BACK TO BASTERDS\n We See in Bridget continues to brief Hicox on his identity.\n the B.G., the German Master Sgt stand up from his table, and\n head toward Fraulein Von Bammersmark.", "LT. ALDO\n I'm Lt.Aldo Raine, and these are\n The Basterds. Ever heard of us?\n Hugo nods his head, yes.", "Shosanna finds the two counterfeit Italians their seats.\n After she points out their seats, she turns to leave...\n Hirschberg...", "German brass band that's blaring Third Reich Marches, can be\n heard coming from below.\n Shosanna walks to her apartment window, and looks down at the", "because these yanks have been them\n the devil. Their leader is a chap\n named Lt.Aldo Raine. The Germans\n call him, \"Aldo the Apache\".", "MARCEL\n What the fuck are we suppose to do?\n\n SHOSANNA\n It looks like we're suppose to have\n a Nazi premier.", "The Basterds know only too well who Landa the Jew Hunter is,\n but they can't show it.", "And Enzo's camera assistant, Dominick\n Decocco.\n The German fraulein turns to the three tuxedo wearing\n Basterds." ], [ "SHOSANNA\n No, Marcel, just for sake of argument,\n if we wanted to burn down the cinema,\n for any number of reasons, you and I\n could physically accomplish that, no?", "BEHIND THE SCREEN\n Marcel takes his cigarette, and FLICKS IT into the pile of\n nitrate film.", "Marcel, holds his arm behind him, as he forces his head flat\n against the table top.\n Shosanna brings a HATCHET DOWN DEEP into the table, just by", "INSIDE THE AUDITORIUM\n WE PAN OFF THE SCREEN to Marcel, who locks the two doors on", "MARCEL\n I'm confused, what are we talking\n about?\n\n SHOSANNA\n Filling the cinema with Nazi's and\n their whores, and burning it down\n to the ground.", "(CON'T)\n And if I'm going to burn down the\n cinema, which I am, we both know,", "MARCEL IN LOBBY\n He descends the stairs leading down from the projection booth,\n into the empty lobby. He goes to one of the auditorium doors,\n and peers inside.", "ether side of the screen....due to curtains placed there, no\n one notices Marcels actions.\n Marcel then goes BEHIND THE SCREEN, WE SEE the IMAGE", "MARCEL\n What about it?\n She slowly walks up the stairs to Marcel. She makes him part", "Marcel is behind a old (even then) BOLEX 35MM MOVIE CAMERA,\n positioned low looking up.\n Shosanna, the camera subject, stands on boxes looking down", "lights up a cigarette, and Madame Mimieux SLAPS her face\n HARD, knocking the cigarette out of her mouth. Marcel\n quickly STAMPS it out on the floor.", "MARCEL\n You mean we wouldn't need any more\n explosives?\n\n SHOSANNA\n Oui, that's exactly what I mean.\n She begins kissing his hands.", "Fredrick's exploits on screen.\n Marcel closes the door, and with a KEY, DEADBOLTS it SHUT.", "MARCEL\n Ready?\n Shosanna takes a deep breath, then;\n\n SHOSANNA\n Ready.\n\n MARCEL\n Action.", "Marcel sits at the top of the staircase of the lobby, looking\n down at Shosanna.\n They speak in FRENCH SUBTITLED into ENGLISH;", "MARCEL\n Clap your hands.\n She does.\n\n MARCEL\n In frame imbecile.\n She claps her hands in front of her face.", "MARCEL\n Reel one is on the first projector.\n Reel two is on the second. Three\n and four are ready to go.", "MARCEL\n It's time. I should go lock the auditorium,\n and take my place behind the screen.", "INT - SHOSANNAS AND MARCELS LIVING QUARTERS - NIGHT\n We're in Shosannas and Marcels living quarters, above the\n cinema. We've never been in here before.", "MADAME MIMIEUX\n You damn well better.\n\n BACK TO ROOF\n Shosanna exhales cigarette smoke.\n Marcel comes onto the roof." ], [ "FARMER\n I am Perrier LaPadite.\n The S.S. Colonel crosses the distance between them with long strides,\n and says in French with a smile on his face;", "LaPadite, if you can assist me with\n answers, my department can close the\n file on your family.\n Taking his black leather attache case, and placing it on the table, he", "COL LANDA\n Monsieur LaPadite, the rumors I have\n heard in the village about your family\n are all true. Your wife is a beautiful\n woman.\n His eyes leave the mother, and move to the three daughters.", "COL LANDA\n Monsieur LaPadite, are you aware of the\n nickname the people of France have given\n me?\n\n PERRIER\n I have no interest in such things.", "COL LANDA\n That was a question Monsieur LaPadite.\n In this time of war, What do you consider\n your number one duty?\n\n PERRIER\n To protect my family.", "LaPadite. In this war, you have found\n yourself in the middle of a conflict\n that has nothing to do with yourself,\n your lovely ladies, or your cows - yet,", "COL LANDA\n Your sheltering them underneath your\n floorboards aren't you?\n\n PERRIER\n Yes.", "COL LANDA\n Speak freely Monsieur LaPadite, I want\n to hear what the rumors are, not who told\n them to you.\n The Farmer puffs thoughtfully on his pipe.", "PERRIER\n Merci. Please have a seat.\n The Farmer offers The S.S. Colonel a seat at the families wooden", "NAZI OFFICER\n This is the property of Perrier LaPadite?", "FARMER)\n What have you heard about The Dreyfusis\n Monsieur LaPadite?\n\n PERRIER\n Only rumors -", "PERRIER\n (to his women)\n Charlotte, would you take the girls\n outside. The Colonel and I need to have", "here you are.\n So Monsieur LaPadite, let me purpose\n a question. In this time of war, what is\n your number one duty? Is it to fight the", "COL LANDA\n So the rumors you've heard have been of\n escape?\n\n PERRIER\n Yes.", "PERRIER\n But the meaning of your visit, pleasant\n though it is, is mysterious to me.\n The Germans looked through my house nine\n months ago for hiding Jews, and found\n nothing.", "are often reveling. So Monsieur LaPadite,\n what rumors have you heard regarding\n The Dreyfusis?\n The Farmerlooks at Landa.", "COL LANDA\n You are sheltering enemies of the state,\n are you not?\n\n PERRIER\n Yes.", "COL LANDA\n Please, Monsieur LaPadite, it is your\n house, make yourself comfortable.", "COL LANDA\n Monsieur LaPadite, I thank you for milk,\n and your hospitably. I do believe our\n business here is done.", "PERRIER\n To my knowledge those were the Jewish\n families among the dairy farmers.\n - Heer Colonel, would it disturb you if\n I smoked my pipe?\n Looking up from his papers." ], [ "COL LANDA\n Now according to these papers, all\n the Jewish families in this area have\n been accounted for - except, The Dreyfusis.", "UNDERNEATH THE FLOORBOARDS\n The entire Dreyfus family lay dead. Except for sixteen year old", "During her conversation and strudel with the man that\n exterminated her entire family, shosanna pissed herself.\n She drops the German cigarette in to the piss puddle by her", "dairy farmers house for the past year. But one couldn't call what The\n Dreyfusis have done for the last year living. This family has done the", "FIVE HUMAN BEINGS\n lying vertically underneath the farmers floorboards. These human\n beings are The DREYFUSIS, who have lived lying down underneath the", "COL LANDA\n Till tonight.\n And with that he's gone.\n Shosanna breaths a sigh of relief.", "BULLET BLOWS OFF HEEL OF HER FOOT...\n Luger drops to floor, Fredrick DIES.\n Our young French Jewish heroine, lies on the projection booth", "MADAME MIMIEUX\n But your a bright little thing, that's\n clever disguise. Where is your family?\n\n SHOSANNA\n Murdered.", "PERRIER\n Thirty - thirty one?\n\n COL LANDA\n Continue.\n\n PERRIER\n And the children... Amos... and Shoshanna.", "15Z.\n Donowitz stands from his seat, and walks out of the dark\n auditorium, into the lobby. The Nazi Guards/Ushers are gone,", "$HOSANNA, who miraculously escaped being struck by the nazi's bullets.\n With her dead family surrounding her, the young girl goes for freedom\n (represented by wire mesh vent).", "This is the last time they will ever see each other, too much\n to say. He holds her in his arms and lays a one kiss before I\n die wet one on her.", "COL LANDA\n Having never met the Dreyfusis, would\n you confirm for me the exact members of\n the household and their names?", "to do his job.\n Everybody saystheir farewells.\n Col Landa offers the young jew in hiding a seat at a small", "his face, and waits for the Nazi convoy to arrive. After living for\n a year with the sword of Damocles suspended over his head, this may\n very well be the end.", "Aldo and Hirschberg come down the stairs, showing open hands.\n Willi keeps his machine gunn trained on them.\n Aldo with his hands up, says;", "COL LANDA\n So the rumors you've heard have been of\n escape?\n\n PERRIER\n Yes.", "PERRIER\n Again, this is just a rumor - but we\n heard the Dreyfusis had made there way\n into Spain.", "COL LANDA\n Point out to me the area's where their\n hiding.\n The Farmer points out the area's on the floor with the Dreyfusis are\n underneath.", "followed by her TWO OTHER TEENAGE DAUGHTERS, and see the Germans\n approaching.\n The Farmer yells to his family in FRENCH, SUBTITLED IN ENGLISH;" ], [ "The Basterds will be waiting for you.\n First thing, you go to a little village\n called, \"Nadine\".\n (He points it", "like you to meet.\n Shosanna joins the circle, and is handed a champagne glass.\n This is the first moment The Basterds are aware of Shosanna.", "LT. ALDO\n I'm Lt.Aldo Raine, and these are\n The Basterds. Ever heard of us?\n Hugo nods his head, yes.", "MRS.HIMMELSTEIN\n Good. A Basterds work is never done.\n Specially in Germany.\n Donny steps up to the plate, looking down at the Nazi;", "LT.ALDO\n Hows your English Werner? Cause if\n need be, we gotta a couple fellas\n can translate.\n Aldo points at one of The Basterds in the circle,", "Gentlemen rise. She greets each warmly with a french cheek\n kiss, as if she knows them well.\n They all take a seat. The two Basterds, and one Brit, drink", "WE SEE the other Basterds, dressed in French civilian clothes,\n are in the room as well, they are, Donowitz, Hirschberg,", "Then Aldo points to another Basterd. A big scary looking\n Basterd, in a German Sgt's uniform, named, SGT.HUGO STIGLITZ", "going to get you in the premiere.\n It will be you, her, and two German\n born members of the Basterds. She's\n also made all the other arrangements", "9\n\n BACK TO BASTERDS", "BUTZ'S POV:\n on ground, looking up at them. Aldo has just carved the\n swastika, and he's holding the bloody knife. All The\n Basterds crowd around to admire his handy work.", "Germans will later call; \"The Basterds\". Lt.Aldo has one\n defining physical characteristic, a ROPE BURN around his", "NARRATOR(VO)\n Needless to say, once The Basterds\n heard about him, he never got there.", "prisoner takin business. We in the\n killin Nazi business. And cousin,\n business is boomin.\n The Basterds laugh.", "began turning sour for the Israelites.\n They are the two German born members of\n The Basterds. They've been known", "BACK TO BASTERDS\n We See in Bridget continues to brief Hicox on his identity.\n the B.G., the German Master Sgt stand up from his table, and\n head toward Fraulein Von Bammersmark.", "The Basterds laugh, a couple pat Hugo on the back.\n The NARRATOR comes back on the SOUNDTRACK.", "Aldo in the middle.\n As Sgt.Rachtman walks towards this circle of Basterds,\n A OFF SCREEN LITERARY NARRATOR (not Pvt.Butz) speaks over", "And the gods are watching.\n The captured German Sgt, enters the circle of Basterds,\n stands straight before the sitting southern Lieutenant, and\n salutes his captor.", "guarded us, the rest removed the hair.\n All The Basterds wore German scalps\n tied to their belts." ], [ "The Basterds will be waiting for you.\n First thing, you go to a little village\n called, \"Nadine\".\n (He points it", "Then Aldo points to another Basterd. A big scary looking\n Basterd, in a German Sgt's uniform, named, SGT.HUGO STIGLITZ", "MRS.HIMMELSTEIN\n Good. A Basterds work is never done.\n Specially in Germany.\n Donny steps up to the plate, looking down at the Nazi;", "prisoner takin business. We in the\n killin Nazi business. And cousin,\n business is boomin.\n The Basterds laugh.", "guarded us, the rest removed the hair.\n All The Basterds wore German scalps\n tied to their belts.", "because these yanks have been them\n the devil. Their leader is a chap\n named Lt.Aldo Raine. The Germans\n call him, \"Aldo the Apache\".", "BUTZ'S POV:\n on ground, looking up at them. Aldo has just carved the\n swastika, and he's holding the bloody knife. All The\n Basterds crowd around to admire his handy work.", "Germans will later call; \"The Basterds\". Lt.Aldo has one\n defining physical characteristic, a ROPE BURN around his", "LT. ALDO\n I'm Lt.Aldo Raine, and these are\n The Basterds. Ever heard of us?\n Hugo nods his head, yes.", "And the gods are watching.\n The captured German Sgt, enters the circle of Basterds,\n stands straight before the sitting southern Lieutenant, and\n salutes his captor.", "tavern. They obviously. see the five German soldiers, but their\n too far away for us (the audience) to read their face. No\n doubt their less then happy. Fraulein Von Hammersmark", "t v.\n Instead of getting mad, The Basterds burst out LAUGHING.\n I k\n Aldo says to Werner, with a giggle in his voice;", "The Basterds know only too well who Landa the Jew Hunter is,\n but they can't show it.", "them. One of the French Girls says in FRENCH, how exciting\n it is to meet a real live German war hero. Shosanna hears", "WE SEE the other Basterds, dressed in French civilian clothes,\n are in the room as well, they are, Donowitz, Hirschberg,", "LT.ALDO\n Hows your English Werner? Cause if\n need be, we gotta a couple fellas\n can translate.\n Aldo points at one of The Basterds in the circle,", "would call a terrorist plot, as of\n this moment, is still a go.\n The two Basterds don't believe this. It can't be true.", "like you to meet.\n Shosanna joins the circle, and is handed a champagne glass.\n This is the first moment The Basterds are aware of Shosanna.", "BACK TO THE BASTERDS\n Aldo screams to The Basterd who's guarding the two German\n prisoners.", "began turning sour for the Israelites.\n They are the two German born members of\n The Basterds. They've been known" ], [ "MARCEL\n Ready?\n Shosanna takes a deep breath, then;\n\n SHOSANNA\n Ready.\n\n MARCEL\n Action.", "MARCEL\n What the fuck are we suppose to do?\n\n SHOSANNA\n It looks like we're suppose to have\n a Nazi premier.", "MARCEL\n I'm confused, what are we talking\n about?\n\n SHOSANNA\n Filling the cinema with Nazi's and\n their whores, and burning it down\n to the ground.", "FREDRICK\n What the hell was that?\n While Fredrick's back is turned, Shosanna takes a GUN out of", "MARCEL\n You mean we wouldn't need any more\n explosives?\n\n SHOSANNA\n Oui, that's exactly what I mean.\n She begins kissing his hands.", "SHOSANNA\n Because Marcel, my sweet, we're\n going to make a film. Just for the\n Nazi's.\n\n FADE TO BLACK", "Marcel says to Shosanna in FRENCH, SUBTITLED in ENGLISH;", "EXT - CINEMA ROOFTOP - DAY\n Shosanna and Marcel are on the rooftop of their cinema,\n literally, making a movie.", "MADAME MIMIEUX\n You damn well better.\n\n BACK TO ROOF\n Shosanna exhales cigarette smoke.\n Marcel comes onto the roof.", "Marcel is behind a old (even then) BOLEX 35MM MOVIE CAMERA,\n positioned low looking up.\n Shosanna, the camera subject, stands on boxes looking down", "FREDRICK\n Shosanna, this4pol Hans Landa of\n the SS., he'll be running security\n for the premier.", "BACK TO THE PREMIERE\n Shosanna in the booth, she brings down the lights.\n In the packed, excited auditorium, the house lights go down.", "MARCEL\n Oui Shosanna, we could do that.", "FREDRICK\n And normally, this is beer Goebbels French\n interpreter, Mademoiselle Francesca\n Mondino.\n\n FRANCESCA\n looks up at Shosanna.", "Marcel sits at the top of the staircase of the lobby, looking\n down at Shosanna.\n They speak in FRENCH SUBTITLED into ENGLISH;", "Marcel, holds his arm behind him, as he forces his head flat\n against the table top.\n Shosanna brings a HATCHET DOWN DEEP into the table, just by", "MARCEL\n Like I said, what the fuck are we\n suppose to do?\n\n SHOSANNA\n Well, I need to speak with you\n about that.", "SHOSANNA AND FREDRICK\n Fredrick still outside the doorway, and Shosanna, still baring\n the way.\n\n SHOSANNA\n I have to get prepared for the reel\n change.", "Joseph Goebbels, remaining seated, looks up at the young French\n girl, scrutinizing her as he spoons creme brule into his mouth.\n The excited Fredrick introduces Shosanna to the propaganda", "SHOSANNA\n How has it done durring the war?\n\n FREDRICK\n Actually, in Germany, cinema\n attendance is up." ], [ "BRIDGET\n He ordered three glasses.\n She holds up three fingers, index to pinky.\n\n BRIDGET\n We order, three glasses.\n She holds up three fingers, thumb to index.", "BRIDGET\n That's the German three. The other\n is odd. Germans would, and did notice it.", "Just then TWO OTHER GERMAN SOLDIERS come over, obviously\n very impressed with Fredrick. They make a fuss over him in", "(CON'T)\n Besides, to hell with the French.\n This is a German night, a German\n event, a German celebration. This", "The Driver begins to translate, when the Gestapo Major holds up his\n hand, telling him not to bother. The Major looks at the young\n French girl and tells her in German;", "Hirschberg indicates/pantomimes, he can't set his bomb\n surrounded by all these Nazi's.\n Donowitz, pantomimes crossing his legs, setting bomb on ankle", "FREDRICK\n And you've met the Major.\n The Gestapo officer steps up and says, to Fredrick in German;", "I need to know about Germans hidin\n in trees? And you need to tell me?\n And you need to tell me, right now?\n Now take your finger, and point out", "The young German is telling Aldo, what he thinks, Aldo wants\n to hear. But the last answer didn't go down as well as he", "GERMAN SOLDIER\n I suppose now you could use a \"M\"\n a \"A\" and a \"X\"?\n\n SHOSANNA\n No need, I can manage.", "and places it in front of the fraulein.\n He sits. Their knees almost touching.\n The colonel points to the foot not in the cast.", "UNSUBTITLED GERMAN, which nether Shosanna, or the non German\n speaking members of the movies audience, can understand.\n He signs autographs for them, shakes their hands, and they", "followed by her TWO OTHER TEENAGE DAUGHTERS, and see the Germans\n approaching.\n The Farmer yells to his family in FRENCH, SUBTITLED IN ENGLISH;", "Herrman, behind the wheel, tells Landa in German;", "watches, completely caught up in the dramatic spectacle.\n He says to Goebbels in German;", "BACK TO THE REAL GERMANS\n They see Hugo do the spit take, and burst out laughing.", "139-\n Into the phone in German he says;", "GERMAN GENERAL\n Just the cowards among them mine\n Fuhrer.\n Hitler pounds furiously on the desk with his fist.", "on their forehead. So they ask the others questions to figure\n out who they are.\n The Five Germans, five cards read; MASTER SGT #1(POLA NEGRI),", "his fist, as he rants at TWO GERMAN GENERALS.\n They speak GERMAN SUBTITLED into ENGLISH;" ], [ "WE SEE the other Basterds, dressed in French civilian clothes,\n are in the room as well, they are, Donowitz, Hirschberg,", "MRS.HIMMELSTEIN\n Good. A Basterds work is never done.\n Specially in Germany.\n Donny steps up to the plate, looking down at the Nazi;", "going to get you in the premiere.\n It will be you, her, and two German\n born members of the Basterds. She's\n also made all the other arrangements", "Gentlemen rise. She greets each warmly with a french cheek\n kiss, as if she knows them well.\n They all take a seat. The two Basterds, and one Brit, drink", "And Enzo's camera assistant, Dominick\n Decocco.\n The German fraulein turns to the three tuxedo wearing\n Basterds.", "The Basterds will be waiting for you.\n First thing, you go to a little village\n called, \"Nadine\".\n (He points it", "DONNY\n Take that ya Nazi basterd! You like fuckin\n with the Jews? Wanna Fuck with the Jews?", "Donowitz and Hirschberg watch...\n Shosanna, in the booth, watches through the little window...\n The CAMERA PANS OFF of Shosanna, to the clearly marked film", "Donowitz, in his tuxedo, acts cool, and walks right through\n them.\n They look up, but don't disturb there time off vibe.", "MARCEL\n What the fuck are we suppose to do?\n\n SHOSANNA\n It looks like we're suppose to have\n a Nazi premier.", "like you to meet.\n Shosanna joins the circle, and is handed a champagne glass.\n This is the first moment The Basterds are aware of Shosanna.", "Donny hands her two tickets. She indicates for them to follow her.\n Donny and Hirschberg both exchange one last look with Aldo,\n then follow the young french girl into the auditorium.", "Private Zoller. To her left are the two curly pampered\n poodles. Major Helistrom pours Shosanna a glass of red wine\n from a small craft on the table.", "would call a terrorist plot, as of\n this moment, is still a go.\n The two Basterds don't believe this. It can't be true.", "DONNY\n Mrs.Himmelstein, I'm Donny Donowitz,\n my father Sy Donowitz, owns the barber\n shop on Greeny Ave, \"Sy's Barber Shop\".", "BACK TO BASTERDS\n Donny takes a long walk to Werner...", "BACK TO THE PREMIERE\n Shosanna in the booth, she brings down the lights.\n In the packed, excited auditorium, the house lights go down.", "DONNY\n Gimmie your papers.\n Werner hands Donny up his papers.\n Donny RIPS the identity page out, and sticks it in his\n pocket.", "Then Aldo points to another Basterd. A big scary looking\n Basterd, in a German Sgt's uniform, named, SGT.HUGO STIGLITZ", "Shosanna finds the two counterfeit Italians their seats.\n After she points out their seats, she turns to leave...\n Hirschberg..." ], [ ".DIEING though he is, at this moment, Fredrick is still", "FREDRICK\n My mother died. And my father was a\n loser. My fathers moto; \"If at first", "WE CUT TO THE B/W FILM ON SCREEN.\n Fredrick Zoller, playing himself, is in a ornamental tower in\n a Russian village, picking off RUSSIAN SOLDIER's below.", "FREDRICK ZOLLER, walks in. He gets a beer, then notices the\n French girl sitting in the back. He smiles, and heads over", "CU COL LANDA\n Smoking his calabash, amused.\n\n CU FREDRICK ZOLLER\n Truly enjoying himself.", "her pocket, and SHOOTS Fredrick THREE TIMES in the back...\n ..Be CRASHES HARD into the door, then FALLING FACE FIRST to\n the floor...", "FRANCESCA\n\n (FRENCH\n to Zoller)\n What?\n\n FREDRICK\n I wanted to inform her.", ".Which holds FREDRICK ZOLLER in a tight handsome CLOSE UP.\n The Face on the silver screen, breaks the young girl's\n heart...", "SHOSANNA AND FREDRICK IN PROJECTION BOOTH\n Fredrick hears the gunshots below them, and turns towards the\n door.", "FREDRICK\n I was alone in a bell tower in a\n walled off city in Russia. It was\n myself, and a thousand rounds of ammo,\n in a bird's nest, against three\n hundred Soviet soldiers.", "FREDRICK\n Yes.\n\n SHOSANNA\n Really?", "FREDRICK\n I'm not a man you say, \"Go away\"\n to. There's over three hundred\n dead bodies in Russia, that if", "BULLET BLOWS OFF HEEL OF HER FOOT...\n Luger drops to floor, Fredrick DIES.\n Our young French Jewish heroine, lies on the projection booth", "FREDRICK\n What the hell was that?\n While Fredrick's back is turned, Shosanna takes a GUN out of", "SHOSANNA\n Fredrick, you hurt me.", "GERMAN SOLDIER\n Mademoiselle. My name is Fredrick Zoller.\n She gives no response.", "Fredrick, a different cat then we've seen up till now, enters\n the booth, closing the door behind him, and LOCKING it.\n The quite startled Shosanna, says to Fredrick;", "Fredrick's exploits on screen.\n Marcel closes the door, and with a KEY, DEADBOLTS it SHUT.", "FREDRICK\n Well, it's nice to know you can feel\n something. Even if it's just physical\n pain.\n Fredrick steps forward...\n Shosanna steps backwards...", "SHOSANNA\n Fredrick, I am sorry, but -" ], [ "R\n On the floor, with a bullet in her BLOODY LEG, lies the\n alive Bridget Von Hammersmark.", "(COR'T)\n Well, lets just say, she got what\n she deserved. And when you purchase\n friends like Bridget Von Hammersmark,", "THEN...\n .Bridget Von Hammersmark rises, and excuses herself from the\n Table. She removes the card stuck in her fedora, looking at\n the name Gengus Khaun for the first time.", "LT.HICOX\n How will I know her?\n\n GEN.FENECH\n I suspect that won't be too much\n trouble for you. Your contact is\n Bridget Von Hammersmark.", "(FRENCH)\n And Mademoiselle, this battered, broken,\n and none worse for the wear German\n goddess, is Bridget Von Hammersmark.", "the card off his forehead.\n The other Four German Soldiers drink down there beer(part of\n the game).\n Bridget Von Hammersmark knock backs her champagne.", "COL.LANDA\n Bridget Von Hammersmark. Oh I'm sure\n she's in whatever, big bubbling\n cesspool in hell, the devil reserves\n for traitors of her ilk.", "Pabst, gave him a Close Up.\n As Bridget Von Hammersmark places a cigarette in a ivory\n cigarette holder, which Hicox, as if on cue, lights for her,", "EXT - LA LOUISIANE - NIGHT\n Hirschberg, carrying Fraulein Von Hammersmark, and Aldo emerge\n from the bowels of the basement.", "BACK TO REAL GERMAN TABLE\n Master Sgt.Pola Negri, drinks his beer, as he looks over,\n dreamily, at Bridget Von Hammersmark at the other table.", "the hour, UFA diva, BRIDGET VON HAMMERSMARK. Dressed to the\n nines in a chic Forties style women's suit, complete with", "tavern. They obviously. see the five German soldiers, but their\n too far away for us (the audience) to read their face. No\n doubt their less then happy. Fraulein Von Hammersmark", "sure no Germans, or French, for\n matter, escape from that basement.\n If Frau Von Hammersmark's cover is\n compromised, the mission is kaput.", "LT.ALDO\n Where is my men? Where is Bridget\n Von Hammersmark?", "They both enter.\n Col.Landa closes the door behind him, and LOCKS IT.\n Bridget notices, but says nothing.\n Now the two Germans are alone.", "BACK TO BASTERDS\n We See in Bridget continues to brief Hicox on his identity.\n the B.G., the German Master Sgt stand up from his table, and\n head toward Fraulein Von Bammersmark.", "During her conversation and strudel with the man that\n exterminated her entire family, shosanna pissed herself.\n She drops the German cigarette in to the piss puddle by her", "INT - EXAMINING ROOM -° NIGHT\n Bridget on the examining table, post morphine shot.\n The other Basterds in the room watch Aldo interrogate the\n German lady.", "LT.HICOX\n Bridget Von Hammersmark? The German\n movie star is working for England?", "German brass band that's blaring Third Reich Marches, can be\n heard coming from below.\n Shosanna walks to her apartment window, and looks down at the" ], [ "CARVED INTO HIS FOREHEAD.\n\n BACK TO BASTERDS", "COL LANDA\n Col Hans Landa of the S.S. madame,\n at your service.\n He kisses her hand, then continues without letting go of his hostess\n hand...", "THE SWASTIKA HAND CARVED INTO HIS FOREHEAD, UNDENIABLE MARK", "BUTZ'S POV:\n on ground, looking up at them. Aldo has just carved the\n swastika, and he's holding the bloody knife. All The\n Basterds crowd around to admire his handy work.", "Landa takes out a handsome looking cigarette case, with a S.S.\n LOGO on it. Removing on of the fags, he lights it up with a", "CU COL.LANDA\n The Dagger has just completed carving a swastika deep into his\n forehead.", "He opens LandaSS DAGGER, and holds the BLADE in front of Hans\n face.", "GOEBBELS\n Ah Landa, your here, this is the\n young lady in question.\n The S.S. Officer sits down, and it's our old friend from the\n first scene COL HANS LANDA.", "to do his job.\n Everybody saystheir farewells.\n Col Landa offers the young jew in hiding a seat at a small", "SHOSANNA\n Oui.\n Col Landa takes another bite of strudel, Shosanna follows suit.\n\n COL LANDA\n So it would appear our young hero is\n quite smitten with you?", "COL LANDA\n After you.\n Shosanna takes •a whip creamy bite of strudel, Landa follows her\n lead.\n\n COL LANDA", "COL.LANDA'S VOICE(OS)\n Shut up!\n The faceless black hood does.\n Col.Landa, now standing directly in front of his hooded\n prisoner, says in ENGLISH;", "Marcel, holds his arm behind him, as he forces his head flat\n against the table top.\n Shosanna brings a HATCHET DOWN DEEP into the table, just by", "COL LANDA\n Till tonight.\n And with that he's gone.\n Shosanna breaths a sigh of relief.", "Herrman, behind the wheel, tells Landa in German;", "COL LANDA\n Cigarette?\n\n SHOSANNA\n No thank you.\n\n COL LANDA\n Do you smoke?", "COL LANDA\n Doing what?\n\n SHOSANNA\n Projectionist.\n\n COL LANDA\n Is he any good?", "You too Herrman, come over here.\n The four men, Col.Hans Landa, Lt.Aldo Raine, Pvt.Smithson", "Donowitz and Hirschberg watch...\n Shosanna, in the booth, watches through the little window...\n The CAMERA PANS OFF of Shosanna, to the clearly marked film", "63\n As Francesca interprets this for Shosanna...\n ...the empty chair next to the young Jewish girl is suddenly\n filled with the bottom half of a grey S.S. officer uniform." ] ]

[ "Who is allowed to escape at the beginning?", "What does Raine carve into Butz's forehead?", "Why do the Basterds recruit Hugo?", "Who becomes infatuated with Shosanna?", "How does Hicox give himself away as not a German?", "Whose shoe does Landa find in the tavern?", "Which three Basterds go to the premiere in disguise?", "What does Shosanna plan to do during the premiere?", "Who gets a swastika carved into their forehead?", "What does the German officer promise Perrier LaPedite if he reveals where the Dreyfus family is hiding?", "Why does Lt. Aldo Raine carve a T into Private Butz's forehead?", "Why does Frederick Zoller convince Goebbels to move the premier to Shoshanna's cinema?", "Why is Shoshanna living under an assumed name in Paris?", "How does Lieutenant Hicox give himself away during the tavern meeting?", "Why do the Basterds scalp the German soldiers they have killed?", "How does Col Landa known that Bridget von Hammersmark is working with the Allies?", "Why does Shoshanna splice in footage of herself into Stolz der Nation?", "Why do the Basterds pose as Italians for the premiere of Stolz der Nation?", "What does Marcel set on fire to burn down the theater?", "What is Perrier La Padite's profession?", "Who is the only Dreyfus family member to escape death?", "Who are recruited for the Basterds?", "How do the Basterds spread fear among the German soldiers?", "How do Shosanna and Marcel plan to kill Fredrick Zoller and the Nazi leaders attending the premier?", "How do German's gesture \"three\"?", "What do two of the Basterds, Donny and Omar, pose as at the premier?", "How does Fredrick Zollar die?", "Where is Bridget von Hammersmark killed?", "What is carved into Hans Landa's forehead?" ]

[ [ "Shosanna", "Shosanna" ], [ "The letter T", "Letter \"T\"." ], [ "Hugo murdered 13 Gestapo soldiers", "he had killed 13 gestapo officers" ], [ "Zoller", "Zoller" ], [ "By signing the number 3 incorrectly", "Gestures \"three\" with thumb and pinky finger down." ], [ "Hammersmark", "Bridget von Hammersmark" ], [ "Donny Omar Raine", "Donny, Omar, Raine" ], [ "Burn everything down with the Nazi's inside", "kill the nazi leaders" ], [ "Landa", "Private Bultz" ], [ "The German officer promises that the Germans will leave the LaPedite family alone for the rest of the war.", "Leave his family alone for the rest of the war." ], [ "Lt Raine carves a T into Private Butz's forehead so that Private Butz can never hide that he voted for a fascist", "Letter \"T\"." ], [ "Frederick Zoller is infatuated with Shoshanna.", "so they can murder the Nazi leadership" ], [ "Shoshanna's family was murdered by the Germans early in the war and she is the only survivor.", "She is hiding from Nazis" ], [ "Hicox uses a different gesture for 'three' than a German would have, and Major Hellstrom recognizes the error.", "by how he gestures for 'three' with his hand" ], [ "The Basterds want to spread terror among the German army.", "to spread fear" ], [ "He discovered her shoe in the ruins of the tavern where she met Lt. Hicox and the Basterds.", "The shoe from tavern fits her." ], [ "She wants the audience to know that there are going to be killed by a Jew who refused to be a victim.", "so they know they were killed by a Jew" ], [ "The Basterds hope to remain undercover because most Germans do not speak Italian.", "they hope to fool the Germans who don't speak Italian" ], [ "Marcel sets on fire a pile of flammable nitrite film behind the movie screen.", "nitrate film" ], [ "He is a dairy farmer.", "dairy farmer" ], [ "Shosanna.", "Shosanna" ], [ "Jewish-American soldiers.", "jewish-american soldiers" ], [ "The Basterds kill and scalp the German soldiers.", "killing and then scalping" ], [ "By setting the cinema on fire.", "burn alive" ], [ "By extending the thumb and first two fingers.", "with thumb and pinky down" ], [ "Italians.", "Italians." ], [ "Shosanna shoots him.", "Shoshanna shoots him" ], [ "In a private room at the cinema.", "a private room" ], [ "A swastika.", "swastika" ] ]

[ [ "On the day after the reading of the will, Henry Indefer Jones, Esq.,\nof Llanfeare, as he was now to be called, was left alone in his", "will have to put himself into a witness-box, and then probably we may\nlearn something of the truth as to the last will and testament made\nby Mr Indefer Jones.\" All this reached Hereford, and was of course", "himself should be the last, leaving Llanfeare to his nephew on\ncondition that he should prefix the name of Indefer to that of Jones,\nand adding certain stipulations as to further entail. Then everything", "\"But,\" he said, \"Mr Henry Jones, when he comes into possession of the\nestate, will probably feel himself called upon to set that matter\nright, and to carry out his uncle's wishes.\"", "Mr Indefer Jones, who was now between seventy and eighty years old,\nwas a gentleman who through his whole life had been disturbed by", "and subsequent to the funeral, he had heard a will read, and under\nthat will had inherited the property. As far as he believed, or\nat any rate as far as he knew, that was his uncle's last will and", "\"It means--that you have stolen--the estates--from your cousin--Miss\nBrodrick!\" This the man said very solemnly, bringing out each single\nword by itself. \"I am not saying so, Mr Jones.\"", "Jones, and the other that I will not marry your nephew Henry Jones.\nWhen it is all settled it will be just as though the old place were\nentailed, as it used to be.\"", "after him had died without issue. Then there had been a Henry Jones,\nwho had gone away and married, had become the father of the Henry\nJones above mentioned, and had then also departed. The youngest, a", "Jones had gone on to explain that this deed was to be his last will.\nThe old farmer, it seemed, had suggested to his landlord that Mr\nApjohn should be employed. The Squire then declared that this would", "then, when he shall have gone through the proper changes, Mrs William\nOwen Indefer Jones. As such I hope you may remain till you shall be\nknown as the oldest inhabitant of Carmarthenshire.\"", "that to the best of his belief the will, which was about to be\nproved, was the last will and testament of Indefer Jones. Had this\nbeen explained to him by the lawyer in his letter, he might probably", "Brodrick, was undiminished, and his confidence in her as perfect as\never, still he had thought it right to leave the old family property\nto his nephew, Henry Jones. Then, with all due circumstances of", "For there was a change, not only in his mind, but in his declared\nintentions. Llanfeare had belonged to Indefer Joneses for many", "And then there was an idea present to him through it all that\nabstract justice, if abstract justice could be reached, would declare\nthat the property should be his. The old man had made his will with", "carried on. There had come no time in which this Indefer Jones had\nbeen about to be married, and the former old man having been given to", "inheritance to himself,--and so he thought, no doubt, was hers as to\nherself. It might be that the old man's intention would depend upon", "irked the hearts of them all that such a one as Henry Jones should\ndo such a deed and not be discovered. Old Indefer Jones had been\nrespected by his neighbours. Miss Brodrick, though not personally", "after her uncle's death. As simple Isabel Brodrick she might marry\nwhom she would without bringing discredit upon the Indefer Joneses.\nBut that which she had been constrained to do before her uncle had", "CHAPTER I\n\nUncle Indefer" ], [ "When the man had asked him that question,--Is there any secret you\ncan tell?--Cousin Henry did, for half a minute, make up his mind", "\"No, no, no.\"\n\n\"Is there any secret that you can tell?\"\n\nAwed, appalled, stricken with utter dismay, Cousin Henry sat silent\nbefore his questioner.", "to him so strongly on the subject that he did not dare to repeat his\nrequest. And yet, he thought, there was no good reason why they two\nshould not become man and wife. Henry, as far as he could learn, had", "\"Then Henry has not destroyed it?\"\n\n\"No, he did not destroy it.\"\n\n\"Nor hid it where we could not find it?\"\n\n\"Nor did he hide it.\"", "existence, knew that it had been hidden by some accident, and knew\nalso that he, Henry Jones, was aware of the place of concealment.\nThat the man should have been so expert in reading the secret of his", "Cousin Henry had been well aware. If they began to search in the\nroom, they would certainly find the document. Of that he was quite\nsure. Not a book would be left without having been made to disclose", "\"It was concealed within a book in the library. As soon as the\nnecessary deeds can be executed Llanfeare will be your own. It is\nprecisely word for word the same as that which he had made before he\nsent for your cousin Henry.\"", "postponed. But Cousin Henry assented to the proposition and took his\ndeparture. Now he had committed himself to some revelation, and the", "\"What has occurred?\" Cousin Henry groaned terribly as the moment for\nrevelation came upon him. And he felt that he had made the moment", "not reveal the secret. He had disabled himself by that unfortunate\nmanner of his yesterday. He would not even turn his eyes upon the\nbook, but sat looking into the empty grate. \"What is it, Mr Jones?\"", "His brother Henry was then alive; but Henry had disgraced the\nfamily,--had run away with a married woman whom he had married after\na divorce, had taken to race courses and billiard-rooms, and had been", "him peculiarly at the present moment. He was quite sure not only\nthat a later will had been made, but that it was in existence. It\nwas concealed somewhere, and Cousin Henry knew the secret of its", "Still Cousin Henry sat silent. He was unable to summon courage at the\ninstant sufficient to deny the existence of the secret, nor could", "is enabled to touch it. And as with such a word, so it was with his\nsecret. He must be careful that no eye should once see that his face\nwas turned towards the shelf. At this very moment he shifted his", "misery, would not destroy it. Not only had Mr Apjohn discovered the\nsecret, but he was well aware that Cousin Henry was conscious that he", "Henry was afraid. \"You cannot but be aware of what is going on in\nCarmarthen.\"", "had done so, and yet not a word had been spoken between them which,\nshould the will now be destroyed, could be taken as evidence that it\nhad ever existed. Let the paper be once burnt, and Cousin Henry would", "For some minutes Cousin Henry sat perfectly motionless, and then he\ngot up very softly, very silently, and tried the door. It was closed,", "It may be added that, notorious as the whole affair was at\nCarmarthen, but little of Cousin Henry's wicked doings were known up\nin London.", "Cousin Henry thought a moment whether he had concealed the will or\nnot. No! he had not put it within the book. The man who hides a thing" ], [ "\"Then Henry has not destroyed it?\"\n\n\"No, he did not destroy it.\"\n\n\"Nor hid it where we could not find it?\"\n\n\"Nor did he hide it.\"", "Cousin Henry had been well aware. If they began to search in the\nroom, they would certainly find the document. Of that he was quite\nsure. Not a book would be left without having been made to disclose", "it. Would it not in every way be better for him that they should find\nit? He could not bring himself to destroy it, and surely, sooner or\nlater, it would be found.", "privately destroy it. By degrees there grew upon me the conviction\nthat he had not destroyed it; that it still existed,--or that your\ncousin had destroyed it. The latter I never quite believed. He was", "If he did not himself touch the document, or give any sign of his\nconsciousness of its presence, they could not prove that he had known\nof its whereabouts. If they would only find it and let him go! But", "had done so, and yet not a word had been spoken between them which,\nshould the will now be destroyed, could be taken as evidence that it\nhad ever existed. Let the paper be once burnt, and Cousin Henry would", "were searching for it,--or he must destroy it. His common sense\ntold him that one alternative or the other must be chosen. He could\ncertainly destroy it, and no one would be the wiser. He could reduce", "He was trying to pluck up his spirit in order that he might get rid\nof them. Why, oh! why had he not destroyed that document when, on", "No; he could not himself destroy the document, though it should\nremain there for years to make his life a burden to him. As to that", "addition to his fears he might be driven to destroy the will. The\ngreat object now should be to preserve a document which had lived as\nit were a charmed life through so many dangers. If anything were to", "let him go. It would be told of him, at any rate, that having the\nwill in his hands, he had not destroyed it. Up in London, where men", "purpose by destroying it, the will would be destroyed. Of Cousin\nHenry he knew nothing. Cousin Henry might or might not be ordinarily", "been quite certain that this had been destroyed by Cousin Henry, and\nhad sworn that he would not stand behind the chair of a felon. The\ngardener had been equally violent, and had declined even to cut a", "nor would any such separation touch the fatal paper which lay between\nthe leaves of the book. Were she to consent to marry him, then he\nthought he might find courage to destroy the paper.", "to him so strongly on the subject that he did not dare to repeat his\nrequest. And yet, he thought, there was no good reason why they two\nshould not become man and wife. Henry, as far as he could learn, had", "misery, would not destroy it. Not only had Mr Apjohn discovered the\nsecret, but he was well aware that Cousin Henry was conscious that he", "in the very act of abstracting the document; and his safety lay in\nthe abstaining from any deed. What if a fit should come upon him,\nor he should fall and hurt himself and the paper be found in his", "have destroyed it,--if in the first instance he was wicked enough\nto conceal it. Still the matter was so great and the question so\nimportant to his daughter's interest that he felt himself compelled", "had not destroyed the will. He had not even hidden it. He had only\nput a book into its own place, carrying out as he did so his innocent\nintention when he had first lifted the book. When these searchers had", "Cousin Henry thought a moment whether he had concealed the will or\nnot. No! he had not put it within the book. The man who hides a thing" ], [ "When the man had asked him that question,--Is there any secret you\ncan tell?--Cousin Henry did, for half a minute, make up his mind", "Among those who believed the worst as to Cousin Henry were the two\nCantors. When a man has seen a thing done himself he is prone to", "Cousin Henry had been well aware. If they began to search in the\nroom, they would certainly find the document. Of that he was quite\nsure. Not a book would be left without having been made to disclose", "\"Then Henry has not destroyed it?\"\n\n\"No, he did not destroy it.\"\n\n\"Nor hid it where we could not find it?\"\n\n\"Nor did he hide it.\"", "\"What has occurred?\" Cousin Henry groaned terribly as the moment for\nrevelation came upon him. And he felt that he had made the moment", "existence, knew that it had been hidden by some accident, and knew\nalso that he, Henry Jones, was aware of the place of concealment.\nThat the man should have been so expert in reading the secret of his", "him peculiarly at the present moment. He was quite sure not only\nthat a later will had been made, but that it was in existence. It\nwas concealed somewhere, and Cousin Henry knew the secret of its", "\"No, no, no.\"\n\n\"Is there any secret that you can tell?\"\n\nAwed, appalled, stricken with utter dismay, Cousin Henry sat silent\nbefore his questioner.", "\"They are very cruel; I know that,\" said Cousin Henry, whining.\n\n\"All such accusations are cruel, if they be false.\"\n\n\"These are false; damnably false.\"", "\"Both Mr Brodrick and I think it probable that your uncle's last will\nmay yet be concealed somewhere in the house.\" Cousin Henry's eye, as\nthis was said, again glanced up at the fatal shelf.", "to him so strongly on the subject that he did not dare to repeat his\nrequest. And yet, he thought, there was no good reason why they two\nshould not become man and wife. Henry, as far as he could learn, had", "Henry was afraid. \"You cannot but be aware of what is going on in\nCarmarthen.\"", "irked the hearts of them all that such a one as Henry Jones should\ndo such a deed and not be discovered. Old Indefer Jones had been\nrespected by his neighbours. Miss Brodrick, though not personally", "Cousin Henry thought a moment whether he had concealed the will or\nnot. No! he had not put it within the book. The man who hides a thing", "Cousin Henry sat staring at them. Not long ago he had himself asked\none of Mr Apjohn's clerks why they did not search again. But then the", "It may be added that, notorious as the whole affair was at\nCarmarthen, but little of Cousin Henry's wicked doings were known up\nin London.", "on a cross-examination. \"He would ask you whether you have such\nknowledge.\" Then again he paused, but Cousin Henry said nothing. \"If", "As he said this, he looked into Cousin Henry's face, and thought that\nhe discerned something of satisfaction. When he made the suggestion,", "postponed. But Cousin Henry assented to the proposition and took his\ndeparture. Now he had committed himself to some revelation, and the", "against Cousin Henry. There seemed to him to be an injustice in\naccusing a man of a great crime, simply because the crime might have\nbeen possible, and would, if committed, have been beneficial to the" ], [ "\"Go to Mr Apjohn, and speak to him like a man. Bid him bring an\naction in your name for libel against the newspaper. Then there will", "Evans, of the _Carmarthen Herald_, for the publication of various\nwicked and malicious libels against himself; and it was known\nalso that Mr Apjohn was Mr Jones's attorney in carrying on the", "Then Mr Apjohn brought a copy of the newspaper out of his pocket, and\nbegan to read a list of questions which the editor was supposed to", "\"Of course I know all that,\" said Mr Apjohn when the editor of the\npaper remarked to him that the libel, if a libel, would be just", "civil action against him for damages. Mr Apjohn had very strongly\nrecommended the former proceeding. It would be cheaper, he had\nsaid, and would show that the man who brought it had simply", "question whether the new Squire would not be driven to defend himself\nby an action for libel. It was not that the writer declared that\nCousin Henry had destroyed the will, but that he published minute", "Having thus comforted his client, Mr Apjohn took his leave.\n\n\n\n\nCHAPTER XV\n\nCousin Henry Makes Another Attempt", "Henry Jones to seek for legal redress,--so that he might be subjected\nto cross-examination as to the transactions and words of that last\nfortnight before his uncle's death. It was the opinion of many that", "of him that he spent hour after hour in spelling the terrible\naccusations which, if not absolutely made against him, were\ninsinuated. It became clear to lawyers, to Mr Apjohn himself,", "question as well as yourself? You should understand, Mr Jones,\nthat you should not take this step with the view of punishing the\nnewspaper.\"", "Mr Apjohn had taken upon himself to \"scold\" her uncle because of the\naltered will,--the will that had been altered in favour of Cousin", "\"Well,\" said Mr Apjohn, as though demanding a final answer to his\nproposition.\n\n\"I will think of it,\" gasped Cousin Henry.", "Yes; it was Mr Apjohn's business; and he thought that he could put a\nspoke into the wheel of Mr Apjohn's business. Mr Apjohn was not only", "\"Has Mr Henry Jones inquired into the cause of his own isolation?\"\n\n\"Has Mr Henry Jones any idea why we persecute him in every fresh\nissue of our newspaper?\"", "\"Let us look at it.\" Then Mr Apjohn, stretching out his hand, took\nthe document, and, seating himself in Cousin Henry's own chair at the", "that the man, if honest, should, on behalf of the old family and\nlong-respected name, vindicate himself by prosecuting the owner of\nthe paper for libel. If he were honest in the matter, altogether", "have been done by such a man and that Carmarthen should not find it\nout? Mr Apjohn was very much praised for his energy in having forced\nthe man to take his action against Mr Evans, and no one was more", "confess the deed in a court of law. Something of all this would,\nthought Mr Apjohn, occur to Cousin Henry himself, and by this very", "His last idea was to send the will to Mr Apjohn with a letter, in\nwhich he would simply declare that he had just found it amongst the\nsermons, and that he was prepared to go away. But as the days flew", "anxious to criminate him now, but had been anxious when such anxiety\non his part had been intrusive and impertinent. Mr Apjohn had, from" ], [ "CHAPTER VIII\n\nThe Reading of the Will", "Such had been his resolution during the last fortnight, and in\naccordance with that he had acted. But now his purpose was again\nchanged. Now he intended to reveal the will with his own hands, and", "suddenly that the old man had been reading these sermons shortly\nbefore his death, had gone at once to the book. There the will\nhad been discovered, which had at once been admitted to be a true", "by his fellow-clerks in London that the will had been found by them\nwithout any knowledge on his part,--then he would be satisfied. A\nterrible catastrophe had fallen upon him, but one which would not", "It was still open to him to say that at any moment he had just found\nthe will. If he could bring himself to do so he might rush off to\nCarmarthen with the document in his pocket, and still appear before", "preparatory to reading it. Then he looked at the date to assure\nhimself that it was the last will which he himself had drawn. He knew", "\"The document which I hold here,\" he said, \"purports to be the last\nwill of our old friend. Every will does that as a matter of course.", "of this new will. Then he had lied. His uncle had told him of his\nintention before the will was executed, and had told him again,\nwhen the Cantors had gone, that the thing was done. The old man", "will in truth be found to be the last will and testament of the old\nSquire, then it would be his duty to declare that the estate and\neverything upon it belonged to Cousin Henry, and that there would be,", "\"No doubt. A will was proved,--a will that was very genuine if no\nsubsequent will be found. But, as you have been told repeatedly,", "be found, then that would be the actual will and not the one which\nhe had now read. After that, when all due formalities had been\nperformed, he took his leave, and went back to Carmarthen.", "Mr Brodrick, with a lawyer's cautious hands, undid the folds, and\nexamined the document. \"It certainly is a will,\" he said,--\"and is\nsigned by my brother-in-law.\"", "him peculiarly at the present moment. He was quite sure not only\nthat a later will had been made, but that it was in existence. It\nwas concealed somewhere, and Cousin Henry knew the secret of its", "The news was soon all about Carmarthen. A new will had been found, in\naccordance with which Miss Brodrick was to become owner of Llanfeare,", "His last idea was to send the will to Mr Apjohn with a letter, in\nwhich he would simply declare that he had just found it amongst the\nsermons, and that he was prepared to go away. But as the days flew", "destroyed it. We must have the will before we can use it. If he left\nsuch a will, it will be found among his papers. I have turned over", "\"You understand, Mr Jones,\" said the lawyer in the presence of the\nofficial, \"that we still think that a further will may eventually be\nfound?\"\n\n\"I understand that,\" croaked the poor wretch.", "and subsequent to the funeral, he had heard a will read, and under\nthat will had inherited the property. As far as he believed, or\nat any rate as far as he knew, that was his uncle's last will and", "\"But,\" continued Dr Powell, \"you will not find any difficulty of that\nkind. The funeral had better be on Monday. And the will, I suppose,", "Of course he did by degrees explain to her all the\ncircumstances,--how the will had been found and not revealed, and how" ], [ "On the day after the reading of the will, Henry Indefer Jones, Esq.,\nof Llanfeare, as he was now to be called, was left alone in his", "had done so, and yet not a word had been spoken between them which,\nshould the will now be destroyed, could be taken as evidence that it\nhad ever existed. Let the paper be once burnt, and Cousin Henry would", "will in truth be found to be the last will and testament of the old\nSquire, then it would be his duty to declare that the estate and\neverything upon it belonged to Cousin Henry, and that there would be,", "\"He never spoke to you about another will,--a further will, that\nshould again bestow the estate on your cousin?\"\n\n\"No,\" said Cousin Henry, with the perspiration still on his brow.", "altogether in opposition to his own advice, and having thus created\nthat \"scolding\" of which the Squire had complained to Isabel. This\nwill bequeathed the whole of the property to Cousin Henry. It did", "him peculiarly at the present moment. He was quite sure not only\nthat a later will had been made, but that it was in existence. It\nwas concealed somewhere, and Cousin Henry knew the secret of its", "Then that will was read,--that will which we know not to have been\nthe last will,--in the presence of Cousin Henry, of Dr Powell, who", "was twenty-one this will had always been in Henry's favour,--with\na clause, however, that a certain sum of money which the Squire\npossessed should go to her. Then in his disgust towards his nephew he", "operations necessary for proving the later will and annulling the\nformer one, for dispossessing Cousin Henry and for putting Isabel\ninto the full fruition of all her honours, went on as quickly as it", "\"Both Mr Brodrick and I think it probable that your uncle's last will\nmay yet be concealed somewhere in the house.\" Cousin Henry's eye, as\nthis was said, again glanced up at the fatal shelf.", "\"My uncle did make a will,\" said Cousin Henry feebly.\n\n\"Of course he made a will. He made a many,--one or two more than was\nwise, I am thinking.\"", "by his fellow-clerks in London that the will had been found by them\nwithout any knowledge on his part,--then he would be satisfied. A\nterrible catastrophe had fallen upon him, but one which would not", "Such had been his resolution during the last fortnight, and in\naccordance with that he had acted. But now his purpose was again\nchanged. Now he intended to reveal the will with his own hands, and", "Cousin Henry had been well aware. If they began to search in the\nroom, they would certainly find the document. Of that he was quite\nsure. Not a book would be left without having been made to disclose", "Cousin Henry thought a moment whether he had concealed the will or\nnot. No! he had not put it within the book. The man who hides a thing", "\"It was concealed within a book in the library. As soon as the\nnecessary deeds can be executed Llanfeare will be your own. It is\nprecisely word for word the same as that which he had made before he\nsent for your cousin Henry.\"", "Of course he did by degrees explain to her all the\ncircumstances,--how the will had been found and not revealed, and how", "It was still open to him to say that at any moment he had just found\nthe will. If he could bring himself to do so he might rush off to\nCarmarthen with the document in his pocket, and still appear before", "suddenly that the old man had been reading these sermons shortly\nbefore his death, had gone at once to the book. There the will\nhad been discovered, which had at once been admitted to be a true", "His brother Henry was then alive; but Henry had disgraced the\nfamily,--had run away with a married woman whom he had married after\na divorce, had taken to race courses and billiard-rooms, and had been" ], [ "Mr Indefer Jones, who was now between seventy and eighty years old,\nwas a gentleman who through his whole life had been disturbed by", "On the day after the reading of the will, Henry Indefer Jones, Esq.,\nof Llanfeare, as he was now to be called, was left alone in his", "of the Pembroke Lion, should reign at Llanfeare in the place of\nan Indefer Jones had been abominable to him. To prevent that had", "For there was a change, not only in his mind, but in his declared\nintentions. Llanfeare had belonged to Indefer Joneses for many", "carried on. There had come no time in which this Indefer Jones had\nbeen about to be married, and the former old man having been given to", "irked the hearts of them all that such a one as Henry Jones should\ndo such a deed and not be discovered. Old Indefer Jones had been\nrespected by his neighbours. Miss Brodrick, though not personally", "then, when he shall have gone through the proper changes, Mrs William\nOwen Indefer Jones. As such I hope you may remain till you shall be\nknown as the oldest inhabitant of Carmarthenshire.\"", "will have to put himself into a witness-box, and then probably we may\nlearn something of the truth as to the last will and testament made\nby Mr Indefer Jones.\" All this reached Hereford, and was of course", "himself should be the last, leaving Llanfeare to his nephew on\ncondition that he should prefix the name of Indefer to that of Jones,\nand adding certain stipulations as to further entail. Then everything", "Jones, and the other that I will not marry your nephew Henry Jones.\nWhen it is all settled it will be just as though the old place were\nentailed, as it used to be.\"", "When Mr Indefer Jones spoke of living for two years, he spoke more\nhopefully of himself than the doctor was wont to speak to Isabel. The", "which I had advocated; and, though no man in his strong health would\nhave been more ready to acknowledge an error than Indefer Jones,\nof Llanfeare, we all know that with failing strength comes failing", "\"It means--that you have stolen--the estates--from your cousin--Miss\nBrodrick!\" This the man said very solemnly, bringing out each single\nword by itself. \"I am not saying so, Mr Jones.\"", "accounts of all that had been done at Llanfeare, putting forward in\nevery paper as it came out the reason which existed for supposing\nthat a wrong had been done. That theory that old Indefer Jones had", "Jones, Esq., of Llanfeare, and will be so till you are put out by the\nhard hand of the law. You may turn round for anything I know, and say\nthat this document is a forgery.\"", "\"You will have to be called Miss Jones,\" said the lawyer, \"Miss\nIndefer Jones. There will be a form, for which we shall have to pay,", "\"What is it that has occurred, Mr Jones, since I was up at Llanfeare\nyesterday?\"\n\n\"I don't think that I could tell you here.\"\n\n\"Where, then?\"", "unlike a Jones of Llanfeare. Then had come the time in which Isabel\nhad been brought to Llanfeare. Henry had been sent away from Oxford\nfor some offence not altogether trivial, and the Squire had declared", "Then the day came for the arrival of Henry Jones, during the approach\nto which Uncle Indefer had, from day to day, become more and more", "to Llanfeare there was a short leading article recapitulating all\nthat was hitherto known of the story. \"Mr Henry Jones,\" said the\narticle in its last paragraph, \"has at length been induced to" ], [ "Brodrick, was undiminished, and his confidence in her as perfect as\never, still he had thought it right to leave the old family property\nto his nephew, Henry Jones. Then, with all due circumstances of", "himself should be the last, leaving Llanfeare to his nephew on\ncondition that he should prefix the name of Indefer to that of Jones,\nand adding certain stipulations as to further entail. Then everything", "Jones, and the other that I will not marry your nephew Henry Jones.\nWhen it is all settled it will be just as though the old place were\nentailed, as it used to be.\"", "Having much considered the matter, he had thought the estate should\ndescend to the male heir, even in default of a regular deed of\nentail. Therefore, although his love for his dearest niece, Isabel", "On the day after the reading of the will, Henry Indefer Jones, Esq.,\nof Llanfeare, as he was now to be called, was left alone in his", "description, the legacy was made in favour of his nephew. There were\nother legacies; a small sum of money to Mr Apjohn himself, for the", "that to the best of his belief the will, which was about to be\nproved, was the last will and testament of Indefer Jones. Had this\nbeen explained to him by the lawyer in his letter, he might probably", "was twenty-one this will had always been in Henry's favour,--with\na clause, however, that a certain sum of money which the Squire\npossessed should go to her. Then in his disgust towards his nephew he", "inheritance to himself,--and so he thought, no doubt, was hers as to\nherself. It might be that the old man's intention would depend upon", "Jones had gone on to explain that this deed was to be his last will.\nThe old farmer, it seemed, had suggested to his landlord that Mr\nApjohn should be employed. The Squire then declared that this would", "\"It means--that you have stolen--the estates--from your cousin--Miss\nBrodrick!\" This the man said very solemnly, bringing out each single\nword by itself. \"I am not saying so, Mr Jones.\"", "\"But,\" he said, \"Mr Henry Jones, when he comes into possession of the\nestate, will probably feel himself called upon to set that matter\nright, and to carry out his uncle's wishes.\"", "said. \"It had been,\" she said, \"her uncle's intention to make his\nnephew the owner of Llanfeare, and she believed that he had done so.", "will have to put himself into a witness-box, and then probably we may\nlearn something of the truth as to the last will and testament made\nby Mr Indefer Jones.\" All this reached Hereford, and was of course", "altogether in opposition to his own advice, and having thus created\nthat \"scolding\" of which the Squire had complained to Isabel. This\nwill bequeathed the whole of the property to Cousin Henry. It did", "his, he would certainly see that his uncle's wishes were carried out\nin regard to his dear cousin. To this Mr Apjohn listened, and then\nwent on to explain what remained to be said. Though this will, which", "after her uncle's death. As simple Isabel Brodrick she might marry\nwhom she would without bringing discredit upon the Indefer Joneses.\nBut that which she had been constrained to do before her uncle had", "Henry Jones to seek for legal redress,--so that he might be subjected\nto cross-examination as to the transactions and words of that last\nfortnight before his uncle's death. It was the opinion of many that", "reasons. He told me that he thought it right to keep the property in\nthe direct line of his family. I endeavoured to explain to him that\nthis might be sufficiently done though the property were left to a", "importance was to be made to her,--\"it turns out that after all your\nUncle Indefer did make another will.\"" ], [ "after her uncle's death. As simple Isabel Brodrick she might marry\nwhom she would without bringing discredit upon the Indefer Joneses.\nBut that which she had been constrained to do before her uncle had", "\"But not on that account a Jones. My name is Isabel Brodrick. A woman\nnot born to be a Jones may have the luck to become one by marriage,\nbut that will never be the case with me.\"", "irked the hearts of them all that such a one as Henry Jones should\ndo such a deed and not be discovered. Old Indefer Jones had been\nrespected by his neighbours. Miss Brodrick, though not personally", "Brodrick, she, too, was a Jones; and her father, though an attorney,\nhad come of a family nearly as good as his own. In no case could", "another pair of feet must create. And then it was so palpable that\nHereford thought much of Isabel, but thought little or nothing of\nher own girls. Such a one as Mrs Brodrick was sure to make herself", "CHAPTER II\n\nIsabel Brodrick", "daughter, had married an attorney named Brodrick, and she also had\ndied, having no other child but Isabel. Mr Brodrick had married", "When Mr Indefer Jones spoke of living for two years, he spoke more\nhopefully of himself than the doctor was wont to speak to Isabel. The", "Brodrick, was undiminished, and his confidence in her as perfect as\never, still he had thought it right to leave the old family property\nto his nephew, Henry Jones. Then, with all due circumstances of", "On the following morning he came, and was soon closeted with her.\nWhen he arrived, Isabel was sitting with Mrs Brodrick and her", "I am afraid; but we had better take the name at once. You will have\nto undergo a variety of changes in signing your name. You will become\nfirst Miss Isabel Brodrick Indefer Jones, then Mrs William Owen,", "and as such he sought no especial interviews with Isabel. Between him\nand Isabel no word was spoken as to the contents of the newspaper.\nBut between Mr Brodrick and the clergyman many words were spoken. Mr", "at it. To Mr Brodrick himself there was an obstinacy in it which\nwas sickening to him. But to Isabel's thinking the matter was very\ndifferent. She was as firmly resolved that she would not marry Mr", "\"It means--that you have stolen--the estates--from your cousin--Miss\nBrodrick!\" This the man said very solemnly, bringing out each single\nword by itself. \"I am not saying so, Mr Jones.\"", "carried on. There had come no time in which this Indefer Jones had\nbeen about to be married, and the former old man having been given to", "often to the exclusion of Isabel. Now it had come to pass that Uncle\nIndefer was never at his ease unless his niece were with him.", "\"Mr Jones,\" said the attorney from Carmarthen, \"this is your uncle,\nMr Brodrick, from Hereford.\" Then the two men who were so nearly", "\"Uncle Indefer,\" she said, \"how is it with you? Uncle Indefer, speak\nto me!\" He moved his head a little upon the pillow; he turned his", "unlike a Jones of Llanfeare. Then had come the time in which Isabel\nhad been brought to Llanfeare. Henry had been sent away from Oxford\nfor some offence not altogether trivial, and the Squire had declared", "Then the other girls came in, and nothing more was said till, after\nan hour or two, Mrs Brodrick and Isabel were again alone together." ], [ "Mr Indefer Jones, who was now between seventy and eighty years old,\nwas a gentleman who through his whole life had been disturbed by", "carried on. There had come no time in which this Indefer Jones had\nbeen about to be married, and the former old man having been given to", "between himself and his uncle. Could they who had known old Indefer\nJones for so many years, and were aware that he had been governed\nby the highest sense of honour through his entire life, could they", "which I had advocated; and, though no man in his strong health would\nhave been more ready to acknowledge an error than Indefer Jones,\nof Llanfeare, we all know that with failing strength comes failing", "When Mr Indefer Jones spoke of living for two years, he spoke more\nhopefully of himself than the doctor was wont to speak to Isabel. The", "For there was a change, not only in his mind, but in his declared\nintentions. Llanfeare had belonged to Indefer Joneses for many", "CHAPTER I\n\nUncle Indefer", "irked the hearts of them all that such a one as Henry Jones should\ndo such a deed and not be discovered. Old Indefer Jones had been\nrespected by his neighbours. Miss Brodrick, though not personally", "\"Well, then, I urged my ideas perhaps too strongly. I am bound to say\nthat I felt them very strongly. Mr Indefer Jones remarked that it was", "accounts of all that had been done at Llanfeare, putting forward in\nevery paper as it came out the reason which existed for supposing\nthat a wrong had been done. That theory that old Indefer Jones had", "that to the best of his belief the will, which was about to be\nproved, was the last will and testament of Indefer Jones. Had this\nbeen explained to him by the lawyer in his letter, he might probably", "\"Uncle Indefer,\" she said, \"how is it with you? Uncle Indefer, speak\nto me!\" He moved his head a little upon the pillow; he turned his", "On the day after the reading of the will, Henry Indefer Jones, Esq.,\nof Llanfeare, as he was now to be called, was left alone in his", "\"I'm sure she is all that you say, Uncle Indefer,\" he replied.\n\nUncle Indefer grunted, and told him that if he wanted any supper, he\nhad better go and get it.", "then, when he shall have gone through the proper changes, Mrs William\nOwen Indefer Jones. As such I hope you may remain till you shall be\nknown as the oldest inhabitant of Carmarthenshire.\"", "\"You will have to be called Miss Jones,\" said the lawyer, \"Miss\nIndefer Jones. There will be a form, for which we shall have to pay,", "of the Pembroke Lion, should reign at Llanfeare in the place of\nan Indefer Jones had been abominable to him. To prevent that had", "Then the day came for the arrival of Henry Jones, during the approach\nto which Uncle Indefer had, from day to day, become more and more", "\"You ought to do so, Uncle Indefer. What should a man obey but his\nconscience?\"\n\n\"Though it will break my heart.\"\n\n\"No; no, no!\"", "himself should be the last, leaving Llanfeare to his nephew on\ncondition that he should prefix the name of Indefer to that of Jones,\nand adding certain stipulations as to further entail. Then everything" ], [ "carried on. There had come no time in which this Indefer Jones had\nbeen about to be married, and the former old man having been given to", "Mr Indefer Jones, who was now between seventy and eighty years old,\nwas a gentleman who through his whole life had been disturbed by", "CHAPTER I\n\nUncle Indefer", "\"Uncle Indefer,\" she said, \"how is it with you? Uncle Indefer, speak\nto me!\" He moved his head a little upon the pillow; he turned his", "between himself and his uncle. Could they who had known old Indefer\nJones for so many years, and were aware that he had been governed\nby the highest sense of honour through his entire life, could they", "himself should be the last, leaving Llanfeare to his nephew on\ncondition that he should prefix the name of Indefer to that of Jones,\nand adding certain stipulations as to further entail. Then everything", "Then the day came for the arrival of Henry Jones, during the approach\nto which Uncle Indefer had, from day to day, become more and more", "On the day after the reading of the will, Henry Indefer Jones, Esq.,\nof Llanfeare, as he was now to be called, was left alone in his", "\"I'm sure she is all that you say, Uncle Indefer,\" he replied.\n\nUncle Indefer grunted, and told him that if he wanted any supper, he\nhad better go and get it.", "When Mr Indefer Jones spoke of living for two years, he spoke more\nhopefully of himself than the doctor was wont to speak to Isabel. The", "will have to put himself into a witness-box, and then probably we may\nlearn something of the truth as to the last will and testament made\nby Mr Indefer Jones.\" All this reached Hereford, and was of course", "irked the hearts of them all that such a one as Henry Jones should\ndo such a deed and not be discovered. Old Indefer Jones had been\nrespected by his neighbours. Miss Brodrick, though not personally", "which I had advocated; and, though no man in his strong health would\nhave been more ready to acknowledge an error than Indefer Jones,\nof Llanfeare, we all know that with failing strength comes failing", "after him had died without issue. Then there had been a Henry Jones,\nwho had gone away and married, had become the father of the Henry\nJones above mentioned, and had then also departed. The youngest, a", "\"How am I to know?\"\n\n\"You do know! Who put it there?\"\n\n\"I suppose it was Uncle Indefer.\"", "after her uncle's death. As simple Isabel Brodrick she might marry\nwhom she would without bringing discredit upon the Indefer Joneses.\nBut that which she had been constrained to do before her uncle had", "For there was a change, not only in his mind, but in his declared\nintentions. Llanfeare had belonged to Indefer Joneses for many", "\"You will have to be called Miss Jones,\" said the lawyer, \"Miss\nIndefer Jones. There will be a form, for which we shall have to pay,", "then, when he shall have gone through the proper changes, Mrs William\nOwen Indefer Jones. As such I hope you may remain till you shall be\nknown as the oldest inhabitant of Carmarthenshire.\"", "Llanfeare. Ever since I have known him, Uncle Indefer has been all\nlove to me. I would not allow a thought of mine to be polluted by" ], [ "to him so strongly on the subject that he did not dare to repeat his\nrequest. And yet, he thought, there was no good reason why they two\nshould not become man and wife. Henry, as far as he could learn, had", "His brother Henry was then alive; but Henry had disgraced the\nfamily,--had run away with a married woman whom he had married after\na divorce, had taken to race courses and billiard-rooms, and had been", "after him had died without issue. Then there had been a Henry Jones,\nwho had gone away and married, had become the father of the Henry\nJones above mentioned, and had then also departed. The youngest, a", "Henry could see it all now! So, at least, Cousin Henry told himself.", "\"Sit down there, Henry, and I will tell you why we cannot do that. I\ndo not love you in the least.\"\n\n\"You might learn to love me.\"", "It will be seen how he had endeavoured to reconcile things. When\nit was found that Henry Jones was working like a steady man at the", "When the man had asked him that question,--Is there any secret you\ncan tell?--Cousin Henry did, for half a minute, make up his mind", "Henry. So much the old man had said to Isabel himself. \"If I think\nit proper, he has no right to scold me,\" the old man had said. The", "While he was so arguing, Cousin Henry was trying his hand with\nIsabel. There had been but a week for him to do it, and three days", "Then Joseph Cantor the father told all the circumstances as they\nhad occurred. When Mr Henry Jones had been about a fortnight at", "\"It is near two o'clock, Mr Henry,\" said the butler. \"What are you\ndoing up so late?\"\n\n\"I am only reading,\" said the heir.", "made, but had sat there still in continued silence. \"We do not say,\"\ncontinued the writer in the paper, \"that Henry Jones since he became", "The clerk had made his way into the book-room in which Cousin Henry\nwas sitting, and stood there over him while he was reading the", "made. Cousin Henry took his place at the further end of the table\nfrom the fire, about six feet from the spot on which all his thoughts\nwere intent. There he stood, ready for action while the attorney", "At Coed he found the farmer in his own farmyard.\n\n\"I have come to you in great trouble,\" said Cousin Henry, beginning\nhis story.", "to do so.\" He paused a moment, but Cousin Henry was silent, and he\ncontinued, \"For many years I was your uncle's lawyer, as was my", "altogether odious to his brother Indefer. Nevertheless the boy which\nhad come from this marriage, a younger Henry, had been educated at\nhis expense, and had occasionally been received at Llanfeare. He", "Having thus comforted his client, Mr Apjohn took his leave.\n\n\n\n\nCHAPTER XV\n\nCousin Henry Makes Another Attempt", "From what had passed with Mrs Griffith, it was clear to Cousin Henry\nthat he must go out of the house and be seen about the place. The", "book-room. But here Cousin Henry had now placed himself, and here he\nremained through the whole day, though it was not believed of him\nthat he was given to much reading. For his breakfast and his supper" ], [ "Then again there came to him the idea that it would be best for\nhim, and for Isabel too, to divide the property. In one way it was", "Whereupon Uncle Indefer grunted. The more he saw of the man, the less\nhe himself liked the idea of sacrificing Isabel to such a husband. \"I\nshall certainly do my best to carry out your wishes.\"", "\"Uncle Indefer,\" she said, \"how is it with you? Uncle Indefer, speak\nto me!\" He moved his head a little upon the pillow; he turned his", "remained silent, fixed, and attentive. \"Isabel,\" he said, \"I suppose\nUncle Indefer has told you what he intends?\"", "after her uncle's death. As simple Isabel Brodrick she might marry\nwhom she would without bringing discredit upon the Indefer Joneses.\nBut that which she had been constrained to do before her uncle had", "often to the exclusion of Isabel. Now it had come to pass that Uncle\nIndefer was never at his ease unless his niece were with him.", "Then, naturally enough, there came back upon him the idea, hardly\namounting to a hope, that something might even yet occur to set\nmatters right by a marriage between the cousins. Isabel had spoken", "you have it in your power to relieve him altogether? Do you not know\nhow pressed he is, and that there are your brothers to be educated?\"\nIsabel, as she listened to this, sat silent, looking upon the ground,", "Having much considered the matter, he had thought the estate should\ndescend to the male heir, even in default of a regular deed of\nentail. Therefore, although his love for his dearest niece, Isabel", "When Mr Indefer Jones spoke of living for two years, he spoke more\nhopefully of himself than the doctor was wont to speak to Isabel. The", "\"As to what, Uncle Indefer?\" She knew very well what was the matter\nin which, as he said, he could not help himself. Had there been", "old Squire would not again change his mind. The young man had thought\nmuch about it, and had come to the resolution that the best way to\ninsure the good things promised him would be to induce Isabel to be", "altogether in opposition to his own advice, and having thus created\nthat \"scolding\" of which the Squire had complained to Isabel. This\nwill bequeathed the whole of the property to Cousin Henry. It did", "\"And so have I, Uncle Indefer; and as my conscience is backed by my\ninclination, whereas yours is not--\"\n\n\"You think that I shall give way?\"\n\n\"I did not mean that.\"", "The heir expectant was then convinced that it would have been better\nfor him to have followed the advice which Isabel had given him, but\nyet he could not bring himself to believe that the advice had been", "Then followed the business as to the charge upon the property which\nwas to be made on behalf of Isabel. The deeds were prepared, and only\nrequired the signature of the new Squire.", "\"You ought to do so, Uncle Indefer. What should a man obey but his\nconscience?\"\n\n\"Though it will break my heart.\"\n\n\"No; no, no!\"", "Isabel was quite sure that the newspaper was right. Did she not\nremember the dying words with which her uncle had told her that\nhe had again made her his heir? And had she not always clearly", "his part. To divide it would certainly be best. But there was no\nother way of dividing it but by a marriage. For any other division,\nsuch as separating the land or the rents, no excuse could be made,", "\"And you would wish to make him owner of Llanfeare?\"\n\n\"I did not say so,\" rejoined Isabel. \"I have told you what occurred,\nand have asked you what you thought.\"" ], [ "and that Cousin Henry was in possession of the property. He had\nregarded Isabel and the property as altogether separated from each\nother. Now he learned that such was not the general opinion in", "While he was so arguing, Cousin Henry was trying his hand with\nIsabel. There had been but a week for him to do it, and three days", "The reader may perhaps understand that these words were written by\nher with extreme anguish; but of that her Cousin Henry understood\nnothing.\n\n\n\n\nCHAPTER XII", "Henry. So much the old man had said to Isabel himself. \"If I think\nit proper, he has no right to scold me,\" the old man had said. The", "\"They are very cruel; I know that,\" said Cousin Henry, whining.\n\n\"All such accusations are cruel, if they be false.\"\n\n\"These are false; damnably false.\"", "well to have been a burden on you when I could give you nothing.\"\nThat would be sweet to her! Then there should be kisses! As for\nCousin Henry, there was not even pity in her heart towards him. It", "for an attempt at love; and if for an attempt at love on his part,\nwhy not also on Isabel's? But he did not dare to bid Isabel even to\ntry to love this cousin.", "\"So much better for that poor young man's sake.\" The poor young man\nwas of course Cousin Henry. \"But I could not interfere. I could only\nhear what I did hear,--and wait. Then the dear old man died!\"", "between Isabel and her cousin. At dinner they met, but only at\ndinner, and even then almost nothing was said between them. What he\ndid with himself during the day she did not even know. At Llanfeare", "operations necessary for proving the later will and annulling the\nformer one, for dispossessing Cousin Henry and for putting Isabel\ninto the full fruition of all her honours, went on as quickly as it", "\"You must go--you must indeed,\" said Isabel.\n\nThen the cousin went, and so at last, with some persuasion, did the\nhousekeeper.", "Then, naturally enough, there came back upon him the idea, hardly\namounting to a hope, that something might even yet occur to set\nmatters right by a marriage between the cousins. Isabel had spoken", "CHAPTER III\n\nCousin Henry", "Cousin Henry found his position to be difficult and precarious. That\nsuggestion of his uncle's,--or rather assertion,--that he could still", "Cousin Henry, groaning, pale and affrighted, murmured out something\nsignifying that he would think of it. Then Mr Griffith left him. The", "\"What has occurred?\" Cousin Henry groaned terribly as the moment for\nrevelation came upon him. And he felt that he had made the moment", "When the man had asked him that question,--Is there any secret you\ncan tell?--Cousin Henry did, for half a minute, make up his mind", "against Cousin Henry. There seemed to him to be an injustice in\naccusing a man of a great crime, simply because the crime might have\nbeen possible, and would, if committed, have been beneficial to the", "That night he wrote a letter to his cousin, which was as follows:--\n\n\n MY DEAR ISABEL,", "to do so.\" He paused a moment, but Cousin Henry was silent, and he\ncontinued, \"For many years I was your uncle's lawyer, as was my" ], [ "Mr Indefer Jones, who was now between seventy and eighty years old,\nwas a gentleman who through his whole life had been disturbed by", "carried on. There had come no time in which this Indefer Jones had\nbeen about to be married, and the former old man having been given to", "which I had advocated; and, though no man in his strong health would\nhave been more ready to acknowledge an error than Indefer Jones,\nof Llanfeare, we all know that with failing strength comes failing", "When Mr Indefer Jones spoke of living for two years, he spoke more\nhopefully of himself than the doctor was wont to speak to Isabel. The", "On the day after the reading of the will, Henry Indefer Jones, Esq.,\nof Llanfeare, as he was now to be called, was left alone in his", "\"Uncle Indefer,\" she said, \"how is it with you? Uncle Indefer, speak\nto me!\" He moved his head a little upon the pillow; he turned his", "himself should be the last, leaving Llanfeare to his nephew on\ncondition that he should prefix the name of Indefer to that of Jones,\nand adding certain stipulations as to further entail. Then everything", "will have to put himself into a witness-box, and then probably we may\nlearn something of the truth as to the last will and testament made\nby Mr Indefer Jones.\" All this reached Hereford, and was of course", "that to the best of his belief the will, which was about to be\nproved, was the last will and testament of Indefer Jones. Had this\nbeen explained to him by the lawyer in his letter, he might probably", "Then the day came for the arrival of Henry Jones, during the approach\nto which Uncle Indefer had, from day to day, become more and more", "between himself and his uncle. Could they who had known old Indefer\nJones for so many years, and were aware that he had been governed\nby the highest sense of honour through his entire life, could they", "For there was a change, not only in his mind, but in his declared\nintentions. Llanfeare had belonged to Indefer Joneses for many", "accounts of all that had been done at Llanfeare, putting forward in\nevery paper as it came out the reason which existed for supposing\nthat a wrong had been done. That theory that old Indefer Jones had", "then, when he shall have gone through the proper changes, Mrs William\nOwen Indefer Jones. As such I hope you may remain till you shall be\nknown as the oldest inhabitant of Carmarthenshire.\"", "Jones had gone on to explain that this deed was to be his last will.\nThe old farmer, it seemed, had suggested to his landlord that Mr\nApjohn should be employed. The Squire then declared that this would", "irked the hearts of them all that such a one as Henry Jones should\ndo such a deed and not be discovered. Old Indefer Jones had been\nrespected by his neighbours. Miss Brodrick, though not personally", "CHAPTER I\n\nUncle Indefer", "\"That is very soon. I am so sorry that you are to leave us! But I\nsuppose it is best that dear Uncle Indefer should not be left alone.\"", "\"You will have to be called Miss Jones,\" said the lawyer, \"Miss\nIndefer Jones. There will be a form, for which we shall have to pay,", "to Llanfeare there was a short leading article recapitulating all\nthat was hitherto known of the story. \"Mr Henry Jones,\" said the\narticle in its last paragraph, \"has at length been induced to" ], [ "\"Both Mr Brodrick and I think it probable that your uncle's last will\nmay yet be concealed somewhere in the house.\" Cousin Henry's eye, as\nthis was said, again glanced up at the fatal shelf.", "\"My uncle did make a will,\" said Cousin Henry feebly.\n\n\"Of course he made a will. He made a many,--one or two more than was\nwise, I am thinking.\"", "him peculiarly at the present moment. He was quite sure not only\nthat a later will had been made, but that it was in existence. It\nwas concealed somewhere, and Cousin Henry knew the secret of its", "Cousin Henry thought a moment whether he had concealed the will or\nnot. No! he had not put it within the book. The man who hides a thing", "will in truth be found to be the last will and testament of the old\nSquire, then it would be his duty to declare that the estate and\neverything upon it belonged to Cousin Henry, and that there would be,", "\"It was concealed within a book in the library. As soon as the\nnecessary deeds can be executed Llanfeare will be your own. It is\nprecisely word for word the same as that which he had made before he\nsent for your cousin Henry.\"", "be found among her uncle's papers. She knew well the manner in which\nthose other wills had been tied and deposited in one of the drawers", "Cousin Henry had been well aware. If they began to search in the\nroom, they would certainly find the document. Of that he was quite\nsure. Not a book would be left without having been made to disclose", "The clerk had made his way into the book-room in which Cousin Henry\nwas sitting, and stood there over him while he was reading the", "\"He never spoke to you about another will,--a further will, that\nshould again bestow the estate on your cousin?\"\n\n\"No,\" said Cousin Henry, with the perspiration still on his brow.", "able to find a will, the hiding-place of which should be known to\nCousin Henry, was to his thinking out of the question. The subtler\nintellect of the other lawyer appreciating the intricacies of a", "and subsequent to the funeral, he had heard a will read, and under\nthat will had inherited the property. As far as he believed, or\nat any rate as far as he knew, that was his uncle's last will and", "by his fellow-clerks in London that the will had been found by them\nwithout any knowledge on his part,--then he would be satisfied. A\nterrible catastrophe had fallen upon him, but one which would not", "\"But,\" he said, \"Mr Henry Jones, when he comes into possession of the\nestate, will probably feel himself called upon to set that matter\nright, and to carry out his uncle's wishes.\"", "On the day after the reading of the will, Henry Indefer Jones, Esq.,\nof Llanfeare, as he was now to be called, was left alone in his", "suddenly that the old man had been reading these sermons shortly\nbefore his death, had gone at once to the book. There the will\nhad been discovered, which had at once been admitted to be a true", "The day after her arrival her father asked her a few questions as to\nher uncle's intentions in reference to the property.\n\n\"I think it is all settled,\" she said. \"I think it has been left to\nmy Cousin Henry.\"", "\"Then Henry has not destroyed it?\"\n\n\"No, he did not destroy it.\"\n\n\"Nor hid it where we could not find it?\"\n\n\"Nor did he hide it.\"", "Then that will was read,--that will which we know not to have been\nthe last will,--in the presence of Cousin Henry, of Dr Powell, who", "Such had been his resolution during the last fortnight, and in\naccordance with that he had acted. But now his purpose was again\nchanged. Now he intended to reveal the will with his own hands, and" ], [ "\"Has Mr Henry Jones inquired into the cause of his own isolation?\"\n\n\"Has Mr Henry Jones any idea why we persecute him in every fresh\nissue of our newspaper?\"", "newspapers,--believing, as he knew they did, that he had stolen the\nproperty,--would clamber up on the very wheels to look at him! The\nclerk had been right in that.", "to Llanfeare there was a short leading article recapitulating all\nthat was hitherto known of the story. \"Mr Henry Jones,\" said the\narticle in its last paragraph, \"has at length been induced to", "made, but had sat there still in continued silence. \"We do not say,\"\ncontinued the writer in the paper, \"that Henry Jones since he became", "\"They are very cruel; I know that,\" said Cousin Henry, whining.\n\n\"All such accusations are cruel, if they be false.\"\n\n\"These are false; damnably false.\"", "\"I know about the newspaper.\"\n\n\"It is my duty not to blink the matter. Every one, not only in the\ntown but throughout the country, is expressing an opinion that right\nhas not been done.\"", "Cousin Henry turned deadly pale. \"We have all been driven to look\nat them. I have taken the paper these twenty years, but it is sent\nnow to every tenant on the estate, whether they pay or whether they", "Then the newspapers reached them. When it became clear to him that\nthere existed in Carmarthenshire so strong a doubt as to the validity", "\"Practically they do. These articles in the paper are only an echo of\nthe public voice. And that voice is becoming stronger and stronger\nevery day because you take no steps to silence it. Have you seen\nyesterday's paper?\"", "intense interest in the borough. The sale of the newspaper had risen\nimmensely, and Mr Evans was quite the leading man of the hour.", "\"Yes; it does come,\" said Cousin Henry, with the faintest attempt at\na smile.\n\n\"And you have read what they say?\"\n\n\"Yes, the most of it.\"", "Then Mr Apjohn brought a copy of the newspaper out of his pocket, and\nbegan to read a list of questions which the editor was supposed to", "opinion concerning Cousin Henry in Carmarthen on the Thursday and\nFriday was very severe indeed. Had he shown himself in the town, he\nwould almost have been pulled in pieces. To kill him and to sell his", "The _Carmarthen Herald_, a newspaper bearing a high character through\nSouth Wales, took the matter up very strongly, so that it became a", "Henry was afraid. \"You cannot but be aware of what is going on in\nCarmarthen.\"", "Every one was convinced that Cousin Henry had simply stolen the\nproperty; and was it to be endured that such a deed as that should", "It may be added that, notorious as the whole affair was at\nCarmarthen, but little of Cousin Henry's wicked doings were known up\nin London.", "Then Joseph Cantor the father told all the circumstances as they\nhad occurred. When Mr Henry Jones had been about a fortnight at", "against Cousin Henry. There seemed to him to be an injustice in\naccusing a man of a great crime, simply because the crime might have\nbeen possible, and would, if committed, have been beneficial to the", "spies upon his actions; this newspaper was rending his very vitals;\nand now this one last friend had deserted him. He thought that if\nonly he could summon courage for the deed, it would be best for him" ], [ "In all this Cousin Henry did feel some consolation, and was greatly\ncomforted when he heard from the office in London that his stool at\nthe desk was still kept open for him.", "\"Then Henry has not destroyed it?\"\n\n\"No, he did not destroy it.\"\n\n\"Nor hid it where we could not find it?\"\n\n\"Nor did he hide it.\"", "postponed. But Cousin Henry assented to the proposition and took his\ndeparture. Now he had committed himself to some revelation, and the", "CHAPTER XXII\n\nHow Cousin Henry Was Let Off Easily", "against Cousin Henry. There seemed to him to be an injustice in\naccusing a man of a great crime, simply because the crime might have\nbeen possible, and would, if committed, have been beneficial to the", "far Cousin Henry had sinned in the matter; but it was agreed between\nthem that no further evil should be said in the family as to their\nunfortunate relative. The great injury which he might have done to", "His brother Henry was then alive; but Henry had disgraced the\nfamily,--had run away with a married woman whom he had married after\na divorce, had taken to race courses and billiard-rooms, and had been", "It will be seen how he had endeavoured to reconcile things. When\nit was found that Henry Jones was working like a steady man at the", "irked the hearts of them all that such a one as Henry Jones should\ndo such a deed and not be discovered. Old Indefer Jones had been\nrespected by his neighbours. Miss Brodrick, though not personally", "Then Joseph Cantor the father told all the circumstances as they\nhad occurred. When Mr Henry Jones had been about a fortnight at", "to him so strongly on the subject that he did not dare to repeat his\nrequest. And yet, he thought, there was no good reason why they two\nshould not become man and wife. Henry, as far as he could learn, had", "Having thus comforted his client, Mr Apjohn took his leave.\n\n\n\n\nCHAPTER XV\n\nCousin Henry Makes Another Attempt", "made, but had sat there still in continued silence. \"We do not say,\"\ncontinued the writer in the paper, \"that Henry Jones since he became", "Cousin Henry, to whom we may be now allowed to bid farewell, was\npermitted to remain within the seclusion of the house at Llanfeare", "to whom he had expressed his own thoughts as they had occurred to\nhim. He had said a word to the clerk in triumph as Cousin Henry left\nhim, but a few minutes afterwards recalled him with an altered tone.", "letter addressed to himself, which he invited Cousin Henry to sign as\nsoon as he had read it aloud to him and to Mr Brodrick. The letter\ncontained simply the two admissions above stated, and then went", "old butler also, who had taken himself off in disgust at Cousin\nHenry's character, but had now returned as though there had been no\nbreak in his continuous service. They received her with triumphant", "\"No, no, no.\"\n\n\"Is there any secret that you can tell?\"\n\nAwed, appalled, stricken with utter dismay, Cousin Henry sat silent\nbefore his questioner.", "be too glad to resign Llanfeare and all its glories. The reader will\nhardly suppose that Cousin Henry will return after the trial to laugh\nin his sleeve in his own library in his own house.", "gone, but she remained, as did the two other women. Nothing was said\nas to the cause of their remaining; but they remained. As for Cousin\nHenry himself, he was too weak, too frightened, too completely" ], [ "Mr Indefer Jones, who was now between seventy and eighty years old,\nwas a gentleman who through his whole life had been disturbed by", "\"Uncle Indefer,\" she said, \"how is it with you? Uncle Indefer, speak\nto me!\" He moved his head a little upon the pillow; he turned his", "CHAPTER I\n\nUncle Indefer", "\"I'm sure she is all that you say, Uncle Indefer,\" he replied.\n\nUncle Indefer grunted, and told him that if he wanted any supper, he\nhad better go and get it.", "\"As to what, Uncle Indefer?\" She knew very well what was the matter\nin which, as he said, he could not help himself. Had there been", "carried on. There had come no time in which this Indefer Jones had\nbeen about to be married, and the former old man having been given to", "\"She would have much more,\" said Uncle Indefer angrily. \"She knows\nevery man, woman, and child about the place. There is not one of them", "\"How am I to know?\"\n\n\"You do know! Who put it there?\"\n\n\"I suppose it was Uncle Indefer.\"", "\"Why should you run away from me?\"\n\n\"Not from you, Uncle Indefer, but from him.\"\n\n\"And why from him?\"\n\n\"Because I don't love him.\"", "between himself and his uncle. Could they who had known old Indefer\nJones for so many years, and were aware that he had been governed\nby the highest sense of honour through his entire life, could they", "London office to which he was attached, that he had sown his wild\noats, then Uncle Indefer began to ask himself why all his dearest\nwishes should not be carried out together by a marriage between the", "Llanfeare. Ever since I have known him, Uncle Indefer has been all\nlove to me. I would not allow a thought of mine to be polluted by", "When Mr Indefer Jones spoke of living for two years, he spoke more\nhopefully of himself than the doctor was wont to speak to Isabel. The", "\"And so have I, Uncle Indefer; and as my conscience is backed by my\ninclination, whereas yours is not--\"\n\n\"You think that I shall give way?\"\n\n\"I did not mean that.\"", "\"That is very soon. I am so sorry that you are to leave us! But I\nsuppose it is best that dear Uncle Indefer should not be left alone.\"", "\"You ought to do so, Uncle Indefer. What should a man obey but his\nconscience?\"\n\n\"Though it will break my heart.\"\n\n\"No; no, no!\"", "\"I am angry with him,\" said the attorney in wrath, \"because he\ndeceived you and deceived me about the property.\"\n\n\"Never; he deceived no one. Uncle Indefer and deceit never went\ntogether.\"", "\"You should not say that, Uncle Indefer. It is not true. I care\nenough for the family to sympathise with you altogether in what you", "Whereupon Uncle Indefer grunted. The more he saw of the man, the less\nhe himself liked the idea of sacrificing Isabel to such a husband. \"I\nshall certainly do my best to carry out your wishes.\"", "altogether odious to his brother Indefer. Nevertheless the boy which\nhad come from this marriage, a younger Henry, had been educated at\nhis expense, and had occasionally been received at Llanfeare. He" ], [ "\"Uncle Indefer,\" she said, \"how is it with you? Uncle Indefer, speak\nto me!\" He moved his head a little upon the pillow; he turned his", "CHAPTER I\n\nUncle Indefer", "\"I'm sure she is all that you say, Uncle Indefer,\" he replied.\n\nUncle Indefer grunted, and told him that if he wanted any supper, he\nhad better go and get it.", "\"Why should you run away from me?\"\n\n\"Not from you, Uncle Indefer, but from him.\"\n\n\"And why from him?\"\n\n\"Because I don't love him.\"", "\"How am I to know?\"\n\n\"You do know! Who put it there?\"\n\n\"I suppose it was Uncle Indefer.\"", "\"As to what, Uncle Indefer?\" She knew very well what was the matter\nin which, as he said, he could not help himself. Had there been", "\"You ought to do so, Uncle Indefer. What should a man obey but his\nconscience?\"\n\n\"Though it will break my heart.\"\n\n\"No; no, no!\"", "Whereupon Uncle Indefer grunted. The more he saw of the man, the less\nhe himself liked the idea of sacrificing Isabel to such a husband. \"I\nshall certainly do my best to carry out your wishes.\"", "carried on. There had come no time in which this Indefer Jones had\nbeen about to be married, and the former old man having been given to", "Mr Indefer Jones, who was now between seventy and eighty years old,\nwas a gentleman who through his whole life had been disturbed by", "\"And so have I, Uncle Indefer; and as my conscience is backed by my\ninclination, whereas yours is not--\"\n\n\"You think that I shall give way?\"\n\n\"I did not mean that.\"", "London office to which he was attached, that he had sown his wild\noats, then Uncle Indefer began to ask himself why all his dearest\nwishes should not be carried out together by a marriage between the", "Llanfeare. Ever since I have known him, Uncle Indefer has been all\nlove to me. I would not allow a thought of mine to be polluted by", "to him, and I am bound to keep to that. He will have understood that\nat the present moment I am breaking my promise through a mistake of\nUncle Indefer's which I could not have anticipated.\"", "\"I am angry with him,\" said the attorney in wrath, \"because he\ndeceived you and deceived me about the property.\"\n\n\"Never; he deceived no one. Uncle Indefer and deceit never went\ntogether.\"", "\"You should not say that, Uncle Indefer. It is not true. I care\nenough for the family to sympathise with you altogether in what you", "\"She would have much more,\" said Uncle Indefer angrily. \"She knows\nevery man, woman, and child about the place. There is not one of them", "glory and her martyrdom all to herself. No human being should ever\nhear from her lips a word of complaint against her Uncle Indefer.", "altogether odious to his brother Indefer. Nevertheless the boy which\nhad come from this marriage, a younger Henry, had been educated at\nhis expense, and had occasionally been received at Llanfeare. He", "between himself and his uncle. Could they who had known old Indefer\nJones for so many years, and were aware that he had been governed\nby the highest sense of honour through his entire life, could they" ], [ "CHAPTER IV\n\nThe Squire's Death", "CHAPTER I\n\nUncle Indefer", "\"Uncle Indefer,\" she said, \"how is it with you? Uncle Indefer, speak\nto me!\" He moved his head a little upon the pillow; he turned his", "altogether odious to his brother Indefer. Nevertheless the boy which\nhad come from this marriage, a younger Henry, had been educated at\nhis expense, and had occasionally been received at Llanfeare. He", "On the day after the reading of the will, Henry Indefer Jones, Esq.,\nof Llanfeare, as he was now to be called, was left alone in his", "Llanfeare. Ever since I have known him, Uncle Indefer has been all\nlove to me. I would not allow a thought of mine to be polluted by", "Then followed the business as to the charge upon the property which\nwas to be made on behalf of Isabel. The deeds were prepared, and only\nrequired the signature of the new Squire.", "\"I'm sure she is all that you say, Uncle Indefer,\" he replied.\n\nUncle Indefer grunted, and told him that if he wanted any supper, he\nhad better go and get it.", "London office to which he was attached, that he had sown his wild\noats, then Uncle Indefer began to ask himself why all his dearest\nwishes should not be carried out together by a marriage between the", "Mr Indefer Jones, who was now between seventy and eighty years old,\nwas a gentleman who through his whole life had been disturbed by", "of the Pembroke Lion, should reign at Llanfeare in the place of\nan Indefer Jones had been abominable to him. To prevent that had", "\"She would have much more,\" said Uncle Indefer angrily. \"She knows\nevery man, woman, and child about the place. There is not one of them", "I. Uncle Indefer\n II. Isabel Brodrick\n III. Cousin Henry\n IV. The Squire's Death", "will have to put himself into a witness-box, and then probably we may\nlearn something of the truth as to the last will and testament made\nby Mr Indefer Jones.\" All this reached Hereford, and was of course", "There was a great deal said at Carmarthen about the old Squire's\nwill. Such scenes as that which had taken place in the house, first", "\"You ought to do so, Uncle Indefer. What should a man obey but his\nconscience?\"\n\n\"Though it will break my heart.\"\n\n\"No; no, no!\"", "\"The Squire was very weak when he made that will, sir,\" said the\nclerk. \"Just at that time he was only coming down to the dining-room,", "Squire of Llanfeare. There was nothing that he was not ready to do to\nplease and conciliate his uncle. Llanfeare without Isabel as a burden", "himself should be the last, leaving Llanfeare to his nephew on\ncondition that he should prefix the name of Indefer to that of Jones,\nand adding certain stipulations as to further entail. Then everything", "If it was to be that her cousin should live there as squire and owner\nof Llanfeare, why should she seek to damage his character by calling\nin question the will under which he would inherit the property? Thus" ], [ "CHAPTER IX\n\nAlone at Llanfeare", "was for Llanfeare. It was to be Llanfeare or nothing. The position\noffered to him was to come, not from love, but from a sense of duty", "of Llanfeare. There would be a delight to him in the character which\nhe would thus achieve. But then she had scorned him! No bitterer", "to Llanfeare, and live there as though she was herself the owner.\nThat, indeed, did not require much consideration. It was altogether\nout of the question, and only dwelt in her thoughts as showing how", "to have, at some not very distant time, all Llanfeare in her own\nhands. It was said of her, and said truly, that she was possessed", "Llanfeare. Ever since I have known him, Uncle Indefer has been all\nlove to me. I would not allow a thought of mine to be polluted by", "Llanfeare? In spite of Mr Apjohn's good-natured explanations, the\npublic of Carmarthen was quite convinced that Henry Jones had in", "\"What is it that has occurred, Mr Jones, since I was up at Llanfeare\nyesterday?\"\n\n\"I don't think that I could tell you here.\"\n\n\"Where, then?\"", "uncle at Llanfeare. There she had lived for the last ten years,\nmaking occasional visits to her father at Hereford.", "possession of Llanfeare. He was full of the idea that a great deal\nwas due to Isabel. A great deal was certainly due to Isabel, if only,", "been seen. Whether Mr Apjohn himself did or did not believe that it\nhad been so, others would not think it. Among the tenants and the\nservants at Llanfeare there was a general feeling that something", "unlike a Jones of Llanfeare. Then had come the time in which Isabel\nhad been brought to Llanfeare. Henry had been sent away from Oxford\nfor some offence not altogether trivial, and the Squire had declared", "There would be great delight in possessing Llanfeare, if he could\nin very truth possess it. He would not live there. No; certainly", "Llanfeare, had told him that he was to be the heir, had informed him\nthat a new will had been made in his favour. After his uncle's death", "Everything at Llanfeare had had an interest for her. Then had come\nthat sudden change in her uncle's feelings,--that new idea of", "well understood at Llanfeare. Mr Apjohn had been sent for on such\noccasions, and had returned after a day or two, accompanied by two", "well known in the county, had been spoken well of by all men. The\nidea that Llanfeare should belong to her had been received with\nfavour. Then had come that altered intention in the old squire's", "\"So she shall, if Mr Henry Jones be firmly established at Llanfeare.\nIt was explained to me before why your daughter, as owner of", "missing will. No, he would not willingly live at Llanfeare. But if he\ncould let Llanfeare, were it but for a song, and enjoy the rents up", "\"Then he has changed his mind,\" said her father angrily. \"He did mean\nto make you his heiress?\"\n\n\"Henry is at Llanfeare now, and Henry will be his heir.\"" ], [ "in Carmarthen. Had he not by the unconsidered act of that moment\ncommitted some crime for which he could be prosecuted and sent", "Such were the feelings and such were the words spoken at Carmarthen;\nand it need only be said further, in regard to Carmarthen, that the", "Carmarthenshire. It was not his desire to push forward his suit\nwith the heiress of Llanfeare. He had been rejected on what he had", "CHAPTER XVIII\n\nCousin Henry Goes to Carmarthen", "Mr Apjohn took her to Carmarthen, and hence on to Llanfeare. At the\nstation there were many to meet her, so that her triumph, as she got", "He went to Carmarthen, and there his courage was subjected to a\nterrible trial. He was called upon to declare before the official", "travel as far as Carmarthen. There were the horses and the carriage\nwith which his uncle had been accustomed to be taken about the\nestate, and there was still the old coachman, who had been in the", "to carry it with him to Carmarthen in his pocket. But when he\nattempted to enclose it in an envelope for the purpose, his mind", "Then the newspapers reached them. When it became clear to him that\nthere existed in Carmarthenshire so strong a doubt as to the validity", "He had been sent for, and all Carmarthenshire had been made to\nunderstand why it was to be so. Then, in his sickness, the old man\nhad changed his mind through some fantastic feeling, and almost", "Henry was afraid. \"You cannot but be aware of what is going on in\nCarmarthen.\"", "been supreme. Even at Carmarthen, when she was seen there, she\nwas regarded as the great lady, the acknowledged heiress, who was", "and,--which was of more importance to Carmarthen at the present\nmoment,--there was to be no trial! The story, as told publicly, was", "It was told of him how he lived in the one room, how rarely he left\nthe house, how totally he was without occupation. More than the truth\nwas repeated as to his habits, till all Carmarthenshire believed that", "of a gentleman taking his own carriage through the streets on such an\noccasion as this? They are so prying into everything in Carmarthen.\nNow, when they see the Bush fly, they won't think as anybody", "\"The carriage, sir!\" said the butler, as though surprised. Then the\nowner of Llanfeare found himself compelled to explain to his own man\nthat it was necessary that he should see the lawyer in Carmarthen.", "His resolution as to the first portion of the above letter was taken\nas he returned in the carriage from Carmarthen; but it was not until", "There was a great deal said at Carmarthen about the old Squire's\nwill. Such scenes as that which had taken place in the house, first", "Cousin Henry's journey into Carmarthen had been made on the previous\nThursday, and since that day no new steps had been taken to unravel", "It may be added that, notorious as the whole affair was at\nCarmarthen, but little of Cousin Henry's wicked doings were known up\nin London." ], [ "\"Uncle Indefer,\" she said, \"how is it with you? Uncle Indefer, speak\nto me!\" He moved his head a little upon the pillow; he turned his", "CHAPTER I\n\nUncle Indefer", "\"I'm sure she is all that you say, Uncle Indefer,\" he replied.\n\nUncle Indefer grunted, and told him that if he wanted any supper, he\nhad better go and get it.", "often to the exclusion of Isabel. Now it had come to pass that Uncle\nIndefer was never at his ease unless his niece were with him.", "\"As to what, Uncle Indefer?\" She knew very well what was the matter\nin which, as he said, he could not help himself. Had there been", "\"Why should you run away from me?\"\n\n\"Not from you, Uncle Indefer, but from him.\"\n\n\"And why from him?\"\n\n\"Because I don't love him.\"", "\"She would have much more,\" said Uncle Indefer angrily. \"She knows\nevery man, woman, and child about the place. There is not one of them", "\"And so have I, Uncle Indefer; and as my conscience is backed by my\ninclination, whereas yours is not--\"\n\n\"You think that I shall give way?\"\n\n\"I did not mean that.\"", "glory and her martyrdom all to herself. No human being should ever\nhear from her lips a word of complaint against her Uncle Indefer.", "\"You should not say that, Uncle Indefer. It is not true. I care\nenough for the family to sympathise with you altogether in what you", "\"How am I to know?\"\n\n\"You do know! Who put it there?\"\n\n\"I suppose it was Uncle Indefer.\"", "\"You ought to do so, Uncle Indefer. What should a man obey but his\nconscience?\"\n\n\"Though it will break my heart.\"\n\n\"No; no, no!\"", "\"Never; never! That lesson would be impossible to me. Now let there\nbe an end of it. Uncle Indefer has, I dare say, asked you to make\nthis proposition.\"", "Whereupon Uncle Indefer grunted. The more he saw of the man, the less\nhe himself liked the idea of sacrificing Isabel to such a husband. \"I\nshall certainly do my best to carry out your wishes.\"", "London office to which he was attached, that he had sown his wild\noats, then Uncle Indefer began to ask himself why all his dearest\nwishes should not be carried out together by a marriage between the", "after her uncle's death. As simple Isabel Brodrick she might marry\nwhom she would without bringing discredit upon the Indefer Joneses.\nBut that which she had been constrained to do before her uncle had", "\"I am angry with him,\" said the attorney in wrath, \"because he\ndeceived you and deceived me about the property.\"\n\n\"Never; he deceived no one. Uncle Indefer and deceit never went\ntogether.\"", "to him, and I am bound to keep to that. He will have understood that\nat the present moment I am breaking my promise through a mistake of\nUncle Indefer's which I could not have anticipated.\"", "\"That is very soon. I am so sorry that you are to leave us! But I\nsuppose it is best that dear Uncle Indefer should not be left alone.\"", "importance was to be made to her,--\"it turns out that after all your\nUncle Indefer did make another will.\"" ], [ "but because he thinks it ought to go to the male heir. I quite agree\nwith him that these things should not be governed by affection. He is\nso good that he will certainly do what he believes to be his duty.\"", "\"As to your cousin and the property.\"\n\n\"Then in God's name do not trouble yourself further in looking for\nhelp where there is none to be had. You mean that the estate ought to\ngo to a man and not to a woman?\"", "Having much considered the matter, he had thought the estate should\ndescend to the male heir, even in default of a regular deed of\nentail. Therefore, although his love for his dearest niece, Isabel", "entail the property. You, no doubt, will have children, and will take\ncare that in due course it shall go to the eldest boy. There can be", "was a religion to him that a landed estate in Britain should go from\nfather to eldest son, and in default of a son to the first male heir.", "inheritance to himself,--and so he thought, no doubt, was hers as to\nherself. It might be that the old man's intention would depend upon", "And then there was an idea present to him through it all that\nabstract justice, if abstract justice could be reached, would declare\nthat the property should be his. The old man had made his will with", "reasons. He told me that he thought it right to keep the property in\nthe direct line of his family. I endeavoured to explain to him that\nthis might be sufficiently done though the property were left to a", "will in truth be found to be the last will and testament of the old\nSquire, then it would be his duty to declare that the estate and\neverything upon it belonged to Cousin Henry, and that there would be,", "the idea that the place should pass away out of what he regarded as\nthe proper male line. To his thinking it was simply an accident that\nthe power of disposing of the property should be in his hands. It", "have been better that the whole thing should have been settled for\nhim by an entail? And, if so, how could it be right that he should\nact in opposition to the spirit of such an entail, merely because he", "primogeniture in respect of land. Though Isabel was ever so sweet,\nduty was duty. Who was he that he should dare to say to himself that\nhe could break through what he believed to be a law on his conscience", "and subsequent to the funeral, he had heard a will read, and under\nthat will had inherited the property. As far as he believed, or\nat any rate as far as he knew, that was his uncle's last will and", "be without consolation if with the estate might be made to pass\naway from him all responsibilities and all accusations as to the\nestate. That terrible man had almost promised him that a way of", "\"Yes; I had intended that you should be my heir, and have called you\nhither for that purpose. Now I find you to be so poor a creature that", "did not begrudge him the estate. She had acknowledged the strength of\nthe reasons which had induced the Squire to name him as heir; but she\ndeclared to herself that, if that latter document were not found, a", "on the property. Now, within the last few days, Mr Apjohn had learnt\nthat there were no funds remaining for the payment of such a legacy.\nThe will, therefore, was to him thoroughly distasteful. Should that", "the man whom she believed to be robbing her of the estate she felt\nquite sure. It could not be her duty to bring poverty on a man whom\nshe loved,--especially not as she had refused to confer wealth upon", "\"Yes; about the property. I believe he has made a will leaving it to\nyou. I believe he has done this, not because he loves you the best,", "altogether in opposition to his own advice, and having thus created\nthat \"scolding\" of which the Squire had complained to Isabel. This\nwill bequeathed the whole of the property to Cousin Henry. It did" ], [ "\"Uncle Indefer,\" she said, \"how is it with you? Uncle Indefer, speak\nto me!\" He moved his head a little upon the pillow; he turned his", "\"I'm sure she is all that you say, Uncle Indefer,\" he replied.\n\nUncle Indefer grunted, and told him that if he wanted any supper, he\nhad better go and get it.", "CHAPTER I\n\nUncle Indefer", "\"Why should you run away from me?\"\n\n\"Not from you, Uncle Indefer, but from him.\"\n\n\"And why from him?\"\n\n\"Because I don't love him.\"", "\"And so have I, Uncle Indefer; and as my conscience is backed by my\ninclination, whereas yours is not--\"\n\n\"You think that I shall give way?\"\n\n\"I did not mean that.\"", "\"As to what, Uncle Indefer?\" She knew very well what was the matter\nin which, as he said, he could not help himself. Had there been", "\"She would have much more,\" said Uncle Indefer angrily. \"She knows\nevery man, woman, and child about the place. There is not one of them", "altogether odious to his brother Indefer. Nevertheless the boy which\nhad come from this marriage, a younger Henry, had been educated at\nhis expense, and had occasionally been received at Llanfeare. He", "male heir has availed much in the doing of it. But in this case, in\nsticking to the custom, he would have lost the spirit, and, as far", "Having much considered the matter, he had thought the estate should\ndescend to the male heir, even in default of a regular deed of\nentail. Therefore, although his love for his dearest niece, Isabel", "\"You ought to do so, Uncle Indefer. What should a man obey but his\nconscience?\"\n\n\"Though it will break my heart.\"\n\n\"No; no, no!\"", "the table, while his uncle fumed and grunted. During every moment\nthat was so passed Uncle Indefer was asking himself whether that\nBritish custom as to male heirs was absolutely essential to the", "Whereupon Uncle Indefer grunted. The more he saw of the man, the less\nhe himself liked the idea of sacrificing Isabel to such a husband. \"I\nshall certainly do my best to carry out your wishes.\"", "to him, and I am bound to keep to that. He will have understood that\nat the present moment I am breaking my promise through a mistake of\nUncle Indefer's which I could not have anticipated.\"", "\"You should not say that, Uncle Indefer. It is not true. I care\nenough for the family to sympathise with you altogether in what you", "London office to which he was attached, that he had sown his wild\noats, then Uncle Indefer began to ask himself why all his dearest\nwishes should not be carried out together by a marriage between the", "but because he thinks it ought to go to the male heir. I quite agree\nwith him that these things should not be governed by affection. He is\nso good that he will certainly do what he believes to be his duty.\"", "glory and her martyrdom all to herself. No human being should ever\nhear from her lips a word of complaint against her Uncle Indefer.", "\"I am angry with him,\" said the attorney in wrath, \"because he\ndeceived you and deceived me about the property.\"\n\n\"Never; he deceived no one. Uncle Indefer and deceit never went\ntogether.\"", "himself should be the last, leaving Llanfeare to his nephew on\ncondition that he should prefix the name of Indefer to that of Jones,\nand adding certain stipulations as to further entail. Then everything" ], [ "postponed. But Cousin Henry assented to the proposition and took his\ndeparture. Now he had committed himself to some revelation, and the", "Having thus comforted his client, Mr Apjohn took his leave.\n\n\n\n\nCHAPTER XV\n\nCousin Henry Makes Another Attempt", "His brother Henry was then alive; but Henry had disgraced the\nfamily,--had run away with a married woman whom he had married after\na divorce, had taken to race courses and billiard-rooms, and had been", "Henry could see it all now! So, at least, Cousin Henry told himself.", "to him so strongly on the subject that he did not dare to repeat his\nrequest. And yet, he thought, there was no good reason why they two\nshould not become man and wife. Henry, as far as he could learn, had", "Cousin Henry, as the door had been opened, and as the man's footstep\nhad been heard, had made up his mind that on this occasion he could", "While he was so arguing, Cousin Henry was trying his hand with\nIsabel. There had been but a week for him to do it, and three days", "\"Then Henry has not destroyed it?\"\n\n\"No, he did not destroy it.\"\n\n\"Nor hid it where we could not find it?\"\n\n\"Nor did he hide it.\"", "to do so.\" He paused a moment, but Cousin Henry was silent, and he\ncontinued, \"For many years I was your uncle's lawyer, as was my", "From what had passed with Mrs Griffith, it was clear to Cousin Henry\nthat he must go out of the house and be seen about the place. The", "made. Cousin Henry took his place at the further end of the table\nfrom the fire, about six feet from the spot on which all his thoughts\nwere intent. There he stood, ready for action while the attorney", "Henry. So much the old man had said to Isabel himself. \"If I think\nit proper, he has no right to scold me,\" the old man had said. The", "\"Sit down there, Henry, and I will tell you why we cannot do that. I\ndo not love you in the least.\"\n\n\"You might learn to love me.\"", "\"What has occurred?\" Cousin Henry groaned terribly as the moment for\nrevelation came upon him. And he felt that he had made the moment", "\"Yes; it does come,\" said Cousin Henry, with the faintest attempt at\na smile.\n\n\"And you have read what they say?\"\n\n\"Yes, the most of it.\"", "It will be seen how he had endeavoured to reconcile things. When\nit was found that Henry Jones was working like a steady man at the", "At Coed he found the farmer in his own farmyard.\n\n\"I have come to you in great trouble,\" said Cousin Henry, beginning\nhis story.", "For some minutes Cousin Henry sat perfectly motionless, and then he\ngot up very softly, very silently, and tried the door. It was closed,", "\"They are very cruel; I know that,\" said Cousin Henry, whining.\n\n\"All such accusations are cruel, if they be false.\"\n\n\"These are false; damnably false.\"", "The clerk had made his way into the book-room in which Cousin Henry\nwas sitting, and stood there over him while he was reading the" ], [ "His brother Henry was then alive; but Henry had disgraced the\nfamily,--had run away with a married woman whom he had married after\na divorce, had taken to race courses and billiard-rooms, and had been", "Cousin Henry, to whom we may be now allowed to bid farewell, was\npermitted to remain within the seclusion of the house at Llanfeare", "Henry could see it all now! So, at least, Cousin Henry told himself.", "altogether odious to his brother Indefer. Nevertheless the boy which\nhad come from this marriage, a younger Henry, had been educated at\nhis expense, and had occasionally been received at Llanfeare. He", "book-room. But here Cousin Henry had now placed himself, and here he\nremained through the whole day, though it was not believed of him\nthat he was given to much reading. For his breakfast and his supper", "At Coed he found the farmer in his own farmyard.\n\n\"I have come to you in great trouble,\" said Cousin Henry, beginning\nhis story.", "From what had passed with Mrs Griffith, it was clear to Cousin Henry\nthat he must go out of the house and be seen about the place. The", "made. Cousin Henry took his place at the further end of the table\nfrom the fire, about six feet from the spot on which all his thoughts\nwere intent. There he stood, ready for action while the attorney", "after him had died without issue. Then there had been a Henry Jones,\nwho had gone away and married, had become the father of the Henry\nJones above mentioned, and had then also departed. The youngest, a", "to him so strongly on the subject that he did not dare to repeat his\nrequest. And yet, he thought, there was no good reason why they two\nshould not become man and wife. Henry, as far as he could learn, had", "The clerk had made his way into the book-room in which Cousin Henry\nwas sitting, and stood there over him while he was reading the", "It was about ten when they reached the house, and, on being shown\ninto the book-room, they found Cousin Henry at his breakfast. The", "Having thus comforted his client, Mr Apjohn took his leave.\n\n\n\n\nCHAPTER XV\n\nCousin Henry Makes Another Attempt", "CHAPTER XVIII\n\nCousin Henry Goes to Carmarthen", "and that Cousin Henry was in possession of the property. He had\nregarded Isabel and the property as altogether separated from each\nother. Now he learned that such was not the general opinion in", "The keys were given up to Cousin Henry, and he found himself to\nbe, in fact, the lord and master of the house, and the owner of", "Henry. So much the old man had said to Isabel himself. \"If I think\nit proper, he has no right to scold me,\" the old man had said. The", "CHAPTER III\n\nCousin Henry", "Cousin Henry, as the door had been opened, and as the man's footstep\nhad been heard, had made up his mind that on this occasion he could", "Henry was afraid. \"You cannot but be aware of what is going on in\nCarmarthen.\"" ] ]

[ "Who initially inherits the estate after Indefor Jones passes away?", "What secret is Henry trying to keep from being discovered?", "Why doesn't Henry destroy the document he found?", "Who suspects that Henry is hiding something?", "Why did Mr. Apjon want Henry to take legal action against the editor of the newspaper?", "Who finds the updated will ? ", "What consequences did Henry face after the will was discovered? ", "What is the name of Indefor Jones' manor?", "Why did Indefor Jones originally leave his estate to his nephew when he wanted to leave it to his niece?", "How is Isabel Brodrick related to Indefer Jones?", "In what way do Indefer Jones' traditional beliefs influence him?", "Who is Indefer Jones' only male relative?", "What does Henry do for a living?", "What does Indefer suggest to Isabel as a solution to the inheritance dilemma?", "What are Isabel's feelings toward her cousin Henry?", "What does Indefer Jones do shortly before passing away?", "Where does Henry find his uncle's will?", "What does the local newspaper accuse Henry of having done?", "Why is Henry able to return to his job, reputation intact?", "How old in Indefer?", "What does Indefer do?", "What is the name of the manor where Indefer is the squire?", "What city is Llanfeare located in?", "In which country is Carmarthen?", "Who is Indefer's niece?", "According to tradition, who should an estate be bequeathed to?", "Who is Indefer's only male heir?", "What does Henry do?", "Where does Henry live?" ]

[ [ "His nephew, Henry Jones", "Henry " ], [ "A document that leaves the estate to Isabel", "The will was changed " ], [ "He is afraid of the consequences he would face", "He isn't evil enough to do so." ], [ "Mr. Apjon, Indefors lawyer", "The local newspaper." ], [ "He suspected that Henry had information about Indefors will", "Publishing libelous and insulting accounts." ], [ "Mr. Apjon and Mr. Brodrick", "Henry" ], [ "Because he did not destroy it he was allowed to return to his job and Isabel inherited the estate", "He is allowed to return to his job in London and receives 4000 lbs" ], [ "Llanfeare", "Llanfeare." ], [ "His strong traditional beliefs were to leave is to the first male heir", "Because that was tradition" ], [ "She is his neice.", "His niece." ], [ "He feels his estate should be bequeathed to a male heir.", "He wants to bequeath his estate to a male heir" ], [ "His nephew, Henry Jones.", "His nephew Henry Jones" ], [ "He is a clerk in London.", "London clerk." ], [ "That she marry her cousin Henry.", "That she marry her cousin Henry who is the only male heir" ], [ "She does not like him.", "She cannot stand him." ], [ "He changes his will in favor of Isabel instead of Henry.", "He changes his will. " ], [ "Hidden in a book of sermons.", "The library." ], [ "Destroying the will so he could inherit the estate.", "Destroying the will " ], [ "Because he did not destroy the will.", "Because he did not destroy the will." ], [ "70-80", "Between 70 and 80 years old" ], [ "he is a squire", "He is the squire." ], [ "Llanfeare", "Llanfeare." ], [ "Carmarthen", "Carmarthen" ], [ "Wales", "Wales" ], [ "Isabel Brodrick", "Isabel." ], [ "a male heir", "A male heir." ], [ "his nephew Henry Jones", "Henry." ], [ "he is a clerk", "Returns to his job in London." ], [ "London", "London." ] ]

[ [ "Nick and Sheeni stand there an awkward beat. Sheeni leans in\n and gives him a peck on the cheek.", "A long pensive beat as Nick contemplates telling her he may\n never see her again. But behind Sheeni's air of control, Nick\n finally sees the vulnerability he's had in his hands all", "EXT. BLUFF OVER CLEAR LAKE - DAY\n\n Nick and Sheeni peer over the edge of the cliff. The waters\n of Clear Lake churn below.", "Nick watches Sheeni kiss Albert. He looks less than enthused\n at the thought of sloppy-seconds. Finally Sheeni hands Nick\n the dog.", "NICK\n Sheeni? How are you?\n\n SHEENI (V.O.)\n I'm well, Nickie.", "EXT. SAUNDERS' MOBILE HOME - DAY\n\n Nick walks Sheeni to the gate. She turns around to face him.", "NICK\n That's it! Expel them. Then Sheeni\n will have to come back to Ukiah.\n The car sputters. Nick's eyes go to the gas gauge.", "SHEENI\n Well, there is a road. But I agree.\n Adolescents have a tendency toward\n the over-dramatic.\n Sheeni backs away. Nick stays, staring over the edge.", "Sheeni and Nick lay on their backs on the blue beach blanket,\n reading their respective books. Nick watches her turning\n pages and making notes in the margins. She hands him her\n tanning lotion.", "NICK\n I do, but... We've come so far.\n What about Sheeni?", "NICK\n Very well, Sheeni. Don't be long.\n\n INT. SAUNDERS' MOBILE HOME - DAY", "Sheeni leads the way up hill. Nick clutches his cramped\n stomach with one hand, his journal in the other.\n He watches the rhythmic movements of her ass through her\n hiking shorts.", "Nick sleeps with a grin on his face. He rouses at the touch\n of Sheeni's lips on his cheek.", "NICK\n What do you think?\n A beat. Sheeni looks pensive. It fades to amusement.", "SHEENI\n Nick. Don't be gross.\n\n NICK\n Sorry. At any rate, I'll let you\n go. We'll have plenty of time to\n settle this tomorrow.", "Nick knocks and enters to find Sheeni sprawled on the bed\n with a book.\n\n NICK\n Dinner is almost ready, My Love.", "NICK\n You could say the same thing about\n sex.\n Sheeni stops. She looks at Nick intently.\n\n \n\n 17.", "Nick reaches the door and gently knocks. But it's Sheeni's\n ogre of a father who answers the door and stares at Nick\n sternly.", "Nick sets him down and watches Sheeni in the side-mirror,\n waving in the road.", "SHEENI\n Nick! Oh, Nick!\n Nick lights up at the sight of her and they embrace. They\n kiss passionately. He works his way to her neck and starts to\n reach under the sweatshirt." ], [ "She rolls back onto her stomach with finality and goes back\n to her book. Nick hovers above her a moment, then painfully\n returns to his own reading.", "Nick watches his mother sobbing against the cop's chest for a\n beat before he rolls up the window and he and Joanie resume\n watching the movie.", "have someone to console her.\n And with that, Mr. Saunders slams the door so hard in Nick's\n face that the entire two story mobile home rocks back and", "INT. NICK'S ROOM - MOMENTS LATER\n\n Nick typing on an obsolete PC.", "Nick watches out the window.\n Estelle can be seen animatedly describing the events to\n LEFTY'S PARENTS. Lefty glances up at Nick and gives a pained\n expression.", "Nick and the other two boys pause in the doorway.\n Where once the Chevy occupied the space, the living room was\n now fairly returned to it's normal uncluttered state with all", "head before lumbering over to the couch and taking a seat\n next to Estelle.\n Nick watches as Wally puts his arm around his mother and they", "Nick takes off running and Ed stares after him.", "NICK (V.O.)\n Just when you think they can't get\n any worse...\n He misses and the bottle shatters on the pavement, but Jerry\n drives off anyway.", "Nick watches the headlights from the arriving BMW travel\n across the walls.\n They go out. He listens to the front door being keyed\n followed by his father bellowing.\n Nick gets up and wanders into...", "NICK (V.O.)\n Mom's boyfriend, Jerry is a long\n distance trucker, though his", "NICK (V.O.)\n After spending twelve years with\n Dad, Mom has had a string of\n lovers, none of whom she has asked", "DWAYNE\n Nick made me take them off, Mom. He\n took off his too.", "at him. Nick just stares. She gives an amused smile, almost\n flirtatious. Nick grins back.", "NICK (V.O.)\n Thus evicting myself from my\n mother's clutches and into the arms", "ESTELLE\n No, Lance! Nickie, go to your room.\n Nick flings down his napkin and heads for the front door.", "Goodbye.\n CLICK. Nick regards the phone defensively. He puts it down\n and takes a seat at the table.", "NICK\n Thank you for that unsolicited\n counsel, Trent. And please, do drop\n dead.\n The other guests murmur their shock. Nick stops in the\n doorway.", "Nick watches her bound up the stairs.\n He wanders into the musty living area. Moves down the mantel", "Nick tries to shut out the sound of Dwayne getting into the\n creaky bed behind him." ], [ "SHEENI\n Well, there is a road. But I agree.\n Adolescents have a tendency toward\n the over-dramatic.\n Sheeni backs away. Nick stays, staring over the edge.", "Nick reaches the door and gently knocks. But it's Sheeni's\n ogre of a father who answers the door and stares at Nick\n sternly.", "NICK\n That's it! Expel them. Then Sheeni\n will have to come back to Ukiah.\n The car sputters. Nick's eyes go to the gas gauge.", "Nick and Sheeni stand there an awkward beat. Sheeni leans in\n and gives him a peck on the cheek.", "NICK\n Sheeni? How are you?\n\n SHEENI (V.O.)\n I'm well, Nickie.", "A long pensive beat as Nick contemplates telling her he may\n never see her again. But behind Sheeni's air of control, Nick\n finally sees the vulnerability he's had in his hands all", "Nick watches Sheeni kiss Albert. He looks less than enthused\n at the thought of sloppy-seconds. Finally Sheeni hands Nick\n the dog.", "SHEENI\n You are completely contemptible,\n Nick Twisp. I never wish to see you\n again.\n With the dreadful proclamation ringing in his ears, Nick\n leaves.", "EXT. SAUNDERS' MOBILE HOME - DAY\n\n Nick walks Sheeni to the gate. She turns around to face him.", "NICK\n Very well, Sheeni. Don't be long.\n\n INT. SAUNDERS' MOBILE HOME - DAY", "SHEENI\n Pardon me, everyone.\n Sheeni steps into the tiny closet to change. Vijay and Nick\n regard the...", "SHEENI\n I hate you, Nickie!\n She stands up and tries to slap him. He grabs her wrists and\n pulls her to him.", "NICK (V.O.)\n If I'm to get Sheeni expelled and\n sent back to me I will need a\n partner in crime.", "Nick sets him down and watches Sheeni in the side-mirror,\n waving in the road.", "NICK\n Sheeni, the police are here!\n He ducks down from the window as a chopper buzzes overhead.", "ESTELLE\n Nick, honey, say goodbye to Sheeni.\n It's time to hit the road.", "SHEENI\n ...but you must wait in the car\n until we can sneak you in.\n Nick nods in understanding.\n\n INT. GIRLS' DORM - HALLWAY - NIGHT", "SHEENI\n Nick, I knew you'd come!\n Sheeni glances over at the disapproving MATRON. She leans in\n close.", "SHEENI\n Then it will have to be Santa Cruz.\n I really must go now, darling.\n\n NICK\n Well... Goodbye, Sheeni. I love\n you.", "SHEENI\n I assume he went back to the boys'\n dorm. Now really, Nickie, you are\n keeping everyone awake with your" ], [ "NICK\n That's it? Nothing else about me?\n Vijay picks up the letter again.", "silently. He chuckles as he reads and Nick squints his eyes\n at him in annoyance.\n Vijay picks up on it, clears his throat and reads aloud.", "LEFTY\n Hey, that's you, Nick.\n\n VIJAY\n I'm surprised. You are not at all\n what I imagined.\n Nick narrows his eyes.", "Nick and Lefty grab Vijay by the arms and pull him up again\n as if he were a wounded war buddy in a retreat from the\n Vietnamese Army.", "NICK\n Lefty, have you seen Vijay, today?\n\n LEFTY\n Nick, haven't you heard? Vijay's\n been arrested.", "LEFTY\n Well, see you guys in the morning.\n The door closes and Vijay and Nick exchange a knowing glance.", "Vijay sets down the letter. Nick waits a beat, staring in\n disbelief.", "VIJAY\n Dear, Nick...\n\n INT. SHEENI'S DORM ROOM - SUNSET", "Vijay puts in his own CD and Ravi Shankar's TARANA blasts\n from the speakers.\n Nick gives Vijay a grin of approval. MUSIC PLAYS OVER...", "POLICE OFFICER\n (to himself)\n Vijay Joshi. We'll look into it.\n Thank you, boys.\n Nick gives a weak smile and closes the door.", "NICK (V.O.)\n As François would remind me, I'm\n intelligent, healthy, virile, not", "VIJAY\n Shall I translate it for you?\n\n NICK\n You speak French?", "VIJAY\n May I sit at your table?\n\n LEFTY\n Sure. I'm Lefty and this is Nick.", "NICK (V.O.)\n I hope you have a good reason.\n Reveal Nick and his friend LEFTY, 16, belly down in the grass", "NICK\n Sheeni? How are you?\n\n SHEENI (V.O.)\n I'm well, Nickie.", "NICK (V.O.)\n I've been struggling to think of a\n commendable thing to say about\n Jerry.\n Jerry gives an asinine chuckle at the cartoon. Nick glares.", "NICK (V.O.)\n Vijay would eventually manage to\n pin the car theft on me. But had\n lost the attention of Taggarty\n forever. Who by the way...", "DWAYNE (O.S.)\n What about Vijay Joshi?\n Nick stands stiff as a board. The officer peers around him at\n Dwayne sitting inside.", "NICK (V.O.)\n Here I am, reviled by friends and\n family. Relentlessly pursued by\n three police jurisdictions.\n Nick stops at the edge of the woods to catch his breath.", "A long pensive beat as Nick contemplates telling her he may\n never see her again. But behind Sheeni's air of control, Nick\n finally sees the vulnerability he's had in his hands all" ], [ "BERNICE\n Who are you?\n\n NICK\n I'm Sheeni's friend, Nick. Sorry to\n disturb you.", "NICK (V.O.)\n If I'm to get Sheeni expelled and\n sent back to me I will need a\n partner in crime.", "BERNICE\n I did actually. I think he was on\n his way to Sheeni's room.\n Nick's eyes widen in alarm.", "BERNICE\n That's OK. It was something I ate.\n So wait, are you Sheeni's\n boyfriend?\n\n NICK\n Uh, yeah.", "NICK\n That's it! Expel them. Then Sheeni\n will have to come back to Ukiah.\n The car sputters. Nick's eyes go to the gas gauge.", "SHEENI\n (softly chanting)\n Nickie's got a hard-on.\n Nick considers her expression.", "BERNICE\n Thanks. And Trent can go to hell\n for all I care. Sheeni too.\n\n NICK\n You don't like Sheeni?", "SHEENI\n I hate you, Nickie!\n She stands up and tries to slap him. He grabs her wrists and\n pulls her to him.", "NICK\n Sheeni? How are you?\n\n SHEENI (V.O.)\n I'm well, Nickie.", "NICK\n Sheeni?\n\n SHEENI\n Yes, Nick?\n\n NICK\n Was that the matron?", "Nick watches Sheeni kiss Albert. He looks less than enthused\n at the thought of sloppy-seconds. Finally Sheeni hands Nick\n the dog.", "NICK\n If you please.\n Taggarty crosses to the bunks, where Sheeni is curled up\n among the sheets as if in some Renaissance portrait.", "A long pensive beat as Nick contemplates telling her he may\n never see her again. But behind Sheeni's air of control, Nick\n finally sees the vulnerability he's had in his hands all", "NICK\n I hope it's the first of many such\n occasions for me.\n Sheeni narrows her eyes at him.", "SHEENI\n Nick, I knew you'd come!\n Sheeni glances over at the disapproving MATRON. She leans in\n close.", "SHEENI\n Excuse me. Are you a friend of\n Nick's?\n Carlotta looks up, startled. She composes herself and shakes\n Sheeni's hand.", "NICK\n Sheeni?\n\n SHEENI\n Yes, darling.\n\n NICK\n Was Trent here?", "Bernice sits next to Sheeni, despite the fact she's being\n ignored. Bernice drops a pill into Sheeni's coffee\n nonchalantly.", "SHEENI\n You are completely contemptible,\n Nick Twisp. I never wish to see you\n again.\n With the dreadful proclamation ringing in his ears, Nick\n leaves.", "NICK\n What do you think?\n A beat. Sheeni looks pensive. It fades to amusement." ], [ "NICK\n Yes, Sheeni, Thanksgiving. I'll be\n coming for dinner, of course.", "NICK (V.O.)\n Mom is a realist about everything.\n Except her age. She's forty-three.\n\n INT. MY GREEN HAVEN - LATER", "Nick watches his mother sobbing against the cop's chest for a\n beat before he rolls up the window and he and Joanie resume\n watching the movie.", "NICK\n Thank you for that unsolicited\n counsel, Trent. And please, do drop\n dead.\n The other guests murmur their shock. Nick stops in the\n doorway.", "NICK (V.O.)\n After spending twelve years with\n Dad, Mom has had a string of\n lovers, none of whom she has asked", "They begin eating. A helicopter passes by outside, search\n light briefly coming through the windows.\n Nick watches Mr. Saunders take a handful of mashed potatoes\n and apply it to his face like war paint.", "head before lumbering over to the couch and taking a seat\n next to Estelle.\n Nick watches as Wally puts his arm around his mother and they", "at him. Nick just stares. She gives an amused smile, almost\n flirtatious. Nick grins back.", "NICK (V.O.)\n If that's poetry, I'm a turkey\n scrotum.\n\n INT. MY GREEN HAVEN - NIGHT", "Nick watches out the window.\n Estelle can be seen animatedly describing the events to\n LEFTY'S PARENTS. Lefty glances up at Nick and gives a pained\n expression.", "She rolls back onto her stomach with finality and goes back\n to her book. Nick hovers above her a moment, then painfully\n returns to his own reading.", "Lacey floats toward him and gives him a hug.\n\n NICK\n Happy Thanksgiving, Lacey.\n She spots the sad flowers in his hand.", "NICK\n (into phone)\n Mom? It's Nick. I'm sorry to wake", "have someone to console her.\n And with that, Mr. Saunders slams the door so hard in Nick's\n face that the entire two story mobile home rocks back and", "GEORGE\n My God. Look what you've done.\n Lacey turns to look at Nick over the seat. They share a\n smile.", "A long pensive beat as Nick contemplates telling her he may\n never see her again. But behind Sheeni's air of control, Nick\n finally sees the vulnerability he's had in his hands all", "for you. I don't have much money to\n give you, but here.\n Nick takes the wad of cash, clearly moved.", "Nick sits at the kitchen table reading the paper. He watches\n with nausea as Estelle piles liver onto his plate.", "INT. NICK'S ROOM - MOMENTS LATER\n\n Nick typing on an obsolete PC.", "Jerry smiles with cretin pride. Nick looks to his mother and\n disturbingly enough, she seems turned on by his car-owner\n savvy." ], [ "NICK\n Arrested?!?\n\n LEFTY\n For grand theft auto. They found\n his prints in your father's car.", "Nick watches the headlights from the arriving BMW travel\n across the walls.\n They go out. He listens to the front door being keyed\n followed by his father bellowing.\n Nick gets up and wanders into...", "NICK (V.O.)\n Just when you think they can't get\n any worse...\n He misses and the bottle shatters on the pavement, but Jerry\n drives off anyway.", "catches up to them. The authorities bang on the windows as\n Nick peels out.\n INDIAN POP blares from the car. They speed off into the\n night.", "NICK\n I suggest we steal my father's BMW\n and take a trip to Santa Cruz.\n Vijay, you'll have to be our\n translator.", "MINGLE.\n Then - shouts of warning from the megaphones.\n And as the flashers and sirens come to life, Nick jumps back\n into his father's car and peels out.", "Nick smiles. Behind him, through the rear window, the trailer\n can be seen receding into the distance. He glances into the\n mirror and spots the trailer plunging down the hill.", "of My One And Only Love.\n Nick fires up the V-8 engine and shifts into drive, pulling\n forward. He cuts across the lawn.", "NICK (V.O.)\n Dad is a copywriter for\n agricultural magazines.\n In the drive, Nick slaves over the duty of washing the rims\n of his dad's BMW 325i.", "He's on with the police. Apparently\n someone broke in and stole his\n Beamer.\n Lacey gives Nick an amused smile.", "A few of the squad cars miss the turn and skid side-long\n through a picket fence.\n Nick takes the switchbacks at 60 per, wheels practically", "NICK (V.O.)\n The plan is simple.\n Nick places two full cannisters of gasoline into the trunk of\n the Lincoln.\n Nick's behind the wheel, backing up the car.", "a deep breath.\n As the searchlight passes by, he makes a break for it.\n TRACK with Nick as he darts from one form of cover to the", "NICK (V.O.)\n Here I am, reviled by friends and\n family. Relentlessly pursued by\n three police jurisdictions.\n Nick stops at the edge of the woods to catch his breath.", "The security van continues to make its rounds. We find Nick\n crouching behind the steps to the boys dorm.\n He pulls the hood of his windbreaker over his head and takes", "Nick cruises along sedately. He plays with the radio and\n settles on the Sex Pistols.\n He looks up just in time to see the red light and slams on", "NICK (V.O.)\n My name... is Nick.\n\n NICK TWISP, 16, stares up at the ceiling. He's glassy eyed\n from the exertion...", "INT. SATURN(MOVING) - DAY\n\n Nick watches out the back window as the car pulls away. A\n view of Sheeni waving in the road, Albert at her feet.", "Nick pulls up his trousers and leaps off the bed. He pulls\n the drawer under his mattress out.", "They reach the Beamer at the edge of the grounds. Nick gets\n in first. Lefty dives through the back window, legs kicking.\n Vijay slams the door just as the matron and her security team" ], [ "Nick and Sheeni stand there an awkward beat. Sheeni leans in\n and gives him a peck on the cheek.", "Nick watches Sheeni kiss Albert. He looks less than enthused\n at the thought of sloppy-seconds. Finally Sheeni hands Nick\n the dog.", "Nick knocks and enters to find Sheeni sprawled on the bed\n with a book.\n\n NICK\n Dinner is almost ready, My Love.", "Nick reaches the door and gently knocks. But it's Sheeni's\n ogre of a father who answers the door and stares at Nick\n sternly.", "NICK\n Sheeni? How are you?\n\n SHEENI (V.O.)\n I'm well, Nickie.", "Nick sleeps with a grin on his face. He rouses at the touch\n of Sheeni's lips on his cheek.", "A long pensive beat as Nick contemplates telling her he may\n never see her again. But behind Sheeni's air of control, Nick\n finally sees the vulnerability he's had in his hands all", "SHEENI\n Pardon me, everyone.\n Sheeni steps into the tiny closet to change. Vijay and Nick\n regard the...", "The door opens to reveal Nick standing outside in shorts, an\n I'M SINGLE, LET'S MINGLE shirt, and tennis shoes. Sheeni\n stands in the door. Sleep-fogged eyes.", "NICK\n If you please.\n Taggarty crosses to the bunks, where Sheeni is curled up\n among the sheets as if in some Renaissance portrait.", "PAUL\n Hey, Nick. I'm Paul, Sheeni's\n brother.\n Nick comes up the path to meet him.", "SHEENI\n (softly chanting)\n Nickie's got a hard-on.\n Nick considers her expression.", "SHEENI\n ...but you must wait in the car\n until we can sneak you in.\n Nick nods in understanding.\n\n INT. GIRLS' DORM - HALLWAY - NIGHT", "SHEENI\n Of course, Nick. Did you really\n expect to fool your soul mate with\n such a disguise?\n Nick swoons, grasping her gauze-glazed nakedness.", "NICK\n Very well, Sheeni. Don't be long.\n\n INT. SAUNDERS' MOBILE HOME - DAY", "NICK\n You could say the same thing about\n sex.\n Sheeni stops. She looks at Nick intently.\n\n \n\n 17.", "SHEENI\n Nick! Oh, Nick!\n Nick lights up at the sight of her and they embrace. They\n kiss passionately. He works his way to her neck and starts to\n reach under the sweatshirt.", "NICK\n As always, you are right, my love.\n Sheeni beams. François smacks his forehead with hand.", "BERNICE\n Who are you?\n\n NICK\n I'm Sheeni's friend, Nick. Sorry to\n disturb you.", "Sheeni and Nick lay on their backs on the blue beach blanket,\n reading their respective books. Nick watches her turning\n pages and making notes in the margins. She hands him her\n tanning lotion." ], [ "NICK (V.O.)\n But was it all worth it?\n Nick revisits those thirty two minutes in his mind and it\n brings a smirk to his face.", "NICK (V.O.)\n Here is an hour by hour account of\n the worst night of my life.\n Nick flipping through a Penthouse under the covers.", "She rolls back onto her stomach with finality and goes back\n to her book. Nick hovers above her a moment, then painfully\n returns to his own reading.", "Nick pushes past a fight where two kids throw each other\n against the lockers. He smiles at a pair of PUNK ROCK GIRLS.\n One of them flips him off. Nick heads into...", "A long pensive beat as Nick contemplates telling her he may\n never see her again. But behind Sheeni's air of control, Nick\n finally sees the vulnerability he's had in his hands all", "The security van continues to make its rounds. We find Nick\n crouching behind the steps to the boys dorm.\n He pulls the hood of his windbreaker over his head and takes", "NICK (V.O.)\n Arrested? Ha. It may not appear so,\n but the truth is... I've got the", "The school SECURITY VAN crawls by in the background, a\n searchlight sweeping the grounds.\n The moment it is out of sight, Nick darts from the bushes of", "at him. Nick just stares. She gives an amused smile, almost\n flirtatious. Nick grins back.", "a few months you'll be a free man\n and we can be together in Paris.\n Nick looks to François in disbelief. But the Frenchman just\n rolls his eyes.", "Nick watches Sheeni kiss Albert. He looks less than enthused\n at the thought of sloppy-seconds. Finally Sheeni hands Nick\n the dog.", "NICK (V.O.)\n I have endured a five million\n dollar beating for nothing.\n\n (BEAT)\n I have been stabbed. Stabbed in the\n back.", "NICK'S POV\n of the room shaking, accompanied by his heavy breathing. His\n eyes float from the Hustler to the pink walls of his room.", "INT. NICK'S ROOM - NIGHT\n\n Nick let's out a yelp of pain as Lance brings a broken tree\n limb against his bare bottom. WHACK! WHACK! WHACK!", "ESTELLE\n You are confined to your room until\n school starts, you sick pervert.\n She stalks off. Joanie glances over at Nick with amusement.", "NICK (V.O.)\n Here I am, reviled by friends and\n family. Relentlessly pursued by\n three police jurisdictions.\n Nick stops at the edge of the woods to catch his breath.", "NICK\n Out!\n The screen door slams behind him.\n\n INT. GARAGE - DAY", "A rowdy cafeteria. Lefty and Nick dine in the corner. Nick\n has an open French textbook as he tries to decipher Sheeni's", "have someone to console her.\n And with that, Mr. Saunders slams the door so hard in Nick's\n face that the entire two story mobile home rocks back and", "NICK (V.O.)\n My name... is Nick.\n\n NICK TWISP, 16, stares up at the ceiling. He's glassy eyed\n from the exertion..." ], [ "NICK\n Now why would I do that?\n Jerry seeths inwardly at Nick's mock innocence.\n\n ESTELLE\n What are you going to do, Jerry?", "Jerry contemplates smacking Nick upside the head, but decides\n against it when he discerns Estelle is probably in her son's\n corner.", "JERRY\n Nick, you little shit, get down\n here!\n Jerry hollers from the kitchen where Estelle gapes out the\n window. Nick calmly joins them from upstairs.", "Reveal Jerry reading Sports Illustrated, scratching his balls\n with one hand and shoveling in cereal with the other. Estelle\n is washing dishes when she spies something out the window.", "NICK\n Stellar.\n\n INT. ESTELLE'S DINING ROOM - NIGHT\n\n Albert chews on Jerry's sock under the table.", "ESTELLE\n Then what are you planning to do?\n Jerry takes a seat at the kitchen table and adopts The", "NICK\n Jerry, where are you going? Just\n tell them you are in the right.\n\n INT. ESTELLE'S HOME - CONTINUOUS", "JERRY\n You see that, Babe. They caved.\n\n EXT. ESTELLE'S HOME - DAY", "ESTELLE\n Jerry!\n Jerry chuckles. Nick stares at him, perhaps resolving to\n murder the trucker in his sleep.\n\n INT. MY GREEN HAVEN - LATER", "LANCE\n Your mother's friend Jerry had a\n heart attack in a bar in Dallas.\n He's dead.\n Estelle sobs, but isn't joined by her children. She turns to\n Lance.", "JERRY\n I say the kid does the dishes and\n we retire to the master bedroom.\n Jerry pushes out and disappears into the back. Nick watches\n him with loathing. Estelle smiles apologetically.", "JERRY\n See, Estelle, I told you the kid\n was queer-eeAAAAHHHHH!", "12.\n\n \n\n ESTELLE\n Jerry, what are you talking about?\n We need to call the police!", "ESTELLE\n Jerry? Where did that car come\n from?\n Jerry looks over his shoulder and they all take a moment to\n appreciate the slab-sided Lincoln in the drive.", "ESTELLE\n Jerry...? You said it was a cabin.\n In the back, Nick removes his sunglasses to regard the long,", "retreats into the house, leaving Jerry rolling around on the\n floor.\n Joanie and Nick exchange a smile. The phone rings. Estelle\n gets up to answer it.", "ESTELLE (O.S.)\n There are mouse droppings in all\n the closets, Jerry.\n\n GEEZER\n I might take nine fifty.", "JERRY\n C'mon Estelle. It's real cute on\n the inside.\n\n INT. MY GREEN HAVEN - NIGHT", "Estelle, Jerry, Nick, and a toothless old GEEZER whose gut\n rivals Jerry's, all stare at a rusty RV that looks like it", "me to approve.\n Jerry fails to notice Estelle waiting and instead just climbs\n in and chugs his beer. Estelle appears mildly disappointed\n before opening the door herself." ], [ "NICK\n I am Nick Twisp.\n\n ED\n Oh, so you're Nick.", "NICK\n I am Nick Twisp. I am alive. I am a\n breathing organism.", "DWAYNE\n Sorry `bout wompin' ya. I'm Dwayne.\n\n NICK\n Nick. Nick Twisp.", "NICK (V.O.)\n My name... is Nick.\n\n NICK TWISP, 16, stares up at the ceiling. He's glassy eyed\n from the exertion...", "MR. SAUNDERS\n She most certainly is not. As a\n matter of fact, we've banned you\n from her life, Nick Twisp.", "NICK (V.O.)\n ...she manages to find God's\n Perfect Asshole.\n\n INT. ESTELLE'S HOME - DAY", "NICK\n Hello, uh... My name is Nick. Nick\n Twisp. My father's name is George\n Twisp.", "SHEENI\n You are completely contemptible,\n Nick Twisp. I never wish to see you\n again.\n With the dreadful proclamation ringing in his ears, Nick\n leaves.", "LACEY\n Mr. and Mrs. Saunders, you remember\n Nick Twisp, don't you?\n Mrs. Saunders coos and takes the flowers. Her husband squints\n up at him.", "NICK/CARLOTTA\n My dear, if there's one thing the\n demise of Nick Twisp has taught me,", "ESTELLE\n Nick met a nice girl in Ukiah.\n\n JOANIE\n Really now? Are you on each others'\n Myspace pages?", "ESTELLE\n Nick, honey, say goodbye to Sheeni.\n It's time to hit the road.", "ESTELLE\n Nick, that was your father on the\n phone. He lost his job.\n\n NICK\n How unlike him.", "SHEENI\n Nick Twisp, I will not allow you to\n accept defeat so easily!\n\n (MORE)", "EXT. ESTELLE'S HOME - DAY\n\n Nick sprays the trailer in wide sweeping motions.\n\n EXT. ESTELLE'S HOME - EVENING", "ESTELLE\n He can go make his father's life\n miserable!\n Nick suddenly brightens.\n\n NICK\n But I like it here.", "ESTELLE\n That sounds more like a job for\n your father. Here, he wants to talk\n to you.\n Nick takes the phone from her hands and she closes the door.", "ESTELLE\n Nick, do you know anything about\n this?\n She points out the window and they all take in the Chevy and\n the sailors' oh-so-subtle note on the hood.", "ESTELLE (V.O.)\n Nick?\n\n NICK\n Oh. Hey, Mom. What's up?", "ESTELLE\n Jerry!\n Jerry chuckles. Nick stares at him, perhaps resolving to\n murder the trucker in his sleep.\n\n INT. MY GREEN HAVEN - LATER" ], [ "VIJAY\n You don't mean Sheeni Saunders. I\n heard she was interested in some\n brilliant fellow in the Bay Area.", "MRS. SAUNDERS\n\n RAPE! RAAAAAPE!\n Suddenly the door opens. It's Sheeni in her robe. She reaches\n out and pulls Nick up.", "NICK\n Very well, Sheeni. Don't be long.\n\n INT. SAUNDERS' MOBILE HOME - DAY", "EXT. SAUNDERS' MOBILE HOME - DAY\n\n Nick walks Sheeni to the gate. She turns around to face him.", "NICK\n Sheeni? How are you?\n\n SHEENI (V.O.)\n I'm well, Nickie.", "Sheeni and Nick lay on their backs on the blue beach blanket,\n reading their respective books. Nick watches her turning\n pages and making notes in the margins. She hands him her\n tanning lotion.", "Sheeni's larger-than-life father and 5,000 year old mother\n sit cross-legged on the floor, running their hands over the\n hooked rug.", "NICK\n You could say the same thing about\n sex.\n Sheeni stops. She looks at Nick intently.\n\n \n\n 17.", "Nick and Sheeni stand there an awkward beat. Sheeni leans in\n and gives him a peck on the cheek.", "SHEENI\n Kiss me, you wienie.\n Nick tentatively approaches her luscious mouth. Their noses", "SHEENI\n (softly chanting)\n Nickie's got a hard-on.\n Nick considers her expression.", "Sheeni leads the way up hill. Nick clutches his cramped\n stomach with one hand, his journal in the other.\n He watches the rhythmic movements of her ass through her\n hiking shorts.", "Nick knocks and enters to find Sheeni sprawled on the bed\n with a book.\n\n NICK\n Dinner is almost ready, My Love.", "SHEENI\n What a lovely notion, darling. You\n go ahead downstairs and get things\n started.\n Sheeni hauls herself out of bed and grabs the phone off the\n cradle.", "MR. SAUNDERS\n You watch your language. This is a\n Christian home. We're sending\n Sheeni to Les École des Arts and\n Literatures in Santa Cruz.", "A beat of BLACKNESS. Then a light tap at the door.\n There is the sound of Sheeni getting out of bed. She cracks", "SHEENI (V.O.)\n She has already slept with\n seventeen boys and hopes to rack up\n fifty before leaving here.", "SHEENI\n Nick! Oh, Nick!\n Nick lights up at the sight of her and they embrace. They\n kiss passionately. He works his way to her neck and starts to\n reach under the sweatshirt.", "NICK\n Why? Was I an arsonist in a\n previous life?\n\n PAUL\n No. But Sheeni was.", "NICK\n What do you think?\n A beat. Sheeni looks pensive. It fades to amusement." ], [ "Nick and Sheeni stand there an awkward beat. Sheeni leans in\n and gives him a peck on the cheek.", "Nick watches Sheeni kiss Albert. He looks less than enthused\n at the thought of sloppy-seconds. Finally Sheeni hands Nick\n the dog.", "NICK\n Sheeni? How are you?\n\n SHEENI (V.O.)\n I'm well, Nickie.", "A long pensive beat as Nick contemplates telling her he may\n never see her again. But behind Sheeni's air of control, Nick\n finally sees the vulnerability he's had in his hands all", "SHEENI\n (softly chanting)\n Nickie's got a hard-on.\n Nick considers her expression.", "Nick sleeps with a grin on his face. He rouses at the touch\n of Sheeni's lips on his cheek.", "Nick knocks and enters to find Sheeni sprawled on the bed\n with a book.\n\n NICK\n Dinner is almost ready, My Love.", "NICK\n If you please.\n Taggarty crosses to the bunks, where Sheeni is curled up\n among the sheets as if in some Renaissance portrait.", "Sheeni leads the way up hill. Nick clutches his cramped\n stomach with one hand, his journal in the other.\n He watches the rhythmic movements of her ass through her\n hiking shorts.", "NICK\n Very well, Sheeni. Don't be long.\n\n INT. SAUNDERS' MOBILE HOME - DAY", "Sheeni and Nick lay on their backs on the blue beach blanket,\n reading their respective books. Nick watches her turning\n pages and making notes in the margins. She hands him her\n tanning lotion.", "Nick slouches in a corner of the shop, his hands trembling as\n he brings his coffee to his lips. He hears the door open and\n looks up, but instead of the cops finds Sheeni. She joins him\n at the table.", "SHEENI\n Nick! Oh, Nick!\n Nick lights up at the sight of her and they embrace. They\n kiss passionately. He works his way to her neck and starts to\n reach under the sweatshirt.", "SHEENI\n Oh, thank you, Nickie!\n She plants a kiss on his lips and promptly turns her\n attention to the dog, who licks her face affectionately. Nick\n looks on with appropriate jealousy.", "NICK\n What do you think?\n A beat. Sheeni looks pensive. It fades to amusement.", "NICK\n You could say the same thing about\n sex.\n Sheeni stops. She looks at Nick intently.\n\n \n\n 17.", "Nick sets him down and watches Sheeni in the side-mirror,\n waving in the road.", "SHEENI\n Yes, Nick.\n Nick hangs his head.", "EXT. SAUNDERS' MOBILE HOME - DAY\n\n Nick walks Sheeni to the gate. She turns around to face him.", "ESTELLE\n Sheeni needs to go to the grocery\n store. I've offered her your help\n in carrying her bags.\n Nick regards Sheeni and her mischievous smirk." ], [ "SHEENI\n Oh, thank you, Nickie!\n She plants a kiss on his lips and promptly turns her\n attention to the dog, who licks her face affectionately. Nick\n looks on with appropriate jealousy.", "SHEENI\n Look, Nick!\n She shows him the ugly little pug. Short droopy ears, a tiny,\n batlike face.\n\n NICK\n Great.", "31.\n\n \n Sheeni releases Albert and the mutt paws at her legs. Her\n eyes well up with tears, a few theatrical sniffles.", "NICK\n Sheeni? How are you?\n\n SHEENI (V.O.)\n I'm well, Nickie.", "SHEENI\n (scowling defensively)\n I'll have you know I've named him", "Sheeni leads the way up hill. Nick clutches his cramped\n stomach with one hand, his journal in the other.\n He watches the rhythmic movements of her ass through her\n hiking shorts.", "Nick knocks and enters to find Sheeni sprawled on the bed\n with a book.\n\n NICK\n Dinner is almost ready, My Love.", "SHEENI\n (softly chanting)\n Nickie's got a hard-on.\n Nick considers her expression.", "SHEENI\n Hel-lo, Excitable Boy.\n\n ESTELLE\n Nick, honey, meet Sheeni Saunders.", "SHEENI\n Kiss me, you wienie.\n Nick tentatively approaches her luscious mouth. Their noses", "NICK\n If you please.\n Taggarty crosses to the bunks, where Sheeni is curled up\n among the sheets as if in some Renaissance portrait.", "Nick and Sheeni stand there an awkward beat. Sheeni leans in\n and gives him a peck on the cheek.", "SHEENI\n Well, there is a road. But I agree.\n Adolescents have a tendency toward\n the over-dramatic.\n Sheeni backs away. Nick stays, staring over the edge.", "Sheeni and Nick lay on their backs on the blue beach blanket,\n reading their respective books. Nick watches her turning\n pages and making notes in the margins. She hands him her\n tanning lotion.", "INT. CAFE - DAY\n\n Nick and Sheeni dine over coffee and a plate of donuts. Nick\n watches her play with Albert in her lap.", "world on a string.\n Sheeni emerges from the home, Albert barking in protest.\n Nick strains against his cuffs to look over his shoulder at\n her.", "SHEENI\n I'm going to name him Albert.\n (pronounced Al-bear)", "Nick reaches the door and gently knocks. But it's Sheeni's\n ogre of a father who answers the door and stares at Nick\n sternly.", "SHEENI\n Pardon me, everyone.\n Sheeni steps into the tiny closet to change. Vijay and Nick\n regard the...", "PAUL\n Hey, Nick. I'm Paul, Sheeni's\n brother.\n Nick comes up the path to meet him." ], [ "SHEENI\n Oh, thank you, Nickie!\n She plants a kiss on his lips and promptly turns her\n attention to the dog, who licks her face affectionately. Nick\n looks on with appropriate jealousy.", "SHEENI\n Look, Nick!\n She shows him the ugly little pug. Short droopy ears, a tiny,\n batlike face.\n\n NICK\n Great.", "31.\n\n \n Sheeni releases Albert and the mutt paws at her legs. Her\n eyes well up with tears, a few theatrical sniffles.", "SHEENI\n (scowling defensively)\n I'll have you know I've named him", "SHEENI\n I'm going to name him Albert.\n (pronounced Al-bear)", "SHEENI\n Hel-lo, Excitable Boy.\n\n ESTELLE\n Nick, honey, meet Sheeni Saunders.", "Sheeni leads the way up hill. Nick clutches his cramped\n stomach with one hand, his journal in the other.\n He watches the rhythmic movements of her ass through her\n hiking shorts.", "NICK\n Sheeni? How are you?\n\n SHEENI (V.O.)\n I'm well, Nickie.", "SHEENI\n Well, there is a road. But I agree.\n Adolescents have a tendency toward\n the over-dramatic.\n Sheeni backs away. Nick stays, staring over the edge.", "SHEENI\n Kiss me, you wienie.\n Nick tentatively approaches her luscious mouth. Their noses", "SHEENI\n (softly chanting)\n Nickie's got a hard-on.\n Nick considers her expression.", "Nick knocks and enters to find Sheeni sprawled on the bed\n with a book.\n\n NICK\n Dinner is almost ready, My Love.", "NICK\n If you please.\n Taggarty crosses to the bunks, where Sheeni is curled up\n among the sheets as if in some Renaissance portrait.", "He emerges from the woods only to find Sheeni reading his\n journal. She looks up at his and smiles. The brazen sneak\n isn't even embarrassed.\n\n NICK\n That's my journal!", "SHEENI\n You are completely contemptible,\n Nick Twisp. I never wish to see you\n again.\n With the dreadful proclamation ringing in his ears, Nick\n leaves.", "Nick and Sheeni stand there an awkward beat. Sheeni leans in\n and gives him a peck on the cheek.", "Sheeni and Nick lay on their backs on the blue beach blanket,\n reading their respective books. Nick watches her turning\n pages and making notes in the margins. She hands him her\n tanning lotion.", "BERNICE\n Who are you?\n\n NICK\n I'm Sheeni's friend, Nick. Sorry to\n disturb you.", "SHEENI\n No.\n Beat.\n\n NICK\n Then who was it?\n\n SHEENI\n It was Trent.\n Beat.", "BERNICE\n That's OK. It was something I ate.\n So wait, are you Sheeni's\n boyfriend?\n\n NICK\n Uh, yeah." ], [ "Jerry lurches backward in the chair and lands on the floor,\n revealing that Albert's teeth have a firm grasp on Jerry's\n sack. The dog shakes the scrotum in his jaws.", "Nick watches Sheeni kiss Albert. He looks less than enthused\n at the thought of sloppy-seconds. Finally Sheeni hands Nick\n the dog.", "31.\n\n \n Sheeni releases Albert and the mutt paws at her legs. Her\n eyes well up with tears, a few theatrical sniffles.", "JERRY\n Damn it! The dog!\n He tries to swipe Albert with his beer bottle, but the dog", "Lance bursts from the bathroom in his boxers, looking for\n blood. He hears the sound of paws climbing the stairs. Albert\n comes hurtling around he corner, almost losing his footing on\n the hardwood floor.", "He looks around for observers, looks back at the screen\n pensively, and resumes typing.\n\n NICK (V.O.)\n P.S. Please destroy this note\n immediately.", "VIJAY\n Oh yes... Love to you and Albert.\n (setting down the letter)\n Who's Albert?", "Albert looks up at Nick and lets out a BARK. Nick smiles and\n bends down to undo his leash.\n\n INT. ESTELLE'S HOME - HALLWAY -DAY", "NICK\n Albert is our dog. This is a\n disaster. What the hell does she\n mean Trent wants to mend the\n relationship?", "She rolls back onto her stomach with finality and goes back\n to her book. Nick hovers above her a moment, then painfully\n returns to his own reading.", "JERRY\n Okay. Back to civilization!\n He fires up the Lincoln and they kick up dust. Albert\n slobbers all over Nick.", "Nick lifts his eyebrows with dawning epiphany.\n In the reflection we can see behind Nick as Albert leaps onto\n the love seat and barks at the sound of approaching sirens.", "Nick stoops to secure the leash around the piping. He regards\n the little pug. Albert WHIMPERS and cocks his head.\n The door at the top of the stairs opens and Estelle descends\n the first few steps.", "ALBERT'S POV\n as we lunge at Lance's crotch.\n\n EXT. ESTELLE'S HOME - DAY", "INT. LINCOLN - DAY\n\n Nick gets into the back seat with Albert. The dog whimpers.\n Sheeni stands off to the side, waving at them both.", "didn't want to ask why. I need to\n find someplace for us to get it on.\n Albert squats to poop in someone's yard. The boys pause to", "Nick sits at the kitchen table reading the paper. He watches\n with nausea as Estelle piles liver onto his plate.", "SHEENI\n I love you too. Squeeze darling\n Albert for me.\n She pulls her hood over her head. Nick watches wistfully as\n she slips away into the forest.", "They begin eating. A helicopter passes by outside, search\n light briefly coming through the windows.\n Nick watches Mr. Saunders take a handful of mashed potatoes\n and apply it to his face like war paint.", "SHEENI\n And don't worry about Albert. He'll\n be waiting for you too." ], [ "PAUL\n Hey, Nick. I'm Paul, Sheeni's\n brother.\n Nick comes up the path to meet him.", "NICK\n Did Sheeni tell you that was me?\n\n PAUL\n She didn't have to.", "NICK\n Why? Was I an arsonist in a\n previous life?\n\n PAUL\n No. But Sheeni was.", "Nick and Sheeni stand there an awkward beat. Sheeni leans in\n and gives him a peck on the cheek.", "A long pensive beat as Nick contemplates telling her he may\n never see her again. But behind Sheeni's air of control, Nick\n finally sees the vulnerability he's had in his hands all", "NICK\n You could say the same thing about\n sex.\n Sheeni stops. She looks at Nick intently.\n\n \n\n 17.", "NICK\n Sheeni, I think I love you.\n\n SHEENI\n Well, your hormones certainly do.\n And oddly enough, my hormones like\n you too.", "NICK\n Sheeni? How are you?\n\n SHEENI (V.O.)\n I'm well, Nickie.", "SHEENI\n Hel-lo, Excitable Boy.\n\n ESTELLE\n Nick, honey, meet Sheeni Saunders.", "SHEENI\n Well, there is a road. But I agree.\n Adolescents have a tendency toward\n the over-dramatic.\n Sheeni backs away. Nick stays, staring over the edge.", "SHEENI\n Oh, Nick. You seem very nice. But\n in fairness, I should tell you that\n I have a boyfriend.\n Nick becomes sickeningly pale.", "SHEENI\n Oh, thank you, Nickie!\n She plants a kiss on his lips and promptly turns her\n attention to the dog, who licks her face affectionately. Nick\n looks on with appropriate jealousy.", "SHEENI\n Nick! Oh, Nick!\n Nick lights up at the sight of her and they embrace. They\n kiss passionately. He works his way to her neck and starts to\n reach under the sweatshirt.", "BERNICE\n That's OK. It was something I ate.\n So wait, are you Sheeni's\n boyfriend?\n\n NICK\n Uh, yeah.", "SHEENI\n You're still a virgin, I can tell.\n Maybe that's why I like you.\n A beat. She looks at him expectantly. Nick is at a loss.", "SHEENI\n Kiss me, you wienie.\n Nick tentatively approaches her luscious mouth. Their noses", "Sheeni leads the way up hill. Nick clutches his cramped\n stomach with one hand, his journal in the other.\n He watches the rhythmic movements of her ass through her\n hiking shorts.", "He emerges from the woods only to find Sheeni reading his\n journal. She looks up at his and smiles. The brazen sneak\n isn't even embarrassed.\n\n NICK\n That's my journal!", "Nick knocks and enters to find Sheeni sprawled on the bed\n with a book.\n\n NICK\n Dinner is almost ready, My Love.", "NICK\n I'm not really sure. I fell in love\n with Sheeni. All I want is to be\n with her. The rest is all a big\n misunderstanding." ], [ "Nick and Lefty grab Vijay by the arms and pull him up again\n as if he were a wounded war buddy in a retreat from the\n Vietnamese Army.", "silently. He chuckles as he reads and Nick squints his eyes\n at him in annoyance.\n Vijay picks up on it, clears his throat and reads aloud.", "Vijay puts in his own CD and Ravi Shankar's TARANA blasts\n from the speakers.\n Nick gives Vijay a grin of approval. MUSIC PLAYS OVER...", "They reach the Beamer at the edge of the grounds. Nick gets\n in first. Lefty dives through the back window, legs kicking.\n Vijay slams the door just as the matron and her security team", "POLICE OFFICER\n (to himself)\n Vijay Joshi. We'll look into it.\n Thank you, boys.\n Nick gives a weak smile and closes the door.", "NICK\n That's it? Nothing else about me?\n Vijay picks up the letter again.", "NICK\n I suggest we steal my father's BMW\n and take a trip to Santa Cruz.\n Vijay, you'll have to be our\n translator.", "catches up to them. The authorities bang on the windows as\n Nick peels out.\n INDIAN POP blares from the car. They speed off into the\n night.", "NICK (V.O.)\n Just when you think they can't get\n any worse...\n He misses and the bottle shatters on the pavement, but Jerry\n drives off anyway.", "NICK, LEFTY, VIJAY\n Ooooooh.\n Wally flips another switch and the car's radio turns on.", "Vijay sets down the letter. Nick waits a beat, staring in\n disbelief.", "NICK\n Lefty, have you seen Vijay, today?\n\n LEFTY\n Nick, haven't you heard? Vijay's\n been arrested.", "VIJAY\n Dear, Nick...\n\n INT. SHEENI'S DORM ROOM - SUNSET", "NICK\n Are you kidding? She had her\n flashlight trained on your Hindi\n boner!\n A beat. Lefty and Vijay seem taken aback by the outburst.", "The three boys are still standing in the rain by the pay\n phone. The three of them huddle under their only windbreaker.\n A pair of headlights appear in the rain. The headlights flash\n twice and Nick runs out into the road.", "LEFTY\n Well, see you guys in the morning.\n The door closes and Vijay and Nick exchange a knowing glance.", "SHEENI\n Pardon me, everyone.\n Sheeni steps into the tiny closet to change. Vijay and Nick\n regard the...", "Nick dials on the phone. Behind him, Dwayne eats breakfast,\n cheerfully kicking his feet back and forth under the chair.\n\n TAGGARTY (V.O.)\n Bonjour.", "Nick sets him down and watches Sheeni in the side-mirror,\n waving in the road.", "NICK (V.O.)\n Vijay would eventually manage to\n pin the car theft on me. But had\n lost the attention of Taggarty\n forever. Who by the way..." ], [ "Nick watches Sheeni kiss Albert. He looks less than enthused\n at the thought of sloppy-seconds. Finally Sheeni hands Nick\n the dog.", "Nick and Sheeni stand there an awkward beat. Sheeni leans in\n and gives him a peck on the cheek.", "SHEENI\n (softly chanting)\n Nickie's got a hard-on.\n Nick considers her expression.", "BERNICE\n Who are you?\n\n NICK\n I'm Sheeni's friend, Nick. Sorry to\n disturb you.", "The door opens to reveal Nick standing outside in shorts, an\n I'M SINGLE, LET'S MINGLE shirt, and tennis shoes. Sheeni\n stands in the door. Sleep-fogged eyes.", "NICK\n Sheeni? How are you?\n\n SHEENI (V.O.)\n I'm well, Nickie.", "NICK\n If you please.\n Taggarty crosses to the bunks, where Sheeni is curled up\n among the sheets as if in some Renaissance portrait.", "SHEENI\n Of course, Nick. Did you really\n expect to fool your soul mate with\n such a disguise?\n Nick swoons, grasping her gauze-glazed nakedness.", "SHEENI\n ...but you must wait in the car\n until we can sneak you in.\n Nick nods in understanding.\n\n INT. GIRLS' DORM - HALLWAY - NIGHT", "PAUL\n Hey, Nick. I'm Paul, Sheeni's\n brother.\n Nick comes up the path to meet him.", "SHEENI\n Well, there is a road. But I agree.\n Adolescents have a tendency toward\n the over-dramatic.\n Sheeni backs away. Nick stays, staring over the edge.", "NICK\n Taggarty? It's Nick.\n\n INT. SHEENI'S DORM ROOM - DAY", "A long pensive beat as Nick contemplates telling her he may\n never see her again. But behind Sheeni's air of control, Nick\n finally sees the vulnerability he's had in his hands all", "NICK\n Did Sheeni tell you that was me?\n\n PAUL\n She didn't have to.", "SHEENI\n Trent, darling, this is Nick.\n Trent swivels slowly around and they lock eyes.\n\n TRENT\n Nick, at last we meet.", "SHEENI\n Excuse me. Are you a friend of\n Nick's?\n Carlotta looks up, startled. She composes herself and shakes\n Sheeni's hand.", "Nick sleeps with a grin on his face. He rouses at the touch\n of Sheeni's lips on his cheek.", "Nick knocks and enters to find Sheeni sprawled on the bed\n with a book.\n\n NICK\n Dinner is almost ready, My Love.", "SHEENI\n Pardon me, everyone.\n Sheeni steps into the tiny closet to change. Vijay and Nick\n regard the...", "SHEENI\n Oh, Nick. You seem very nice. But\n in fairness, I should tell you that\n I have a boyfriend.\n Nick becomes sickeningly pale." ], [ "JERRY\n Damn it! The dog!\n He tries to swipe Albert with his beer bottle, but the dog", "JERRY\n Please. Please don't hurt me. It's\n all I got, guys. I swear. Take the\n Lincoln!", "They manage to grab Jerry by the legs and haul him down the\n stairs. Jerry loses his grasp step by step, crying with a", "Jerry lurches backward in the chair and lands on the floor,\n revealing that Albert's teeth have a firm grasp on Jerry's\n sack. The dog shakes the scrotum in his jaws.", "JERRY\n Nick, you little shit, get down\n here!\n Jerry hollers from the kitchen where Estelle gapes out the\n window. Nick calmly joins them from upstairs.", "JERRY\n You see that, Babe. They caved.\n\n EXT. ESTELLE'S HOME - DAY", "himself off. Jerry gurgles water and spits. He starts\n warbling rock lyrics.", "NICK\n Now why would I do that?\n Jerry seeths inwardly at Nick's mock innocence.\n\n ESTELLE\n What are you going to do, Jerry?", "JERRY\n Get rid of them!\n And then the front door gets kicked open and a mob of sailors", "JERRY\n I say the kid does the dishes and\n we retire to the master bedroom.\n Jerry pushes out and disappears into the back. Nick watches\n him with loathing. Estelle smiles apologetically.", "JERRY\n That's my life savings!\n One of the sailors pokes Jerry in the gut hard and he\n whimpers.", "Reveal Jerry reading Sports Illustrated, scratching his balls\n with one hand and shoveling in cereal with the other. Estelle\n is washing dishes when she spies something out the window.", "JERRY (O.S.)\n You wanna beat your meat, go\n outside!\n\n INT. PUBLIC REST ROOM - DAY", "your new used piece of shit at the\n bottom of the Bay.\n And with that they release him and Jerry crumples to the\n floor like an abandoned marionette.", "39.\n\n \n\n NICK\n Well, though he's taken a disliking\n to Jerry.", "retreats into the house, leaving Jerry rolling around on the\n floor.\n Joanie and Nick exchange a smile. The phone rings. Estelle\n gets up to answer it.", "JERRY\n Can someone do something about the\n mutt?\n The family dines over take-out fried chicken. Jerry kicks\n Albert and the puppy goes tumbling across the floor.", "Jerry joins Nick and Estelle in the doorway. There in the\n living room, surrounded by all the furniture pushed neatly\n against the walls, is Jerry's camouflaged Chevy.", "NICK (V.O.)\n Just when you think they can't get\n any worse...\n He misses and the bottle shatters on the pavement, but Jerry\n drives off anyway.", "Jerry smiles with cretin pride. Nick looks to his mother and\n disturbingly enough, she seems turned on by his car-owner\n savvy." ], [ "31.\n\n \n Sheeni releases Albert and the mutt paws at her legs. Her\n eyes well up with tears, a few theatrical sniffles.", "SHEENI\n Oh, thank you, Nickie!\n She plants a kiss on his lips and promptly turns her\n attention to the dog, who licks her face affectionately. Nick\n looks on with appropriate jealousy.", "SHEENI\n Look, Nick!\n She shows him the ugly little pug. Short droopy ears, a tiny,\n batlike face.\n\n NICK\n Great.", "NICK\n Why? Was I an arsonist in a\n previous life?\n\n PAUL\n No. But Sheeni was.", "SHEENI\n You are completely contemptible,\n Nick Twisp. I never wish to see you\n again.\n With the dreadful proclamation ringing in his ears, Nick\n leaves.", "Nick knocks and enters to find Sheeni sprawled on the bed\n with a book.\n\n NICK\n Dinner is almost ready, My Love.", "A beat of BLACKNESS. Then a light tap at the door.\n There is the sound of Sheeni getting out of bed. She cracks", "Nick reaches the door and gently knocks. But it's Sheeni's\n ogre of a father who answers the door and stares at Nick\n sternly.", "121.\n\n \n\n INT. SHEENI'S ROOM - MORNING", "SHEENI\n Well, there is a road. But I agree.\n Adolescents have a tendency toward\n the over-dramatic.\n Sheeni backs away. Nick stays, staring over the edge.", "NICK\n That's it! Expel them. Then Sheeni\n will have to come back to Ukiah.\n The car sputters. Nick's eyes go to the gas gauge.", "SHEENI\n ...but you must wait in the car\n until we can sneak you in.\n Nick nods in understanding.\n\n INT. GIRLS' DORM - HALLWAY - NIGHT", "SHEENI (O.S.)\n Oh, Father, do shut up.\n Sheeni descends the stairs. Jean cut-offs over a knockout", "Sheeni leads the way up hill. Nick clutches his cramped\n stomach with one hand, his journal in the other.\n He watches the rhythmic movements of her ass through her\n hiking shorts.", "NICK\n If you please.\n Taggarty crosses to the bunks, where Sheeni is curled up\n among the sheets as if in some Renaissance portrait.", "INT. LINCOLN - DAY\n\n Nick gets into the back seat with Albert. The dog whimpers.\n Sheeni stands off to the side, waving at them both.", "SHEENI\n Pardon me, everyone.\n Sheeni steps into the tiny closet to change. Vijay and Nick\n regard the...", "BERNICE\n That's OK. It was something I ate.\n So wait, are you Sheeni's\n boyfriend?\n\n NICK\n Uh, yeah.", "SHEENI (V.O.)\n ...English cannot be spoken on\n campus even if you are hemorrhaging\n from an accidental limb amputation.", "SHEENI\n I hate you, Nickie!\n She stands up and tries to slap him. He grabs her wrists and\n pulls her to him." ], [ "NICK\n Sheeni? How are you?\n\n SHEENI (V.O.)\n I'm well, Nickie.", "A long pensive beat as Nick contemplates telling her he may\n never see her again. But behind Sheeni's air of control, Nick\n finally sees the vulnerability he's had in his hands all", "SHEENI\n What a lovely notion, darling. You\n go ahead downstairs and get things\n started.\n Sheeni hauls herself out of bed and grabs the phone off the\n cradle.", "all, Sheeni had managed to give me\n hope every step of the way. And if\n hope is what Sheeni would now need\n to go on, well then...", "SHEENI\n Pardon me, everyone.\n Sheeni steps into the tiny closet to change. Vijay and Nick\n regard the...", "Nick knocks and enters to find Sheeni sprawled on the bed\n with a book.\n\n NICK\n Dinner is almost ready, My Love.", "Nick and Sheeni stand there an awkward beat. Sheeni leans in\n and gives him a peck on the cheek.", "Sheeni leads the way up hill. Nick clutches his cramped\n stomach with one hand, his journal in the other.\n He watches the rhythmic movements of her ass through her\n hiking shorts.", "ESTELLE\n Sheeni needs to go to the grocery\n store. I've offered her your help\n in carrying her bags.\n Nick regards Sheeni and her mischievous smirk.", "SHEENI\n Nick! Oh, Nick!\n Nick lights up at the sight of her and they embrace. They\n kiss passionately. He works his way to her neck and starts to\n reach under the sweatshirt.", "Sheeni and Nick lay on their backs on the blue beach blanket,\n reading their respective books. Nick watches her turning\n pages and making notes in the margins. She hands him her\n tanning lotion.", "NICK\n What do you think?\n A beat. Sheeni looks pensive. It fades to amusement.", "SHEENI\n ...but you must wait in the car\n until we can sneak you in.\n Nick nods in understanding.\n\n INT. GIRLS' DORM - HALLWAY - NIGHT", "SHEENI\n Oh, thank you, Nickie!\n She plants a kiss on his lips and promptly turns her\n attention to the dog, who licks her face affectionately. Nick\n looks on with appropriate jealousy.", "SHEENI\n Take off that silly wig and make\n love to me!\n Sheeni tugs off the wig and tosses it across the room.", "SHEENI\n (softly chanting)\n Nickie's got a hard-on.\n Nick considers her expression.", "SHEENI\n Take me darling!\n And as they engage in a feverish kiss, ROUSING HYMNS surge.", "SHEENI\n Nick. Don't be gross.\n\n NICK\n Sorry. At any rate, I'll let you\n go. We'll have plenty of time to\n settle this tomorrow.", "NICK\n If you please.\n Taggarty crosses to the bunks, where Sheeni is curled up\n among the sheets as if in some Renaissance portrait.", "121.\n\n \n\n INT. SHEENI'S ROOM - MORNING" ], [ "your new used piece of shit at the\n bottom of the Bay.\n And with that they release him and Jerry crumples to the\n floor like an abandoned marionette.", "JERRY\n Okay. Back to civilization!\n He fires up the Lincoln and they kick up dust. Albert\n slobbers all over Nick.", "They manage to grab Jerry by the legs and haul him down the\n stairs. Jerry loses his grasp step by step, crying with a", "himself off. Jerry gurgles water and spits. He starts\n warbling rock lyrics.", "its way through a few overhanging tree branches before Jerry\n decides it's parked.\n There comes a woman's scream from inside the house.", "retreats into the house, leaving Jerry rolling around on the\n floor.\n Joanie and Nick exchange a smile. The phone rings. Estelle\n gets up to answer it.", "Jerry lurches backward in the chair and lands on the floor,\n revealing that Albert's teeth have a firm grasp on Jerry's\n sack. The dog shakes the scrotum in his jaws.", "Reveal Jerry reading Sports Illustrated, scratching his balls\n with one hand and shoveling in cereal with the other. Estelle\n is washing dishes when she spies something out the window.", "JERRY\n Damn it! The dog!\n He tries to swipe Albert with his beer bottle, but the dog", "Jerry joins Nick and Estelle in the doorway. There in the\n living room, surrounded by all the furniture pushed neatly\n against the walls, is Jerry's camouflaged Chevy.", "13.\n\n \n She hops up front with Jerry. He fires up the Lincoln and the\n radio roars to life with HILLBILLY MUSIC.", "JERRY\n I say the kid does the dishes and\n we retire to the master bedroom.\n Jerry pushes out and disappears into the back. Nick watches\n him with loathing. Estelle smiles apologetically.", "The three of them watch the fleet pile into a Navy van that\n reads FOR OFFICIAL USE ONLY. The moment they pull out, Jerry\n dusts himself off and puts on a pretense of being unfazed.", "JERRY\n You see that, Babe. They caved.\n\n EXT. ESTELLE'S HOME - DAY", "NICK (V.O.)\n Tow Jerry's trailer to a remote\n parking lot in Berkeley and burn it\n to the ground.\n The hitch ball grinds under the trailer socket.", "JERRY\n Sold it to a sailor on the Alameda\n Naval Air Base. A man should never", "As Jerry pulls out, he tosses his beer bottle in the\n direction of the trash can at the end of the drive.", "JERRY (O.S.)\n Turn off the damn light!\n\n EXT. MY GREEN HAVEN - NIGHT\n\n Nick paces about back and forth in the yard.", "JERRY (O.S.)\n You wanna beat your meat, go\n outside!\n\n INT. PUBLIC REST ROOM - DAY", "NICK (V.O.)\n Just when you think they can't get\n any worse...\n He misses and the bottle shatters on the pavement, but Jerry\n drives off anyway." ], [ "SHEENI (V.O.)\n ...I am writing you from my room in\n Santa Cruz. Surprisingly, boarding\n school has proven to be a welcome\n liberation as well as...", "Sheeni's larger-than-life father and 5,000 year old mother\n sit cross-legged on the floor, running their hands over the\n hooked rug.", "Nick and Sheeni stand there an awkward beat. Sheeni leans in\n and gives him a peck on the cheek.", "SHEENI\n Well, there is a road. But I agree.\n Adolescents have a tendency toward\n the over-dramatic.\n Sheeni backs away. Nick stays, staring over the edge.", "Nick reaches the door and gently knocks. But it's Sheeni's\n ogre of a father who answers the door and stares at Nick\n sternly.", "A long pensive beat as Nick contemplates telling her he may\n never see her again. But behind Sheeni's air of control, Nick\n finally sees the vulnerability he's had in his hands all", "NICK\n That's it! Expel them. Then Sheeni\n will have to come back to Ukiah.\n The car sputters. Nick's eyes go to the gas gauge.", "SHEENI\n Pardon me, everyone.\n Sheeni steps into the tiny closet to change. Vijay and Nick\n regard the...", "A beat of BLACKNESS. Then a light tap at the door.\n There is the sound of Sheeni getting out of bed. She cracks", "SHEENI (O.S.)\n Oh, Father, do shut up.\n Sheeni descends the stairs. Jean cut-offs over a knockout", "SHEENI\n You must influence her to send you\n away. I feel this will require\n being in a constant state of open\n revolt on your part.", "MR. SAUNDERS\n You watch your language. This is a\n Christian home. We're sending\n Sheeni to Les École des Arts and\n Literatures in Santa Cruz.", "121.\n\n \n\n INT. SHEENI'S ROOM - MORNING", "Nick sets him down and watches Sheeni in the side-mirror,\n waving in the road.", "NICK (V.O.)\n If I'm to get Sheeni expelled and\n sent back to me I will need a\n partner in crime.", "SHEENI\n I hate you, Nickie!\n She stands up and tries to slap him. He grabs her wrists and\n pulls her to him.", "ESTELLE\n Nick, honey, say goodbye to Sheeni.\n It's time to hit the road.", "NICK\n Sheeni? How are you?\n\n SHEENI (V.O.)\n I'm well, Nickie.", "SHEENI\n What a lovely notion, darling. You\n go ahead downstairs and get things\n started.\n Sheeni hauls herself out of bed and grabs the phone off the\n cradle.", "SHEENI\n You are completely contemptible,\n Nick Twisp. I never wish to see you\n again.\n With the dreadful proclamation ringing in his ears, Nick\n leaves." ], [ "silently. He chuckles as he reads and Nick squints his eyes\n at him in annoyance.\n Vijay picks up on it, clears his throat and reads aloud.", "LEFTY\n Hey, that's you, Nick.\n\n VIJAY\n I'm surprised. You are not at all\n what I imagined.\n Nick narrows his eyes.", "NICK\n That's it? Nothing else about me?\n Vijay picks up the letter again.", "LEFTY\n Well, see you guys in the morning.\n The door closes and Vijay and Nick exchange a knowing glance.", "Vijay puts in his own CD and Ravi Shankar's TARANA blasts\n from the speakers.\n Nick gives Vijay a grin of approval. MUSIC PLAYS OVER...", "POLICE OFFICER\n (to himself)\n Vijay Joshi. We'll look into it.\n Thank you, boys.\n Nick gives a weak smile and closes the door.", "Vijay sets down the letter. Nick waits a beat, staring in\n disbelief.", "Nick and Lefty grab Vijay by the arms and pull him up again\n as if he were a wounded war buddy in a retreat from the\n Vietnamese Army.", "NICK\n Lefty, have you seen Vijay, today?\n\n LEFTY\n Nick, haven't you heard? Vijay's\n been arrested.", "VIJAY\n Dear, Nick...\n\n INT. SHEENI'S DORM ROOM - SUNSET", "NICK\n Are you kidding? She had her\n flashlight trained on your Hindi\n boner!\n A beat. Lefty and Vijay seem taken aback by the outburst.", "VIJAY\n May I sit at your table?\n\n LEFTY\n Sure. I'm Lefty and this is Nick.", "DWAYNE (O.S.)\n What about Vijay Joshi?\n Nick stands stiff as a board. The officer peers around him at\n Dwayne sitting inside.", "PAUL\n Hey, Nick. I'm Paul, Sheeni's\n brother.\n Nick comes up the path to meet him.", "NICK\n And this is Vijay. And this is\n Lefty. Lefty goes to USC.\n\n \n\n 74.", "NICK\n Did Sheeni tell you that was me?\n\n PAUL\n She didn't have to.", "NICK (V.O.)\n My name... is Nick.\n\n NICK TWISP, 16, stares up at the ceiling. He's glassy eyed\n from the exertion...", "BERNICE\n Who are you?\n\n NICK\n I'm Sheeni's friend, Nick. Sorry to\n disturb you.", "SHEENI\n Pardon me, everyone.\n Sheeni steps into the tiny closet to change. Vijay and Nick\n regard the...", "NICK\n Sheeni? How are you?\n\n SHEENI (V.O.)\n I'm well, Nickie." ], [ "NICK\n Yes, Sheeni, Thanksgiving. I'll be\n coming for dinner, of course.", "NICK\n Thank you for that unsolicited\n counsel, Trent. And please, do drop\n dead.\n The other guests murmur their shock. Nick stops in the\n doorway.", "Nick knocks and enters to find Sheeni sprawled on the bed\n with a book.\n\n NICK\n Dinner is almost ready, My Love.", "Nick is about to knock on the door when Paul opens it in\n another display of clairvoyance.\n\n PAUL\n Welcome back, Nick. We had a\n feeling you were coming.", "Nick emerges from the shrubs and approaches the house.\n He rings the ornate Victorian doorbell. Paul answers in an\n apron.", "at him. Nick just stares. She gives an amused smile, almost\n flirtatious. Nick grins back.", "The jingle jangle pauses and when the doorbell rings a second\n time, the orgy gets muted.\n Nick enters the kitchen pulling up his trousers.", "They begin eating. A helicopter passes by outside, search\n light briefly coming through the windows.\n Nick watches Mr. Saunders take a handful of mashed potatoes\n and apply it to his face like war paint.", "Lacey floats toward him and gives him a hug.\n\n NICK\n Happy Thanksgiving, Lacey.\n She spots the sad flowers in his hand.", "have someone to console her.\n And with that, Mr. Saunders slams the door so hard in Nick's\n face that the entire two story mobile home rocks back and", "Nick nods. The front door opens and MRS. CRAMPTON enters with\n Safeway bags of her own. Dwayne follows close behind her.", "PAUL\n Thank you.\n\n (BEAT)\n Sister, darling, how long has it\n been since we all observed the\n rituals of Thanksgiving?", "Nick comes up the dusty road toting his backpack.\n On the porch of the Saunders' home, a handsome but somewhat", "NICK\n You too, Mr. Rumpkin.\n Wally blushes even more. He closes the door and starts to", "Nick sits at the kitchen table reading the paper. He watches\n with nausea as Estelle piles liver onto his plate.", "NICK\n Now why would I do that?\n Jerry seeths inwardly at Nick's mock innocence.\n\n ESTELLE\n What are you going to do, Jerry?", "Nick wanders up the drive. WE FOLLOW him into the house.\n\n INT. GEORGE'S MANUFACTURED HOME - CONTINUOUS", "NICK\n Hello, Sheeni.\n (to Taggarty and Heather)\n Hi, I'm Nick.", "Joanie opens the door and finds Nick on her doorstep.\n\n NICK\n Uh, Hi, Joanie. How's it going?\n\n JOANIE\n Nick?", "NICK\n No thank you, Dwayne.\n A knock at the door. Lacey enters." ], [ "NICK\n Yes, Sheeni, Thanksgiving. I'll be\n coming for dinner, of course.", "said that Trent pokes holes in them\n so that he can get Sheeni pregnant\n and be with her forever.", "NICK\n Did you say it was Trent?\n\n SHEENI\n Yes. He came to discuss our\n friendship. I told him now was not\n the time.", "NICK\n Sheeni?\n\n SHEENI\n Yes, darling.\n\n NICK\n Was Trent here?", "SHEENI\n No.\n Beat.\n\n NICK\n Then who was it?\n\n SHEENI\n It was Trent.\n Beat.", "TRENT\n I'm sorry, Taggarty, I can't stay.\n I have bad news.\n\n SHEENI\n What is it?", "NICK\n Nothing. It's just that Sheeni\n mentioned Trent has a thing for a\n guy named Ed, and that he touches", "SHEENI\n Trent, darling, this is Nick.\n Trent swivels slowly around and they lock eyes.\n\n TRENT\n Nick, at last we meet.", "A long pensive beat as Nick contemplates telling her he may\n never see her again. But behind Sheeni's air of control, Nick\n finally sees the vulnerability he's had in his hands all", "Nick and Sheeni stand there an awkward beat. Sheeni leans in\n and gives him a peck on the cheek.", "TRENT\n She swallowed a number of sleeping\n pills, and is now in a coma.\n\n SHEENI\n The poor girl.", "NICK\n What's his name?\n\n SHEENI\n Trent Preston.\n\n NICK\n What's he like?", "NICK\n Sheeni? How are you?\n\n SHEENI (V.O.)\n I'm well, Nickie.", "A beat of BLACKNESS. Then a light tap at the door.\n There is the sound of Sheeni getting out of bed. She cracks", "SHEENI\n OK, Nick, I guess I don't have any\n choice. I'll break up with Trent.\n But if he kills himself it's on\n your conscience.", "Sheeni leads the way up hill. Nick clutches his cramped\n stomach with one hand, his journal in the other.\n He watches the rhythmic movements of her ass through her\n hiking shorts.", "He emerges from the woods only to find Sheeni reading his\n journal. She looks up at his and smiles. The brazen sneak\n isn't even embarrassed.\n\n NICK\n That's my journal!", "Nick watches Sheeni kiss Albert. He looks less than enthused\n at the thought of sloppy-seconds. Finally Sheeni hands Nick\n the dog.", "SHEENI\n Well, there is a road. But I agree.\n Adolescents have a tendency toward\n the over-dramatic.\n Sheeni backs away. Nick stays, staring over the edge.", "SHEENI\n You know damn well, Nick. You've\n been spreading rumors about Trent.\n And he doesn't deserve it." ], [ "Nick knocks and enters to find Sheeni sprawled on the bed\n with a book.\n\n NICK\n Dinner is almost ready, My Love.", "SHEENI\n ...but you must wait in the car\n until we can sneak you in.\n Nick nods in understanding.\n\n INT. GIRLS' DORM - HALLWAY - NIGHT", "Nick sleeps with a grin on his face. He rouses at the touch\n of Sheeni's lips on his cheek.", "Nick reaches the door and gently knocks. But it's Sheeni's\n ogre of a father who answers the door and stares at Nick\n sternly.", "NICK\n If you please.\n Taggarty crosses to the bunks, where Sheeni is curled up\n among the sheets as if in some Renaissance portrait.", "Nick watches Sheeni kiss Albert. He looks less than enthused\n at the thought of sloppy-seconds. Finally Sheeni hands Nick\n the dog.", "Nick and Sheeni stand there an awkward beat. Sheeni leans in\n and gives him a peck on the cheek.", "NICK\n Taggarty? It's Nick.\n\n INT. SHEENI'S DORM ROOM - DAY", "The door opens to reveal Nick standing outside in shorts, an\n I'M SINGLE, LET'S MINGLE shirt, and tennis shoes. Sheeni\n stands in the door. Sleep-fogged eyes.", "NICK\n Very well, Sheeni. Don't be long.\n\n INT. SAUNDERS' MOBILE HOME - DAY", "SHEENI\n Pardon me, everyone.\n Sheeni steps into the tiny closet to change. Vijay and Nick\n regard the...", "EXT. SAUNDERS' MOBILE HOME - DAY\n\n Nick walks Sheeni to the gate. She turns around to face him.", "SHEENI\n (softly chanting)\n Nickie's got a hard-on.\n Nick considers her expression.", "SHEENI\n Well, there is a road. But I agree.\n Adolescents have a tendency toward\n the over-dramatic.\n Sheeni backs away. Nick stays, staring over the edge.", "Sheeni leads the way up hill. Nick clutches his cramped\n stomach with one hand, his journal in the other.\n He watches the rhythmic movements of her ass through her\n hiking shorts.", "SHEENI\n Nick! Oh, Nick!\n Nick lights up at the sight of her and they embrace. They\n kiss passionately. He works his way to her neck and starts to\n reach under the sweatshirt.", "He emerges from the woods only to find Sheeni reading his\n journal. She looks up at his and smiles. The brazen sneak\n isn't even embarrassed.\n\n NICK\n That's my journal!", "A long pensive beat as Nick contemplates telling her he may\n never see her again. But behind Sheeni's air of control, Nick\n finally sees the vulnerability he's had in his hands all", "BERNICE\n I did actually. I think he was on\n his way to Sheeni's room.\n Nick's eyes widen in alarm.", "the door, letting in just enough light from the hall that a\n MALE SHADOW gets cast across the two boys on the floor.\n Nick squints and tries to hear what Sheeni and the male" ], [ "NICK\n Thank you for that unsolicited\n counsel, Trent. And please, do drop\n dead.\n The other guests murmur their shock. Nick stops in the\n doorway.", "TRENT\n Nick, I suggest you remain here and\n face the consequences like a man.\n Nick stops in front of Trent.\n\n \n\n 109.", "TAGGARTY\n Oh, Trent, you made it.\n Nick glances up with a start as TRENT PRESTON makes his", "TRENT\n I can't arrest him. But I have\n called the Santa Cruz Police. They\n are on their way here now.\n Nick places his napkin next to his plate and stands.", "the names TRENT and ED.\n Nick knocks on the door.\n It opens inward to reveal a bare-chested, hulking athlete in", "NICK\n Chance for what?\n\n FRANÇOIS\n To confront our nemesis. We must go\n to the boys' dorm and kill Trent\n where he sleeps.", "NICK\n You didn't happen to see Trent\n Preston did you?\n She waves him away as she bends over the sink to hurl again.\n Then lifts her face and smiles through the dripping bile.", "INT. NICK'S ROOM - NIGHT\n\n Nick let's out a yelp of pain as Lance brings a broken tree\n limb against his bare bottom. WHACK! WHACK! WHACK!", "SHEENI\n No.\n Beat.\n\n NICK\n Then who was it?\n\n SHEENI\n It was Trent.\n Beat.", "SHEENI\n Trent, darling, this is Nick.\n Trent swivels slowly around and they lock eyes.\n\n TRENT\n Nick, at last we meet.", "at him. Nick just stares. She gives an amused smile, almost\n flirtatious. Nick grins back.", "NICK\n So where is Trent now?", "NICK\n Hello, Trent.\n\n TAGGARTY\n Have a seat, Trent.", "NICK\n Sheeni?\n\n SHEENI\n Yes, darling.\n\n NICK\n Was Trent here?", "Nick watches Sheeni kiss Albert. He looks less than enthused\n at the thought of sloppy-seconds. Finally Sheeni hands Nick\n the dog.", "NICK\n Did you say it was Trent?\n\n SHEENI\n Yes. He came to discuss our\n friendship. I told him now was not\n the time.", "He lands on the floor, where he gets a view of... Trent\n standing behind the matron. The blinding light makes his\n features difficult to make out but his white teeth are", "HEATHER\n What's up, Nick?\n\n NICK\n Is Trent in there?\n\n HEATHER\n Not anymore.", "and then turns over onto his back and unzips his pants.\n As Lefty jerks it, Nick looks with nonchalance...", "NICK\n Is Trent here?\n\n ED\n You just missed him, Nick. He just\n grabbed a couple condoms and left." ] ]

[ "What is Nick and Sheeni's plan?", "What did Nick do after an arguement with his mom and her new boyfriend?", "Where do Sheeni's parents send her after overhearing her and Nick?", "What does Nick tell Fergueson about his friend, Vijay?", "What did Nick ask Bernice to do to get Sheeni expelled?", "What does Nick's mom tell him at Thanksgiving?", "What does Nick do after he steals his father's car?", "What does Nick do to fool Sheeni's parents?", "How long did Nick spend in detention?", "What is Jerry's relationship to Estelle?", "What is Nick Twisp's relationship to Estelle?", "What type of culture is Sheeni Saunders interested in?", "What does Nick buy for Sheeni?", "What is Sheeni's dog's name?", "Who is Sheeni's dog named after?", "What does Albert tear up and destroy?", "What is Paul's relationship to Sheeni?", "Who does Nick call when Vijay's grandmother's car breaks down?", "What does Nick don to impersonate one of Sheeni's friends?", "Who does Jerry owe money to? ", "Why is Sheeni's dog banned from the house? ", "What does Sheeni promise to arrange for George?", "What happens to Jerry after returning to Oakland?", "Where do Sheeni's parents send her? ", "Who does Nick tell Mr. Ferguson Vijay is? ", "Who invites Nick to Thanksgiving dinner? ", "What does Trent tell Sheeni about on Thanksgiving?", "How does Nick get into Sheeni's room? ", "What does Nick do to Trent?" ]

[ [ "Sheeni was going to arrange for a job for Nick's dad while Nick got his mother to kick him out of the house.", "Nick will get kicked out of his mom's house so he can live with his dad and be with Sheeni." ], [ "He stole Jerry's car, crashed it into a restaurant, which started a fire.", "Crashes Jerry's car into a restaurant, which starts fire" ], [ "They send her off to a French boarding school.", "A French boarding school in Santa Cruz" ], [ "That he is an illegal immigrant that Nick is trying to free.", "illegal immigrant" ], [ "To put sleeping pills in Sheeni's drinks, so that she would fall asleep in class.", "Slip sedatives into Sheeni's drink" ], [ "That she broke up with Lance and that Lance wasn't going to cover for his crimes anymore.", "Lance left" ], [ "He took his clothes off and drove it into a shallow lake.", "He drove the car into a shallow lake." ], [ "He puts on a wig and a dress and pretends to be one of Sheeni's friends.", "Dresses up as one of Sheeni's friends. " ], [ "He was there for three months.", "three months" ], [ "Jerry is Estelle's boyfriend", "Husband" ], [ "Nick is Estelle's son", "He is Estelle's son." ], [ "French culture", "she is interested in French culture." ], [ "A dog", "A dog. " ], [ "Albert", "Albert. " ], [ "Albert Camus", "Albert Camus" ], [ "A Bible", "The family Bible." ], [ "Paul is Sheeni's brother", "He is Sheeni's older brother." ], [ "Mr. Ferguson", "Mr. Fegurson" ], [ "A wig and a dress", "wear a wig" ], [ "A group of sailors. ", "Sailors" ], [ "For tearing up the family Bible. ", "The dog tore up the family bible." ], [ "A job. ", "A job." ], [ "He dies from a heart attack. ", "Dies of a heart attack" ], [ "A French boarding school. ", "To a French boarding school in Santa Cruz." ], [ "An illegal immigrant. ", "illegal immigrant" ], [ "Paul", "Nick." ], [ "Paul's letters to Bernice. ", "Nick's letters to Bernice." ], [ "He impersonates one of her friends. ", "Dresses up as one of Sheeni's friends" ], [ "Beats him up. ", "Beat him up" ] ]

[ [ "GEOFFREY\n Yeah. How did you pop the question?\n Richard is a deer in the headlights. This is getting ugly.\n Margaret sees that Richard is going to crumble, and steps in.", "MARGARET\n Know what, Dante? I'm not going anywhere!\n We're getting married!\n Richard has no idea what Margaret is talking about.", "MARGARET\n You work for me!\n\n RICHARD\n You know, during my employee orientation,\n the HR rep didn't mention anything about me\n marrying you.", "MR. GILBERTSON\n (to Richard)\n You. Is this true? Are you marrying\n this... woman?\n Margaret comes over to Richard and holds his hand.", "MARGARET (cont'd)\n So you need to figure out the travel,\n schedule a justice of the peace for next\n week, and get my lawyer on the phone.", "Margaret comes to Richard's desk. He tries to wrap it up.\n RICHARD (cont'd)\n I have to go. Yeah. No, I'm not going to", "MARGARET\n Not sure the best way to tell you all this.\n But, uh... I made Richard marry me. This is\n all a sham.\n Gilbertson victoriously pumps his fist in the air.", "Margaret tentatively walks off the yacht in her none to practical\n sling backs.\n GEOFFREY (cont'd)\n I mean, I almost shit myself when I heard he", "you, Margaret. Getting married to you is\n the best thing that's ever happened to me.\n Without this, I might've ended up back here.", "Margaret goes to answer, but stops. Richard is right. She wants\n to go back. Even the passengers on the plane can see it.\n Gilbertson panics.", "RICHARD\n Have you ever thought there might be a\n reason we've been together for the last\n three years?\n\n MARGARET\n As boss and assistant.", "99.\n MARGARET (cont'd)\n I was going to get kicked out of the country\n -- so I told Richard that I would destroy\n his career if he didn't marry me.", "MARGARET\n I think I am.\n Margaret begins to leave. Geoffrey calls after her.", "MARGARET\n You mean him?\n The Handsome man nods. Margaret tries to set the record\n straight.", "RICHARD\n Who's getting married?\n\n MARGARET\n We are!\n\n RICHARD\n You and him?", "MARGARET\n Go get him. But he's out of here in five\n minutes, we've got work to do.\n Margaret leaves and goes into her office.", "MARGARET\n That hurts coming from Mr. Magic Pants.\n\n RICHARD\n I knew it had been slow going, but I figured\n there was a booty call in there somewhere.", "MARGARET\n Put me down.\n Richard puts Margaret down near the boat. She tries to regain\n her composure.\n MARGARET (cont'd)\n You wanna call it off?", "(to Gilbertson)\n The truth is... I've been working for\n Margaret for three years. Six months ago we\n started dating. I recently asked her to", "MARGARET\n Okay...\n\n RICHARD\n You're a very beautiful woman.\n Margaret smiles with her head turned away from Richard." ], [ "Mr. Gilbertson is from the INS. I told him\n about us. About us getting married.", "MR. GILBERTSON\n Ms. Mills, I'm with U.S. Citizenship and\n Immigration Services, and I'm deporting you\n to Canada.", "MR. GILBERTSON\n The INS will see you both in ten days for\n your official interview. Your stories\n better match up on every account.", "RICHARD\n No, crazy was lying to the federal officer.\n\n MARGARET\n Well I don't like this.", "DEBBIE\n Oh, that man from the government. Gilber-\n something. Said he was checking up on you\n two. Said it was technicality, because\n Margaret was from Canada.", "girlfriend this weekend for your parents and\n that should be enough for this INS\n interview.\n Richard doesn't react. Margaret doesn't notice.", "MR. GILBERTSON\n Yes, and unfortunately my investigation will\n take awhile, so you'll be deported while", "GEOFFREY\n So did this happen before or after the INS\n agent came sniffing around?", "interest in mind. Our job is to help you\n succeed. He wasn't doing that.\n Margaret continues to listen to her writer whine, when she", "MARGARET\n Not sure the best way to tell you all this.\n But, uh... I made Richard marry me. This is\n all a sham.\n Gilbertson victoriously pumps his fist in the air.", "MR. GILBERTSON\n Pathetic. Four questions and I've got\n enough to send you to prison...\n\n MARGARET\n We're telling his family this weekend.", "Margaret goes to answer, but stops. Richard is right. She wants\n to go back. Even the passengers on the plane can see it.\n Gilbertson panics.", "Behind him, The Handsome Man holds a stun gun and a badge.", "MARGARET\n They love you. Do you get that?\n\n RICHARD\n Of course.\n\n MARGARET\n And you're still willing to lie to them?", "MR. GILBERTSON\n (mock sympathy)\n Ahhhh. That's a shame. Too bad we can't\n work something out.\n Margaret stops looking at her file. It all becomes clear.", "MR. GILBERTSON\n If I prove you're lying, you go to federal\n prison for five years.", "Now Margaret is pacing, while Gilbertson happily looks on.\n Suddenly, the door opens and Richard bursts in, acting like there\n is an \"emergency\" so Margaret can end the meeting.", "Margaret puts her hand to the necklace, and for the first time\n feels like a complete and total fraud.\n GRANDMA ANNIE (cont'd)", "GEOFFREY\n I called him yesterday. He told me that you\n were lying, and that he was going to catch\n you. That he was going to send you to\n prison.", "... but once he's out of Margaret's sight he runs to his computer\n and sends an instant message to the office \"The Banshee is headed\n to Bob's office.\"" ], [ "MARGARET\n Know what, Dante? I'm not going anywhere!\n We're getting married!\n Richard has no idea what Margaret is talking about.", "INT. MARGARET'S ROOM - DAY\n\n Margaret's wedding dress is laid out on the bed. Her bag is\n packed. Richard knocks and comes in. Margaret is on the phone.", "MARGARET\n You work for me!\n\n RICHARD\n You know, during my employee orientation,\n the HR rep didn't mention anything about me\n marrying you.", "MARGARET\n Richard. Please. Let me finish.\n (to the Paxton family)\n Richard wanted to stop this when we got off", "MR. GILBERTSON\n (to Richard)\n You. Is this true? Are you marrying\n this... woman?\n Margaret comes over to Richard and holds his hand.", "MARGARET\n Oh yeah, we're good. By the way, you're\n more screwed up than I am, Paxton.\n\n RICHARD\n Yeah. Thanks.", "MARGARET\n Well, come on. If we're going to do this,\n we might as well put on a show.\n\n INT. PAXTON ESTATE - DAY", "Margaret comes to Richard's desk. He tries to wrap it up.\n RICHARD (cont'd)\n I have to go. Yeah. No, I'm not going to", "MARGARET\n I'll publish your book.\n Gilbertson smiles.\n\n MR. GILBERTSON\n Now was that so hard?", "MARGARET\n Not sure the best way to tell you all this.\n But, uh... I made Richard marry me. This is\n all a sham.\n Gilbertson victoriously pumps his fist in the air.", "RICHARD\n No. No.\n (off Margaret's look)\n Um. Yes? But as I've explained to them,", "RICHARD\n Who's getting married?\n\n MARGARET\n We are!\n\n RICHARD\n You and him?", "MARGARET (cont'd)\n So you need to figure out the travel,\n schedule a justice of the peace for next\n week, and get my lawyer on the phone.", "GEOFFREY\n Yeah. How did you pop the question?\n Richard is a deer in the headlights. This is getting ugly.\n Margaret sees that Richard is going to crumble, and steps in.", "wife. Margaret Mary Mills, will you marry\n me?\"\n The group is silent, waiting for the clincher.\n MARGARET (cont'd)", "MARGARET\n I think I am.\n Margaret begins to leave. Geoffrey calls after her.", "Margaret smiles. She never knew that Richard had this kind of\n passion for the job.\n RICHARD (cont'd)\n So when I tell my folks that I want to spend", "MARGARET\n Hey. Watch it. You're still my assistant.\n\n RICHARD\n You were going to promote me anyway.", "RICHARD\n Yeah...\n Richard stops, he can tell Margaret knows something.\n RICHARD (cont'd)\n Oh my god. She told you didn't she?\n\n MARGARET", "Margaret puts out her hand to shake, Richard takes it.\n MARGARET (cont'd)\n And I'm not sleeping on your parent's hide-a-" ], [ "Richard docks the boat at the Paxton Seafood pier. Located in\n the town's harbor, the packing plant consists of three large", "86.\n\n EXT. PAXTON ESTATE - DAY", "The ship docks and we get our first glimpse of the Paxton Estate.\n It sits above the rest of the wooded island and is as tasteful as", "46.\n\n EXT. PAXTON ESTATE - SHORELINE - DAY", "69.\n Richard points to the \"Paxton General Store\" sign.\n\n MARGARET\n That must have been handy in High School.", "104.\n\n EXT. PAXTON ESTATE - PARTY - DAY", "79.\n\n EXT. PAXTON TRAIL - DAY", "EXT. PAXTON BACKYARD - DAY - CONTINUOUS", "GEOFFREY\n Yes. Mr. Gilbertson? My name is Geoffrey\n Paxton...\n Only the animal trophies that adorn Geoffrey's office hear the\n rest of the conversation.", "ON THE BOAT\n Margaret sits hunched over with a blanket wrapped around her.\n Richard drives the boat. They don't talk.\n\n EXT. PAXTON ESTATE - DAY", "GEOFFREY\n Stop looking at me like that!\n\n EXT. PAXTON ESTATE - DAY", "MARGARET\n Oh yeah, we're good. By the way, you're\n more screwed up than I am, Paxton.\n\n RICHARD\n Yeah. Thanks.", "INT. PAXTON ESTATE - DAY", "MARGARET\n Richard. Please. Let me finish.\n (to the Paxton family)\n Richard wanted to stop this when we got off", "MARGARET\n Well, come on. If we're going to do this,\n we might as well put on a show.\n\n INT. PAXTON ESTATE - DAY", "EXT. PAXTON ESTATE - DAY\n\n Margaret walks down to the dock carrying her suitcase. She can\n hear that the party is in full swing and smiles.", "A hand knocks an alarm clock off a table to shut it up. RICHARD\n PAXTON (26) wakes up on pink sheets and looks around to figure", "HANDSOME MAN\n (re: Gilbertson)\n Is this another gay assistant?\n Margaret doesn't say anything and takes her seat.\n\n EXT. PAXTON ESTATE - DAY", "GEOFFREY\n Fine.\n With a fire extinguisher, the bonfire comes to an end.\n\n INT. PAXTON MASTER BEDROOM - DAY", "RICHARD\n OK, high maintenance. Let's go.\n\n EXT. PAXTON SPEED BOAT - DAY" ], [ "MARGARET\n Oh yeah, we're good. By the way, you're\n more screwed up than I am, Paxton.\n\n RICHARD\n Yeah. Thanks.", "86.\n\n EXT. PAXTON ESTATE - DAY", "ON THE BOAT\n Margaret sits hunched over with a blanket wrapped around her.\n Richard drives the boat. They don't talk.\n\n EXT. PAXTON ESTATE - DAY", "MARGARET\n Well, come on. If we're going to do this,\n we might as well put on a show.\n\n INT. PAXTON ESTATE - DAY", "MARGARET\n Richard. Please. Let me finish.\n (to the Paxton family)\n Richard wanted to stop this when we got off", "104.\n\n EXT. PAXTON ESTATE - PARTY - DAY", "EXT. PAXTON ESTATE - DAY\n\n Margaret walks down to the dock carrying her suitcase. She can\n hear that the party is in full swing and smiles.", "46.\n\n EXT. PAXTON ESTATE - SHORELINE - DAY", "GEOFFREY\n Stop looking at me like that!\n\n EXT. PAXTON ESTATE - DAY", "MARGARET\n Get some sleep Richard, big day tomorrow.\n\n INT. PAXTON ESTATE - OFFICE - DAY", "Nope, that's her. She carefully steps out into the clearing.\n SHAMAN (cont'd)\n It is I, father Paxton.", "INT. PAXTON ESTATE UPSTAIRS - DAY\n\n Debbie opens a door for Richard and Margaret.\n\n DEBBIE\n You'll be sleeping here.", "The ship docks and we get our first glimpse of the Paxton Estate.\n It sits above the rest of the wooded island and is as tasteful as", "79.\n\n EXT. PAXTON TRAIL - DAY", "EXT. PAXTON ESTATE - DAY\n\n Richard sits by himself and finishes a beer by the shore.\n Gertrude walks up to him, looking fabulous, with two more beers.", "MARGARET\n Who are you people?\n Richard lets Margaret wonder.\n\n EXT. PAXTON DOCK - DAY", "EXT. PAXTON DOCK - DAY\n\n Richard and Margaret board the yacht. They wear athletic clothes\n and running shoes.\n\n EXT. BOAT - DAY", "EXT. PAXTON BACKYARD - DAY - CONTINUOUS", "GEOFFREY\n Yes. Mr. Gilbertson? My name is Geoffrey\n Paxton...\n Only the animal trophies that adorn Geoffrey's office hear the\n rest of the conversation.", "INT. PAXTON ESTATE\n\n Inside, the elegant party carries on.\n\n DEBBIE\n Where's Margaret? We need to go." ], [ "MARGARET\n Oh yeah, we're good. By the way, you're\n more screwed up than I am, Paxton.\n\n RICHARD\n Yeah. Thanks.", "ON THE BOAT\n Margaret sits hunched over with a blanket wrapped around her.\n Richard drives the boat. They don't talk.\n\n EXT. PAXTON ESTATE - DAY", "GEOFFREY\n Fine.\n With a fire extinguisher, the bonfire comes to an end.\n\n INT. PAXTON MASTER BEDROOM - DAY", "GEOFFREY\n Stop looking at me like that!\n\n EXT. PAXTON ESTATE - DAY", "GEOFFREY\n Yes. Mr. Gilbertson? My name is Geoffrey\n Paxton...\n Only the animal trophies that adorn Geoffrey's office hear the\n rest of the conversation.", "86.\n\n EXT. PAXTON ESTATE - DAY", "EXT. PAXTON ESTATE - DAY\n\n Richard sits by himself and finishes a beer by the shore.\n Gertrude walks up to him, looking fabulous, with two more beers.", "104.\n\n EXT. PAXTON ESTATE - PARTY - DAY", "EXT. PAXTON ESTATE - DAY\n\n Margaret walks down to the dock carrying her suitcase. She can\n hear that the party is in full swing and smiles.", "79.\n\n EXT. PAXTON TRAIL - DAY", "RICHARD\n OK, high maintenance. Let's go.\n\n EXT. PAXTON SPEED BOAT - DAY", "Nope, that's her. She carefully steps out into the clearing.\n SHAMAN (cont'd)\n It is I, father Paxton.", "EXT. PAXTON DOCK - DAY\n\n Richard and Margaret unload champagne. Richard is still thinking\n about Gertrude and wanting to be alone.", "(SUSPICIOUS)\n Ex-girlfriend, huh?", "MARGARET\n Well, come on. If we're going to do this,\n we might as well put on a show.\n\n INT. PAXTON ESTATE - DAY", "EXT. PAXTON BACKYARD - DAY - CONTINUOUS", "EXT. PAXTON ESTATE - DAY - CONTINUOUS\n\n The couple walks briskly to the house.", "69.\n Richard points to the \"Paxton General Store\" sign.\n\n MARGARET\n That must have been handy in High School.", "46.\n\n EXT. PAXTON ESTATE - SHORELINE - DAY", "EXT. PAXTON DOCK - DAY\n\n Richard and Margaret board the yacht. They wear athletic clothes\n and running shoes.\n\n EXT. BOAT - DAY" ], [ "MARGARET\n No, no. Please. I mean, we are getting\n married. I want to know these things.\n Gertrude looks down a little embarrassed.", "Gertrude doesn't want to say anything.\n RICHARD (cont'd)\n What is it? You know I hate it when you get\n all quiet.", "GERTRUDE\n (ignoring Geoffrey)\n So tell me everything. I hear it wasn't\n exactly love at first sight?\n\n MARGARET\n Not exactly...", "MARGARET\n That surprises you?\n\n GERTRUDE\n Did he ever tell you why we broke up?", "GERTRUDE\n Uh, no. I, ah, got divorced.\n\n RICHARD\n Oh my God. I'm sorry.", "EXT. PAXTON ESTATE - DAY\n\n Richard sits by himself and finishes a beer by the shore.\n Gertrude walks up to him, looking fabulous, with two more beers.", "GERTRUDE\n ... freaked out? Oh you bet. I broke up\n with him on the spot.\n\n MARGARET\n I would hope so.", "RICHARD\n If she feels the same way.\n Gertrude begins to tear up, but won't let herself cry.", "MARGARET\n Richard. Please. Let me finish.\n (to the Paxton family)\n Richard wanted to stop this when we got off", "RICHARD\n Gertrude wants me back.\n Whoah. Not what she was expecting. She looks down.\n\n MARGARET\n And?", "GERTRUDE\n (smiles, remembering)\n No. I was going to teach, he was going to\n run his dad's business. He was like a\n little old man. Had it all worked out.", "that we're just not meant to be.\n Gertrude pulls back like she's been punched.\n RICHARD (cont'd)", "GERTRUDE\n After getting rejected the first time, I\n can't imagine how hard it was for him to get\n up the courage to ask you.", "GERTRUDE\n\n \n\n \n\n \n\n \n\n 51.", "GERTRUDE\n He proposed to me. When we were seniors.\n Margaret laughs.", "GERTRUDE\n Yes.\n\n RICHARD\n Oh, thank God. I thought this was like,\n something big.", "RICHARD\n Well...\n Richard hasn't recovered from seeing Gertrude.\n RICHARD (cont'd)\n Uh, uh, um, I...", "RICHARD\n Was not!\n\n GERTRUDE\n You tried to kiss me. A girl has to defend\n herself.", "Richard hasn't heard anything that Mrs. Whiting has said. He's\n hypnotized by Gertrude. She looks happy teaching these kids, and\n they hang on her every word.", "GERTRUDE (cont'd)\n Yeah. I miss it. Believe me, growing up I\n never thought I'd end up divorced and back" ], [ "MARGARET\n\n (EXCITED)\n My parents are dead!", "MARGARET\n Well, let me see. That would be sixteen or\n seventeen years. Exactly.", "MARGARET (cont'd)", "16.\n Painfully long beat where Richard doesn't answer. Margaret\n squeezes Richard's hand hard.", "MARGARET\n I'm an early, early riser and go for a run\n everyday. Well, it was our six month", "61.\n\n MARGARET\n I didn't make you do anything. You could of\n said no.", "MARGARET\n This wasn't supposed to happen.\n Richard looks Margaret in the eye.\n\n RICHARD\n But it did.\n Margaret looks down. A little embarrassed.", "MARGARET\n The creepy teenage proposal?\n\n RICHARD\n Ah, shit!\n\n MARGARET\n You were a freak by the way.", "MARGARET\n I think I am.\n Margaret begins to leave. Geoffrey calls after her.", "64.\n Margaret looks nauseous. Richard enjoys her discomfort.\n RICHARD (cont'd)", "Then, to herself, Margaret silently whispers.\n MARGARET (cont'd)\n We are awful people.", "68.\n\n MARGARET", "RICHARD\n Yeah...\n Richard stops, he can tell Margaret knows something.\n RICHARD (cont'd)\n Oh my god. She told you didn't she?\n\n MARGARET", "MARGARET\n You wrote the book.\n\n MR. GILBERTSON\n I did.\n\n MARGARET\n You're Dante Dickens?", "RICHARD\n Um. Shouldn't we talk about what we're\n going to say to my parents?\n Margaret doesn't look up, annoyed with the question.", "while, and that we'd heard about Margaret\n for years, but that we'd never met her.\n Debbie turns to Margaret and takes both of her hands.", "MARGARET\n No one. With us working together we decided\n it would be too much of a scandal if anyone\n knew.\n\n MR. GILBERTSON\n Have you at least told your family?", "MARGARET\n Chicago, right?\n\n GERTRUDE\n Yeah. Since college.\n\n MARGARET\n And now you're back?", "MARGARET\n (no idea)\n At Richard's parent's house.\n\n MR. GILBERTSON\n And where's that located?", "(to Margaret)\n I was really beginning to like you. Sorry\n about this.\n Geoffrey opens the door and goes inside." ], [ "Margaret smiles, but knows that Annie couldn't be more wrong.", "GRANDMA ANNIE\n It's me, Ramone.\n Margaret gives Annie a kiss, and then turns to Richard. They\n whisper while they walk up to Ramone.", "ANNIE\n We're not saying anything until you let us\n meet Margaret. Now, where's our girl?\n Richard looks around. Margaret keeps her head down and tries to\n avoid eye contact.", "As Richard and Margaret move towards the house, Annie shoots\n Geoffrey a look that says \"be nice\".", "MARGARET\n Not sure the best way to tell you all this.\n But, uh... I made Richard marry me. This is\n all a sham.\n Gilbertson victoriously pumps his fist in the air.", "GRANDMA ANNIE\n Oh, you poor dear. Geoffrey, you can't do\n this!\n (to Margaret)\n He's an eighth Tlingit, dear.", "Margaret puts her hand to the necklace, and for the first time\n feels like a complete and total fraud.\n GRANDMA ANNIE (cont'd)", "MARGARET\n They love you. Do you get that?\n\n RICHARD\n Of course.\n\n MARGARET\n And you're still willing to lie to them?", "This is awful news for Margaret. She might as well be stealing\n from Annie.", "RICHARD\n Yeah...\n Richard stops, he can tell Margaret knows something.\n RICHARD (cont'd)\n Oh my god. She told you didn't she?\n\n MARGARET", "MARGARET\n (mouthing to Richard)\n Nice song.\n Richard shrugs his shoulders.\n\n GRANDMA ANNIE\n Is that your song, dear?", "GEOFFREY\n Oh, really?\n From behind them, Annie stands up and shouts.", "RICHARD\n Nice story Little Orphan Annie, but that\n sounds like your problem. Not mine.\n Margaret is stuck. Richard really does have the upper hand.", "MARGARET\n I guess so.\n Margaret and Annie stop at the end of the aisle. Looking up,", "GRANDMA ANNIE\n That's all we ever wanted.\n Grandma Annie gives Margaret and Richard a big hug. Debbie joins\n in. Then Geoffrey. Passengers cheer.", "GEOFFREY\n Good.\n (looks at Annie)\n Well, consider this me keeping my promise.", "Margaret just smiles, feeling guilty about lying when Gertrude is\n being so honest with her.\n GERTRUDE (cont'd)", "Annoyed, she gets down face to face with the puppy and puts the\n phone against her chest so Frank doesn't hear.\n MARGARET (cont'd)", "MARGARET\n Well. Thing is...\n Margaret deliberates spilling her guts to Annie, but can't.\n MARGARET (cont'd)\n ...the dress is just a little tight.", "this. Don't think she woulda recovered.\n Grandma Annie comes from behind and puts her arms around\n Margaret's neck. When she is done, a stunning blue necklace lays" ], [ "MARGARET (cont'd)", "MARGARET\n Go get him. But he's out of here in five\n minutes, we've got work to do.\n Margaret leaves and goes into her office.", "3.\n\n INT. MARGARET'S LOBBY - MORNING", "2.\n\n INT. MARGARET'S APARTMENT - EARLY MORNING", "MARGARET\n I think I am.\n Margaret begins to leave. Geoffrey calls after her.", "MARGARET\n I'm a lucky woman.\n Margaret does her best to smile.\n\n EXT. DOCK - DAY", "INT. MARGARET'S ROOM - DAY - CONTINUOUS\n\n The room is beautiful, right out of Architectural Digest.", "MARGARET\n Excuse me, I'll just be a second.\n Margaret takes the phone and exits out French glass doors that", "MARGARET\n Hey, Bob.\n\n BOB\n Ah. Our fearless leader and her liege.\n Margaret smiles.", "MARGARET\n (unenthusiastically to phone)\n Uh-huh. Yeah. That's great Frank. Good\n news. Talk to you on Monday.\n Margaret hangs up.", "MARGARET (cont'd)\n No. No. No. He's my assistant.", "INT. MARGARET'S OFFICE - MORNING", "INT. MARGARET'S OFFICE - MORNING", "Margaret comes to Richard's desk. He tries to wrap it up.\n RICHARD (cont'd)\n I have to go. Yeah. No, I'm not going to", "interest in mind. Our job is to help you\n succeed. He wasn't doing that.\n Margaret continues to listen to her writer whine, when she", "MARGARET\n I'm not the kind of girl who gets saved.\n Richard smiles, and without warning, Margaret grabs him, and", "MARGARET (cont'd)\n Oh, thank God!\n Richard tries to control himself, but BURSTS OUT LAUGHING.\n Margaret is really scared.", "RICHARD\n Everyone, this is Margaret.", "Margaret sits at a computer, furiously opening her e-mail.\n Richard has brought her to his elementary school, where he and\n his old principal, MRS. WHITING, stand over Margaret.", "RICHARD\n Um. She's outside.\n Debbie and Richard turn around and look out a picture window.\n They see Margaret running with Balzac above her head." ], [ "MARGARET\n Not sure the best way to tell you all this.\n But, uh... I made Richard marry me. This is\n all a sham.\n Gilbertson victoriously pumps his fist in the air.", "MR. GILBERTSON\n You are marrying your male secretary?\n\n RICHARD\n Assistant.\n\n MR. GILBERTSON\n You are marrying your male assistant?", "MARGARET (cont'd)\n No. No. No. He's my assistant.", "MARGARET\n Know what, Dante? I'm not going anywhere!\n We're getting married!\n Richard has no idea what Margaret is talking about.", "RICHARD\n Have you ever thought there might be a\n reason we've been together for the last\n three years?\n\n MARGARET\n As boss and assistant.", "MARGARET\n Hey. Watch it. You're still my assistant.\n\n RICHARD\n You were going to promote me anyway.", "MR. GILBERTSON\n (to Richard)\n You. Is this true? Are you marrying\n this... woman?\n Margaret comes over to Richard and holds his hand.", "MARGARET\n You work for me!\n\n RICHARD\n You know, during my employee orientation,\n the HR rep didn't mention anything about me\n marrying you.", "interest in mind. Our job is to help you\n succeed. He wasn't doing that.\n Margaret continues to listen to her writer whine, when she", "As they change planes in Seattle, Margaret walks quickly and\n talks on the phone. Still the assistant, Richard lags behind,\n weighed down by both their bags.", "RICHARD\n Who's getting married?\n\n MARGARET\n We are!\n\n RICHARD\n You and him?", "GEOFFREY\n Yeah. How did you pop the question?\n Richard is a deer in the headlights. This is getting ugly.\n Margaret sees that Richard is going to crumble, and steps in.", "HANDSOME MAN\n You're bringing your assistant all the way\n to Alaska?\n Richard smiles, happy that Margaret has to answer.\n\n RICHARD\n Oh, you can tell him the truth.", "99.\n MARGARET (cont'd)\n I was going to get kicked out of the country\n -- so I told Richard that I would destroy\n his career if he didn't marry me.", "MR. GILBERTSON\n You think you can beat me with this B-S\n story? Forcing your secretary...\n\n RICHARD\n Assistant.", "few changes here and there, and we made this\n weekend a wedding.\n Margaret stares at Richard.", "you, Margaret. Getting married to you is\n the best thing that's ever happened to me.\n Without this, I might've ended up back here.", "Margaret comes to Richard's desk. He tries to wrap it up.\n RICHARD (cont'd)\n I have to go. Yeah. No, I'm not going to", "GEOFFREY\n You're only a secretary.\n This pisses Richard off immediately.\n\n RICHARD\n Again with the secretary thing! I've told\n you, I'm an assistant!", "MR. GILBERTSON\n How convenient. So you're not telling\n anyone that you are getting married?\n\n RICHARD\n Nope.\n Gilbertson smiles and puts down his pad." ], [ "MARGARET\n (Alaska???)\n Yes. Of course we're going to Alaska.\n That's where Richard is from.\n Gilbertson begins to walk around. He's getting worked up.", "The house is decked out in sheik Alaskan decor. Somehow, it\n makes bear heads and deer antlers look good. Everything is first\n class. Margaret is a little awe struck.", "Richard goes to speak, but Margaret motions for him to sit down\n and turn around. He does. Margaret gets off the boat and walks\n away from him on the glacier.", "RICHARD\n You drove!\n\n MARGARET\n I mean to Alaska.", "MARGARET\n Can we stop gutting fish? I need my phone.\n\n INT. SITKA GENERAL STORE - DAY", "(to Geoffrey)\n I want to get to know you all, and spend\n some real time up here in Alaska.\n (to Annie)", "Margaret goes to answer, but stops. Richard is right. She wants\n to go back. Even the passengers on the plane can see it.\n Gilbertson panics.", "HANDSOME MAN\n You're bringing your assistant all the way\n to Alaska?\n Richard smiles, happy that Margaret has to answer.\n\n RICHARD\n Oh, you can tell him the truth.", "EXT. SITKA - DAY\n\n A procession of cars makes its way through town.\n\n INT. PICKUP - DAY", "We see the natural beauty of South Eastern Alaska. Sitka is an\n island the size of Maui. Only an eight mile stretch of coast is", "MARGARET\n I didn't know there were a lot of pirates in\n Alaska!\n\n INT. BARANOFF ELEMENTARY SCHOOL - OFFICE - DAY", "MARGARET\n I'm really not good with surprises.\n\n EXT. SITKA AIRPORT - DAY - CONTINUOUS", "EXT. SITKA GENERAL STORE - DAY - CONTINUOUS\n\n Richard keeps pushing the cart, Margaret catches up.", "RICHARD\n You don't know where we're going.\n Margaret opens up the throttle and they are off.\n\n MARGARET\n It doesn't matter.", "Margaret sits at a computer, furiously opening her e-mail.\n Richard has brought her to his elementary school, where he and\n his old principal, MRS. WHITING, stand over Margaret.", "Debbie stops. Sitka Airport is very small, so they are already\n outside by all the cars parked in the loading zone.\n Debbie and Annie excitedly look at each other.", "He gets out of the boat and goes onto the glacier, walking in the\n direction he last saw Margaret.\n RICHARD (cont'd)", "As they change planes in Seattle, Margaret walks quickly and\n talks on the phone. Still the assistant, Richard lags behind,\n weighed down by both their bags.", "Why are you from Alaska? Sweet Jesus,\n that's inconvenient. So here's what's going\n to happen. We'll play boyfriend and", "MARGARET\n Know what, Dante? I'm not going anywhere!\n We're getting married!\n Richard has no idea what Margaret is talking about." ], [ "MR. GILBERTSON", "Mr. Gilbertson is from the INS. I told him\n about us. About us getting married.", "Margaret reads as MR. GILBERTSON (48) sits down. He's an intense\n man in a bad suit. He sits in silence until Margaret looks up.", "Gilbertson takes out a pad and takes notes.\n MR. GILBERTSON (cont'd)\n (to Richard)", "Mr. Gilbertson gets right up in Margaret's face as he gives her\n the piece of paper.\n MR. GILBERTSON (cont'd)", "GEOFFREY\n Yes. Mr. Gilbertson? My name is Geoffrey\n Paxton...\n Only the animal trophies that adorn Geoffrey's office hear the\n rest of the conversation.", "Gilbertson talks non-stop. Margaret is in hell.", "11.\n RICHARD (cont'd)\n Your 10:55 is here. Mr. Gilbertson?\n\n MARGARET\n Who is this guy?", "MR. GILBERTSON\n One of my nom de plumes.\n Gilbertson paces. Margaret stays seated, at a loss.", "Gilbertson makes a \"go to hell\" face and shuffles off.\n Margaret turns back to Richard. All smiles.\n MARGARET (cont'd)", "Have to admit, I can't place where we know\n each other from.\n Gilbertson smiles. He didn't expect her to remember.", "14.\n Gilbertson smiles. She's quick.\n\n MR. GILBERTSON\n I've edited it down. It's better.", "Gilbertson leaves and shuts the door hard. Margaret goes back to\n her desk like this is all in a days work.\n MARGARET (cont'd)", "MARGARET\n I'll publish your book.\n Gilbertson smiles.\n\n MR. GILBERTSON\n Now was that so hard?", "MARGARET\n You wrote the book.\n\n MR. GILBERTSON\n I did.\n\n MARGARET\n You're Dante Dickens?", "Gilbertson drives his little speedboat and Margaret holds her\n suitcase tight. It's choppy, and the outboard motor is loud.\n The two have to yell to talk.", "INT. PLANE - DAY\n\n Gilbertson continues to talk. Margaret is in a stupor.", "MR. GILBERTSON\n And this has nothing to do with my visit\n here today?\n\n MARGARET\n Nope. True love. Got it bad.", "MR. GILBERTSON\n (mock sympathy)\n Ahhhh. That's a shame. Too bad we can't\n work something out.\n Margaret stops looking at her file. It all becomes clear.", "Now Margaret is pacing, while Gilbertson happily looks on.\n Suddenly, the door opens and Richard bursts in, acting like there\n is an \"emergency\" so Margaret can end the meeting." ], [ "Ramone is about to continue, but something gets his attention.\n He's not sure what to do.\n RAMONE (cont'd)", "RAMONE\n Hey Richard. Hola mi amo.\n Margaret recognizes Ramone, the male dancer from last night.", "Ramone's dance has a Latin theme to it, and he's very good at it.\n Margaret is oblivious.", "RAMONE\n You are a naughty devil.\n Ramone goes to work another part of the stage, and when he turns,\n Margaret jumps off the stage and joins the ladies.", "MARGARET\n What's that smell?\n Margaret finally takes off her blindfold, and finds Ramone about\n an inch away from her face.", "RAMONE\n\n \n\n \n\n \n\n \n\n 97.", "RICHARD\n (to Ramone)\n You got the phone I called about?\n\n RAMONE\n Charged up, ready to go, number changed.\n Ramone throws Richard a phone.", "the plane, but I wouldn't let him. Don't\n blame him. This is all my fault.\n (to Ramone)", "The room goes silent as a middle aged RAMONE comes on to the\n stage. He has a pot belly, threadbare thong and a thin mustache.", "RAMONE\n No problem.\n Ramone gives Margaret a flirty wave. She awkwardly waves back.\n Richard pushes the cart out the front door and does not pay.\n Margaret is confused.", "MARGARET\n Why's Ramone letting you steal his stuff?\n\n RICHARD\n It's our stuff.", "RAMONE\n Can it wait ‘til after?\n\n MARGARET\n Uh. Um. No.", "MARGARET\n Oh, you bet.\n They make it to the Gazebo, where Ramone awaits.\n MARGARET (cont'd)\n Ramone.\n\n RAMONE", "GRANDMA ANNIE\n It's me, Ramone.\n Margaret gives Annie a kiss, and then turns to Richard. They\n whisper while they walk up to Ramone.", "MARGARET (cont'd)\n (belly laugh)\n Ahhh!!!\n Margaret falls out of her chair and her scream frightens Ramone.", "GERTRUDE (cont'd)\n Well I'm empty. I'm going to go get\n another. I think I hear Ramone wrapping up,", "Margaret sees the justice of the peace, Ramone. (Yes, the same\n guy from the liquor store and the strip club.)", "The party is in full swing.\n Balzac chases his balls.\n Ramone slides onstage and SINGS with the band. He has a", "Debbie, Geoffrey and Annie sit at a table next to the bar,\n dumbstruck looks on their faces. Ramone mixes drinks and flips\n bottles. Richard runs up to them all, looking excited.", "Richard and Margaret enter the well appointed general store,\n filled with food, booze and electronics. A mini Wal Mart.\n\n RICHARD\n Hey Ramone." ], [ "GERTRUDE\n He proposed to me. When we were seniors.\n Margaret laughs.", "GERTRUDE\n (ignoring Geoffrey)\n So tell me everything. I hear it wasn't\n exactly love at first sight?\n\n MARGARET\n Not exactly...", "MARGARET\n No, no. Please. I mean, we are getting\n married. I want to know these things.\n Gertrude looks down a little embarrassed.", "GERTRUDE\n After getting rejected the first time, I\n can't imagine how hard it was for him to get\n up the courage to ask you.", "GERTRUDE\n ... freaked out? Oh you bet. I broke up\n with him on the spot.\n\n MARGARET\n I would hope so.", "Gertrude doesn't want to say anything.\n RICHARD (cont'd)\n What is it? You know I hate it when you get\n all quiet.", "GERTRUDE\n Well. OK then. What's a girl gonna do?\n (voice cracking)\n I guess you want who you want.\n Gertrude gives a melancholy smile.", "GERTRUDE\n Uh, no. I, ah, got divorced.\n\n RICHARD\n Oh my God. I'm sorry.", "that we're just not meant to be.\n Gertrude pulls back like she's been punched.\n RICHARD (cont'd)", "RICHARD\n Gertrude wants me back.\n Whoah. Not what she was expecting. She looks down.\n\n MARGARET\n And?", "Richard gives her a polite smile. He's not really in the mood to\n joke. Gertrude notices.\n GERTRUDE (cont'd)", "where and who he is with, he puts his beer down. He turns to\n Gertrude again with a determined look, gives her a kiss on the\n lips, then follows it up with an even bigger kiss.", "GERTRUDE\n He bought this sweet little ring, and got\n down on his knee. It was so cute.\n\n MARGARET\n You must have...", "GERTRUDE\n\n (LAUGHING)\n Really. Stop.\n\n RICHARD\n That cuts deep. I'll have you know that", "GERTRUDE\n (smiles, remembering)\n No. I was going to teach, he was going to\n run his dad's business. He was like a\n little old man. Had it all worked out.", "76.\n Talk of Margaret immediately shuts Gertrude down.\n RICHARD (cont'd)\n (noticing her change in mood)\n Uh, is something wrong?", "MARGARET\n That surprises you?\n\n GERTRUDE\n Did he ever tell you why we broke up?", "GEOFFREY\n Yeah. How did you pop the question?\n Richard is a deer in the headlights. This is getting ugly.\n Margaret sees that Richard is going to crumble, and steps in.", "RICHARD\n From Chicago?\n Gertrude laughs. The group watches these two see each for the\n first time in years. There is instant chemistry, and Richard has\n forgotten about Margaret completely.", "GERTRUDE\n Yes.\n\n RICHARD\n Oh, thank God. I thought this was like,\n something big." ], [ "MARGARET\n I'm not the kind of girl who gets saved.\n Richard smiles, and without warning, Margaret grabs him, and", "Margaret catches him. Balzac looks frightened.\n Tucking Balzac away like a furry football, she runs to her phone\n and picks it up.", "MARGARET\n I think I am.\n Margaret begins to leave. Geoffrey calls after her.", "MARGARET (cont'd)\n Oh, thank God!\n Richard tries to control himself, but BURSTS OUT LAUGHING.\n Margaret is really scared.", "(PANICKED)\n Stop right there!\n Richard puts up his hands in surrender and stays put.\n MARGARET (cont'd)", "MARGARET\n Know what, Dante? I'm not going anywhere!\n We're getting married!\n Richard has no idea what Margaret is talking about.", "Margaret nods yes as she puts her arms around Richard. He's\n strong, so it isn't difficult for him to slowly carry her \"over", "MARGARET\n Have a great life.\n Margaret walks toward the group. Richard puts out his hand and\n silently pleads for Margaret to hold it. At the last second, she\n takes it.", "MARGARET\n I'm sorry bout the eagle. But I saved you.\n Balzac won't listen to reason and barks angrily. Margaret grabs\n the ceramic top of the toilet tank to protect herself.", "Richard quickly changes positions. Out of desperation, he pulls\n the entire comforter off the bed. He throws it Margaret's way,\n and she wraps herself in it.", "(to Margaret)\n I was really beginning to like you. Sorry\n about this.\n Geoffrey opens the door and goes inside.", "Margaret goes to answer, but stops. Richard is right. She wants\n to go back. Even the passengers on the plane can see it.\n Gilbertson panics.", "RICHARD\n So, I'm going to walk up to you and very\n slowly pull you out. OK?\n\n MARGARET\n I'm really cold.", "Margaret comes to Richard's desk. He tries to wrap it up.\n RICHARD (cont'd)\n I have to go. Yeah. No, I'm not going to", "GEOFFREY\n Margaret?\n Margaret stops and turns around.\n GEOFFREY (cont'd)", "RICHARD\n Gert!?\n Richard snaps his arm back, hitting Margaret in the head, and", "MARGARET\n You mean him?\n The Handsome man nods. Margaret tries to set the record\n straight.", "freak out.\n Margaret shakes her head yes. Richard reaches down and slowly\n lifts her out of the ice. Margaret doesn't say a word.", "GEOFFREY\n Yeah. How did you pop the question?\n Richard is a deer in the headlights. This is getting ugly.\n Margaret sees that Richard is going to crumble, and steps in.", "OK.\n Richard stands over a stuck Margaret, whose head just comes up to\n his knee. He calmly looks down on her." ], [ "RICHARD\n Yeah...\n Richard stops, he can tell Margaret knows something.\n RICHARD (cont'd)\n Oh my god. She told you didn't she?\n\n MARGARET", "Then, to herself, Margaret silently whispers.\n MARGARET (cont'd)\n We are awful people.", "Margaret just smiles, feeling guilty about lying when Gertrude is\n being so honest with her.\n GERTRUDE (cont'd)", "MARGARET\n Well, we just gotta tell ‘em.\n\n RICHARD\n Tell ‘em what?", "MARGARET\n Know what, Dante? I'm not going anywhere!\n We're getting married!\n Richard has no idea what Margaret is talking about.", "INT. MARGARET'S ROOM - DAY\n\n Margaret walks into the private bathroom attached to her room and\n shuts the door. We hear her turn on the shower.", "MR. GILBERTSON\n Say it.\n Margaret closes her eyes. Hating that it's come to this.", "Everyone rides on a 75 foot yacht. Lots of polished wood and\n chrome. Someone passes out beers on board, and the mood is\n festive. Margaret takes a look around at the surreal scene.", "INT. MARGARET'S ROOM - DAY\n\n Margaret's wedding dress is laid out on the bed. Her bag is\n packed. Richard knocks and comes in. Margaret is on the phone.", "MARGARET (cont'd)\n Oh, thank God!\n Richard tries to control himself, but BURSTS OUT LAUGHING.\n Margaret is really scared.", "INT. ROYCE PUBLISHING - CONTINUOUS\n\n Margaret and Richard walk a few steps. Margaret looks straight\n ahead and whispers to Richard.", "MARGARET\n Hey guys.\n Holy shit. Did Margaret hear anything? Her face gives nothing\n away. Gertrude and Richard act like nothing just happened, but\n look guilty as hell.", "112.\n\n MARGARET\n Oh, good lord.\n\n CUT TO:\n\n INT. TOWER - DAY", "MARGARET\n Excuse me, I'll just be a second.\n Margaret takes the phone and exits out French glass doors that", "MARGARET\n I think I am.\n Margaret begins to leave. Geoffrey calls after her.", "Richard goes to speak, but Margaret motions for him to sit down\n and turn around. He does. Margaret gets off the boat and walks\n away from him on the glacier.", "INT. MARGARET'S ROOM - DAY - CONTINUOUS\n\n The room is beautiful, right out of Architectural Digest.", "MARGARET\n Fine. But if we do this, you need to stop\n lying to me.\n\n RICHARD\n What've I lied to you about?", "while, and that we'd heard about Margaret\n for years, but that we'd never met her.\n Debbie turns to Margaret and takes both of her hands.", "MARGARET\n I'm sorry, Dante. Did you not prepare for\n that?\n Margaret puts her arm around Richard and waits in silence." ], [ "MARGARET\n Oh, you bet.\n They make it to the Gazebo, where Ramone awaits.\n MARGARET (cont'd)\n Ramone.\n\n RAMONE", "GERTRUDE\n (ignoring Geoffrey)\n So tell me everything. I hear it wasn't\n exactly love at first sight?\n\n MARGARET\n Not exactly...", "RICHARD\n Well I'm not making my Gammy an accomplice\n to a Class C felony! For one second could\n you not be so selfish?\n\n MARGARET\n Selfish?", "MARGARET\n I think I am.\n Margaret begins to leave. Geoffrey calls after her.", "(to Margaret)\n I was really beginning to like you. Sorry\n about this.\n Geoffrey opens the door and goes inside.", "GRANDMA ANNIE\n It's me, Ramone.\n Margaret gives Annie a kiss, and then turns to Richard. They\n whisper while they walk up to Ramone.", "Gilbertson makes a \"go to hell\" face and shuffles off.\n Margaret turns back to Richard. All smiles.\n MARGARET (cont'd)", "Margaret comes out to Richard's desk. She notices his coffee cup\n with Jillian's number on it. She takes special notice of the\n hearts that dot the \"I's\" in Jillian.", "RICHARD\n Gert!?\n Richard snaps his arm back, hitting Margaret in the head, and", "MARGARET\n Know what, Dante? I'm not going anywhere!\n We're getting married!\n Richard has no idea what Margaret is talking about.", "(MOUTHING)\n Your mother.\n Richard jumps up and replaces cushions and hides signs of his\n makeshift bed. He finishes quickly, hops in the bed, and puts\n his arm around Margaret.", "Richard walks very comfortably with her in his arms. She fits\n just right. Margaret looks up to Richard gratefully.\n MARGARET (cont'd)", "MARGARET\n What's that smell?\n Margaret finally takes off her blindfold, and finds Ramone about\n an inch away from her face.", "Margaret nods yes as she puts her arms around Richard. He's\n strong, so it isn't difficult for him to slowly carry her \"over", "MARGARET\n Okay...\n\n RICHARD\n You're a very beautiful woman.\n Margaret smiles with her head turned away from Richard.", "RICHARD\n Yeah...\n Richard stops, he can tell Margaret knows something.\n RICHARD (cont'd)\n Oh my god. She told you didn't she?\n\n MARGARET", "MARGARET\n I'm not the kind of girl who gets saved.\n Richard smiles, and without warning, Margaret grabs him, and", "MARGARET\n You mean him?\n The Handsome man nods. Margaret tries to set the record\n straight.", "RICHARD\n What?\n Richard doesn't know what Margaret is talking about, until she\n nods at the cup. He's embarrassed.", "Margaret looks at Richard on the word \"unselfish,\" but he's\n looking straight ahead, determined to get through this.\n RAMONE (cont'd)" ], [ "Gilbertson talks non-stop. Margaret is in hell.", "Gilbertson makes a \"go to hell\" face and shuffles off.\n Margaret turns back to Richard. All smiles.\n MARGARET (cont'd)", "Gilbertson leaves and shuts the door hard. Margaret goes back to\n her desk like this is all in a days work.\n MARGARET (cont'd)", "Gilbertson takes out a pad and takes notes.\n MR. GILBERTSON (cont'd)\n (to Richard)", "MR. GILBERTSON\n One of my nom de plumes.\n Gilbertson paces. Margaret stays seated, at a loss.", "Now Margaret is pacing, while Gilbertson happily looks on.\n Suddenly, the door opens and Richard bursts in, acting like there\n is an \"emergency\" so Margaret can end the meeting.", "Mr. Gilbertson gets right up in Margaret's face as he gives her\n the piece of paper.\n MR. GILBERTSON (cont'd)", "MR. GILBERTSON\n Pathetic. Four questions and I've got\n enough to send you to prison...\n\n MARGARET\n We're telling his family this weekend.", "Margaret reads as MR. GILBERTSON (48) sits down. He's an intense\n man in a bad suit. He sits in silence until Margaret looks up.", "Margaret goes to answer, but stops. Richard is right. She wants\n to go back. Even the passengers on the plane can see it.\n Gilbertson panics.", "114.\n The Handsome Man pulls out flex cuffs, zips them around\n Gilbertson's wrists, and throws him in the bathroom. He then", "INT. PLANE - DAY\n\n Gilbertson continues to talk. Margaret is in a stupor.", "14.\n Gilbertson smiles. She's quick.\n\n MR. GILBERTSON\n I've edited it down. It's better.", "GEOFFREY\n Yes. Mr. Gilbertson? My name is Geoffrey\n Paxton...\n Only the animal trophies that adorn Geoffrey's office hear the\n rest of the conversation.", "Mr. Gilbertson is from the INS. I told him\n about us. About us getting married.", "MARGARET\n (to Gilbertson)\n Hey! Do you think getting arrested might\n affect you at work?\n Gilbertson has no retort.", "MARGARET\n You wrote the book.\n\n MR. GILBERTSON\n I did.\n\n MARGARET\n You're Dante Dickens?", "HANDSOME MAN\n Uh, sorry, but excuse us.\n The Handsome Man leads a handcuffed and still dazed Gilbertson\n down the steps.", "MR. GILBERTSON\n Say it.\n Margaret closes her eyes. Hating that it's come to this.", "MARGARET\n Yes. And all the papers are in.\n Gilbertson pulls out a stack of papers and throws them down." ], [ "MARGARET (cont'd)", "MARGARET\n Hey, Bob.\n\n BOB\n Ah. Our fearless leader and her liege.\n Margaret smiles.", "MARGARET\n Go get him. But he's out of here in five\n minutes, we've got work to do.\n Margaret leaves and goes into her office.", "MARGARET (cont'd)\n No. No. No. He's my assistant.", "INT. MARGARET'S OFFICE - MORNING", "INT. MARGARET'S OFFICE - MORNING", "MARGARET\n Hey. Watch it. You're still my assistant.\n\n RICHARD\n You were going to promote me anyway.", "INT. MARGARET'S ROOM - DAY - CONTINUOUS\n\n The room is beautiful, right out of Architectural Digest.", "MARGARET\n I think I am.\n Margaret begins to leave. Geoffrey calls after her.", "MARGARET\n Excuse me, I'll just be a second.\n Margaret takes the phone and exits out French glass doors that", "2.\n\n INT. MARGARET'S APARTMENT - EARLY MORNING", "3.\n\n INT. MARGARET'S LOBBY - MORNING", "MARGARET\n I'm a lucky woman.\n Margaret does her best to smile.\n\n EXT. DOCK - DAY", "Margaret sits at a computer, furiously opening her e-mail.\n Richard has brought her to his elementary school, where he and\n his old principal, MRS. WHITING, stand over Margaret.", "RICHARD\n Everyone, this is Margaret.", "MARGARET\n You wrote the book.\n\n MR. GILBERTSON\n I did.\n\n MARGARET\n You're Dante Dickens?", "MARGARET\n The Y.\n\n RICHARD\n Margaret 1, Richard 0.", "MARGARET\n Who is it?\n\n \n\n \n\n \n\n \n\n 59.", "MARGARET\n (unenthusiastically to phone)\n Uh-huh. Yeah. That's great Frank. Good\n news. Talk to you on Monday.\n Margaret hangs up.", "Margaret comes to Richard's desk. He tries to wrap it up.\n RICHARD (cont'd)\n I have to go. Yeah. No, I'm not going to" ], [ "MARGARET\n Know what, Dante? I'm not going anywhere!\n We're getting married!\n Richard has no idea what Margaret is talking about.", "MARGARET (cont'd)", "MARGARET\n I think I am.\n Margaret begins to leave. Geoffrey calls after her.", "MARGARET\n Excuse me, I'll just be a second.\n Margaret takes the phone and exits out French glass doors that", "MARGARET\n I'm a lucky woman.\n Margaret does her best to smile.\n\n EXT. DOCK - DAY", "Margaret goes to answer, but stops. Richard is right. She wants\n to go back. Even the passengers on the plane can see it.\n Gilbertson panics.", "MARGARET\n Go get him. But he's out of here in five\n minutes, we've got work to do.\n Margaret leaves and goes into her office.", "Richard goes to speak, but Margaret motions for him to sit down\n and turn around. He does. Margaret gets off the boat and walks\n away from him on the glacier.", "RICHARD\n You don't know where we're going.\n Margaret opens up the throttle and they are off.\n\n MARGARET\n It doesn't matter.", "RICHARD\n C'mon. I got an idea.\n Richard leads Margaret to the door. As they are leaving Margaret\n shouts out.", "MARGARET\n I'm sorry, Dante. Did you not prepare for\n that?\n Margaret puts her arm around Richard and waits in silence.", "Gilbertson makes a \"go to hell\" face and shuffles off.\n Margaret turns back to Richard. All smiles.\n MARGARET (cont'd)", "RICHARD\n Um. She's outside.\n Debbie and Richard turn around and look out a picture window.\n They see Margaret running with Balzac above her head.", "3.\n\n INT. MARGARET'S LOBBY - MORNING", "RICHARD\n What are you doing?\n Margaret gathers herself and turns around to the crowd. They\n stare back, unsure what to make of this foreigner.", "INT. MARGARET'S ROOM - DAY\n\n Margaret's wedding dress is laid out on the bed. Her bag is\n packed. Richard knocks and comes in. Margaret is on the phone.", "MARGARET\n I'm not going anywhere.\n\n RICHARD\n You want a new phone? You're going.", "MARGARET (cont'd)\n ...to all these bitches crawl...\n Margaret's eyes are closed, she doesn't realize that she's broken", "MARGARET (cont'd)\n Oh, thank God!\n Richard tries to control himself, but BURSTS OUT LAUGHING.\n Margaret is really scared.", "Margaret comes to Richard's desk. He tries to wrap it up.\n RICHARD (cont'd)\n I have to go. Yeah. No, I'm not going to" ], [ "MARGARET (cont'd)", "MARGARET\n Know what, Dante? I'm not going anywhere!\n We're getting married!\n Richard has no idea what Margaret is talking about.", "Margaret goes to answer, but stops. Richard is right. She wants\n to go back. Even the passengers on the plane can see it.\n Gilbertson panics.", "MARGARET\n I think I am.\n Margaret begins to leave. Geoffrey calls after her.", "MARGARET\n Go get him. But he's out of here in five\n minutes, we've got work to do.\n Margaret leaves and goes into her office.", "MARGARET\n Excuse me, I'll just be a second.\n Margaret takes the phone and exits out French glass doors that", "MARGARET\n Excuse me? What? This is a mistake. I've\n lived here since 1981. I'm applying for\n citizenship.", "DEBBIE\n Oh, that man from the government. Gilber-\n something. Said he was checking up on you\n two. Said it was technicality, because\n Margaret was from Canada.", "MARGARET\n I'm a lucky woman.\n Margaret does her best to smile.\n\n EXT. DOCK - DAY", "RICHARD\n What are you doing?\n Margaret gathers herself and turns around to the crowd. They\n stare back, unsure what to make of this foreigner.", "Richard goes to speak, but Margaret motions for him to sit down\n and turn around. He does. Margaret gets off the boat and walks\n away from him on the glacier.", "RICHARD\n No. No.\n (off Margaret's look)\n Um. Yes? But as I've explained to them,", "RICHARD\n You don't know where we're going.\n Margaret opens up the throttle and they are off.\n\n MARGARET\n It doesn't matter.", "MARGARET\n What? I'm just working on my tan.\n (off Gertrude's look)\n It's been a long day.\n Margaret looks inside and sees that the party is still raging.", "MARGARET (cont'd)\n Oh, thank God!\n Richard tries to control himself, but BURSTS OUT LAUGHING.\n Margaret is really scared.", "MARGARET\n You mean him?\n The Handsome man nods. Margaret tries to set the record\n straight.", "MARGARET\n They love you. Do you get that?\n\n RICHARD\n Of course.\n\n MARGARET\n And you're still willing to lie to them?", "MARGARET\n I wish it wasn't my business. But\n unfortunately, it has become my business,\n because I made a deal with someone I thought", "MARGARET\n Surprise? Another surprise?\n\n RICHARD\n She's not good with surprises.", "MARGARET\n I'm sorry, Dante. Did you not prepare for\n that?\n Margaret puts her arm around Richard and waits in silence." ], [ "MARGARET\n Know what, Dante? I'm not going anywhere!\n We're getting married!\n Richard has no idea what Margaret is talking about.", "MARGARET\n I think I am.\n Margaret begins to leave. Geoffrey calls after her.", "MARGARET (cont'd)", "Margaret goes to answer, but stops. Richard is right. She wants\n to go back. Even the passengers on the plane can see it.\n Gilbertson panics.", "RICHARD\n C'mon. I got an idea.\n Richard leads Margaret to the door. As they are leaving Margaret\n shouts out.", "MARGARET\n Excuse me, I'll just be a second.\n Margaret takes the phone and exits out French glass doors that", "99.\n MARGARET (cont'd)\n I was going to get kicked out of the country\n -- so I told Richard that I would destroy\n his career if he didn't marry me.", "MARGARET\n Go get him. But he's out of here in five\n minutes, we've got work to do.\n Margaret leaves and goes into her office.", "Margaret comes to Richard's desk. He tries to wrap it up.\n RICHARD (cont'd)\n I have to go. Yeah. No, I'm not going to", "RICHARD\n But... but what about you? What are you\n gonna do?\n Margaret wants to keep the conversation short.", "There is no one to help, so she chases after the dog and eagle.\n She stays calm on the phone.\n MARGARET (cont'd)", "MARGARET\n They love you. Do you get that?\n\n RICHARD\n Of course.\n\n MARGARET\n And you're still willing to lie to them?", "MARGARET\n I'm not the kind of girl who gets saved.\n Richard smiles, and without warning, Margaret grabs him, and", "MARGARET\n I'm a lucky woman.\n Margaret does her best to smile.\n\n EXT. DOCK - DAY", "Richard goes to speak, but Margaret motions for him to sit down\n and turn around. He does. Margaret gets off the boat and walks\n away from him on the glacier.", "MARGARET\n Put me down.\n Richard puts Margaret down near the boat. She tries to regain\n her composure.\n MARGARET (cont'd)\n You wanna call it off?", "MARGARET\n You had no idea they knew about us getting\n married?\n\n RICHARD\n You think I'd bring you here if I did?", "RICHARD\n Will do.\n Richard makes a note. Margaret stops to make her point.", "MARGARET\n I'm sorry, Dante. Did you not prepare for\n that?\n Margaret puts her arm around Richard and waits in silence.", "RICHARD\n Yeah...\n Richard stops, he can tell Margaret knows something.\n RICHARD (cont'd)\n Oh my god. She told you didn't she?\n\n MARGARET" ], [ "MARGARET (cont'd)\n No. No. No. He's my assistant.", "MARGARET\n Go get him. But he's out of here in five\n minutes, we've got work to do.\n Margaret leaves and goes into her office.", "MARGARET (cont'd)", "MARGARET\n You mean him?\n The Handsome man nods. Margaret tries to set the record\n straight.", "MARGARET\n I think I am.\n Margaret begins to leave. Geoffrey calls after her.", "Richard powers through the office. Co-workers take notice that\n Margaret is following him.", "Margaret comes to Richard's desk. He tries to wrap it up.\n RICHARD (cont'd)\n I have to go. Yeah. No, I'm not going to", "MARGARET\n Hey. Watch it. You're still my assistant.\n\n RICHARD\n You were going to promote me anyway.", "The Handsome Man turns to Margaret.", "MARGARET\n Hey, Bob.\n\n BOB\n Ah. Our fearless leader and her liege.\n Margaret smiles.", "interest in mind. Our job is to help you\n succeed. He wasn't doing that.\n Margaret continues to listen to her writer whine, when she", "MARGARET\n Know what, Dante? I'm not going anywhere!\n We're getting married!\n Richard has no idea what Margaret is talking about.", "Margaret sits at a computer, furiously opening her e-mail.\n Richard has brought her to his elementary school, where he and\n his old principal, MRS. WHITING, stand over Margaret.", "RICHARD\n Well, maybe I didn't tell you because you\n would have fired me if you knew.\n\n MARGARET\n No I wouldn't.", "MARGARET\n You wrote the book.\n\n MR. GILBERTSON\n I did.\n\n MARGARET\n You're Dante Dickens?", "MARGARET\n I'm not the kind of girl who gets saved.\n Richard smiles, and without warning, Margaret grabs him, and", "Margaret reads as MR. GILBERTSON (48) sits down. He's an intense\n man in a bad suit. He sits in silence until Margaret looks up.", "RICHARD\n Have you ever thought there might be a\n reason we've been together for the last\n three years?\n\n MARGARET\n As boss and assistant.", "GEOFFREY\n Margaret?\n Margaret stops and turns around.\n GEOFFREY (cont'd)", "RICHARD\n Yeah...\n Richard stops, he can tell Margaret knows something.\n RICHARD (cont'd)\n Oh my god. She told you didn't she?\n\n MARGARET" ], [ "Mr. Gilbertson is from the INS. I told him\n about us. About us getting married.", "MR. GILBERTSON\n The INS will see you both in ten days for\n your official interview. Your stories\n better match up on every account.", "DEBBIE\n Oh, that man from the government. Gilber-\n something. Said he was checking up on you\n two. Said it was technicality, because\n Margaret was from Canada.", "girlfriend this weekend for your parents and\n that should be enough for this INS\n interview.\n Richard doesn't react. Margaret doesn't notice.", "MR. GILBERTSON\n Ms. Mills, I'm with U.S. Citizenship and\n Immigration Services, and I'm deporting you\n to Canada.", "takes the CB from Margaret and speaks to the passengers.\n HANDSOME MAN (cont'd)\n Sorry everybody, but protocol says we need", "The ship docks and we get our first glimpse of the Paxton Estate.\n It sits above the rest of the wooded island and is as tasteful as", "MR. GILBERTSON\n Yes, and unfortunately my investigation will\n take awhile, so you'll be deported while", "The house is decked out in sheik Alaskan decor. Somehow, it\n makes bear heads and deer antlers look good. Everything is first\n class. Margaret is a little awe struck.", "Everyone rides on a 75 foot yacht. Lots of polished wood and\n chrome. Someone passes out beers on board, and the mood is\n festive. Margaret takes a look around at the surreal scene.", "Margaret and the Handsome Man chat like old friends while they\n walk off the plane. Richard follows with all the bags. As they\n all walk out of the jetway they see...", "RICHARD\n What are you doing?\n Margaret gathers herself and turns around to the crowd. They\n stare back, unsure what to make of this foreigner.", "GEOFFREY\n So did this happen before or after the INS\n agent came sniffing around?", "Richard powers through the office. Co-workers take notice that\n Margaret is following him.", "Margaret wakes up. She looks over to Richard asleep on the floor\n with a blanket and a pillow. She stares maybe a beat too long,\n before there is a KNOCK on the door.", "Gilbertson drives his little speedboat and Margaret holds her\n suitcase tight. It's choppy, and the outboard motor is loud.\n The two have to yell to talk.", "Gilbertson leaves and shuts the door hard. Margaret goes back to\n her desk like this is all in a days work.\n MARGARET (cont'd)", "Margaret reads as MR. GILBERTSON (48) sits down. He's an intense\n man in a bad suit. He sits in silence until Margaret looks up.", "RICHARD\n He was my shop teacher.\n\n MARGARET\n Of course he was. How many people are on\n this island?\n They start to fill their cart with cases of champagne.", "Now Margaret is pacing, while Gilbertson happily looks on.\n Suddenly, the door opens and Richard bursts in, acting like there\n is an \"emergency\" so Margaret can end the meeting." ], [ "GEOFFREY\n I called him yesterday. He told me that you\n were lying, and that he was going to catch\n you. That he was going to send you to\n prison.", "MR. GILBERTSON\n Five years in prison and a two hundred and\n fifty thousand dollar fine.\n\n MARGARET\n What?", "MR. GILBERTSON\n Pathetic. Four questions and I've got\n enough to send you to prison...\n\n MARGARET\n We're telling his family this weekend.", "(SMILING)\n Absolutely not. But who knows?\n (looking at Richard)\n We might by the time you get out of jail.", "... but once he's out of Margaret's sight he runs to his computer\n and sends an instant message to the office \"The Banshee is headed\n to Bob's office.\"", "guillotine, where the heads are chopped off. He awkwardly waves\n when he sees Margaret and Richard.", "RICHARD\n Yeah...\n Richard stops, he can tell Margaret knows something.\n RICHARD (cont'd)\n Oh my god. She told you didn't she?\n\n MARGARET", "RICHARD\n (to Dad)\n What did you do?\n Geoffrey doesn't answer. He's not proud of himself.", "Richard and Margaret walk towards the house, which looms above\n them as they prepare to deliver the news that they aren't getting\n married. The front door opens, and Geoffrey comes outside in a\n hurry. He's clearly been waiting.", "GEOFFREY\n Yeah. How did you pop the question?\n Richard is a deer in the headlights. This is getting ugly.\n Margaret sees that Richard is going to crumble, and steps in.", "OK.\n Richard stands over a stuck Margaret, whose head just comes up to\n his knee. He calmly looks down on her.", "MARGARET\n Is that the best you got?\n Geoffrey hits Richard, as if to say \"see, that's what I said.\"\n Richard composes himself.", "MR. GILBERTSON\n (to Richard)\n We made a deal and dad here flew me up. Now\n you tell the truth, and get off scott free.\n It's like it never happened for you.", "Richard looks defeated. Geoffrey sees how sad his son is, and\n takes a deep breath.", "MARGARET\n You mean him?\n The Handsome man nods. Margaret tries to set the record\n straight.", "Margaret goes to answer, but stops. Richard is right. She wants\n to go back. Even the passengers on the plane can see it.\n Gilbertson panics.", "and love, they must speak now or forever\n hold their peace.\n Gilbertson stays quiet. Geoffrey takes a tug from a flask.", "RICHARD\n So his hands don't go too far. So he\n doesn't...\n Richard makes a chopping motion. Margaret winces.", "MARGARET\n Not sure the best way to tell you all this.\n But, uh... I made Richard marry me. This is\n all a sham.\n Gilbertson victoriously pumps his fist in the air.", "ALL\n There he is!!! Where's Margaret?\n Richard blanches white. Margaret looks back with eyes that say\n \"What the hell is going on?\"" ], [ "MARGARET\n (still no idea)\n In his hometown.\n\n RICHARD\n Sitka.", "Richard and Margaret walk towards the house, which looms above\n them as they prepare to deliver the news that they aren't getting\n married. The front door opens, and Geoffrey comes outside in a\n hurry. He's clearly been waiting.", "The house is decked out in sheik Alaskan decor. Somehow, it\n makes bear heads and deer antlers look good. Everything is first\n class. Margaret is a little awe struck.", "Geoffrey and Mr. Maguire see Richard coming their way. Mr.\n Maguire yells at Richard like the old family friend he is.", "Richard docks the boat at the Paxton Seafood pier. Located in\n the town's harbor, the packing plant consists of three large", "GEOFFREY\n Yes. Mr. Gilbertson? My name is Geoffrey\n Paxton...\n Only the animal trophies that adorn Geoffrey's office hear the\n rest of the conversation.", "RICHARD\n Go where?\n\n DEBBIE\n It's a surprise. Girls are going into town.\n And the boys stay here. I told you, we've\n planned everything.", "(MOUTHING)\n Your mother.\n Richard jumps up and replaces cushions and hides signs of his\n makeshift bed. He finishes quickly, hops in the bed, and puts\n his arm around Margaret.", "Geoffrey, put that fire out and come in and\n help us with this wedding.\n Geoffrey turns off the boom box that was hidden in the trees and\n the drum beat stops.", "(to Margaret)\n I was really beginning to like you. Sorry\n about this.\n Geoffrey opens the door and goes inside.", "The ship docks and we get our first glimpse of the Paxton Estate.\n It sits above the rest of the wooded island and is as tasteful as", "out where he is. There are multiple framed pictures of the same\n model on the walls.\n Richard looks at the clock and gets up quickly when he sees it is", "born. We figured he deserved a home.", "There you go, buddy. Go on and play before\n she makes a coat out of you.\n Richard shuts the door and goes into the bathroom. Without", "MARGARET\n (Alaska???)\n Yes. Of course we're going to Alaska.\n That's where Richard is from.\n Gilbertson begins to walk around. He's getting worked up.", "again. Richard has Balzac cradled in his arms and scratches his\n neck. He gently puts him outside their room.\n RICHARD (cont'd)", "Richard looks defeated. Geoffrey sees how sad his son is, and\n takes a deep breath.", "MR. GILBERTSON\n Is that on Long Island?\n Only Richard has the answer. Margaret tries to cover.\n\n MARGARET\n Why don't you tell him?", "GERTRUDE\n I moved back about six months ago. I'm\n teaching second grade. At Baranof.\n\n RICHARD\n Did your husband move up here too?", "Geoffrey pulls out his cell phone and hits a button. He waits\n for an answer.\n GEOFFREY (cont'd)\n (to phone)" ], [ "We see the natural beauty of South Eastern Alaska. Sitka is an\n island the size of Maui. Only an eight mile stretch of coast is", "EXT. SITKA - DAY\n\n A procession of cars makes its way through town.\n\n INT. PICKUP - DAY", "The Pioneer bar is a classic Alaskan bar, decorated with pictures\n of every fishing vessel that has made Sitka its home.", "108.\n\n EXT. SITKA AIRPORT - DAY", "Debbie stops. Sitka Airport is very small, so they are already\n outside by all the cars parked in the loading zone.\n Debbie and Annie excitedly look at each other.", "EXT. AERIAL OF SITKA - DAY", "MARGARET\n Can we stop gutting fish? I need my phone.\n\n INT. SITKA GENERAL STORE - DAY", "The house is decked out in sheik Alaskan decor. Somehow, it\n makes bear heads and deer antlers look good. Everything is first\n class. Margaret is a little awe struck.", "Why are you from Alaska? Sweet Jesus,\n that's inconvenient. So here's what's going\n to happen. We'll play boyfriend and", "coastline have a calming effect on both of them. In Alaska, it\n doesn't take long to leave humanity behind.\n Eventually, the boat travels through a channel with steep", "(to Geoffrey)\n I want to get to know you all, and spend\n some real time up here in Alaska.\n (to Annie)", "EXT. SITKA AIRPORT RUNWAY - DAY", "MARGARET\n (Alaska???)\n Yes. Of course we're going to Alaska.\n That's where Richard is from.\n Gilbertson begins to walk around. He's getting worked up.", "York to Sitka. The banner is being held up by a group of 30\n PEOPLE with excited looks on their faces.", "to get this unruly passenger off the plane\n ASAP. Sitka's the closest airport, so if\n it's OK with you, I'm gonna have the captain", "CHUCK has an easy job. Jets fly into Sitka, but there are only\n about six flights a day. He is half awake as he radios\n Margaret's flight. Reggae music plays in the background.", "GERTRUDE\n I moved back about six months ago. I'm\n teaching second grade. At Baranof.\n\n RICHARD\n Did your husband move up here too?", "MARGARET\n I didn't know there were a lot of pirates in\n Alaska!\n\n INT. BARANOFF ELEMENTARY SCHOOL - OFFICE - DAY", "MARGARET\n I'm really not good with surprises.\n\n EXT. SITKA AIRPORT - DAY - CONTINUOUS", "87.\n As they jet up the coast away from civilization, the green trees,\n blue water and wildlife (bears, puffins, moose) that inhabit the" ] ]

[ "Who does Magaret Tate ask to marry her to avoid deportation?", "What U.S. immigration agent thinks Tate is commiting fraud?", "What does Margaret Tate agree to if Andrew Paxton marries her?", "What is Paxton's hometown?", "Who is Paxton's mother?", "Who is Paxton's ex-girldfriend?", "Why didn't Gertrude marry Paxton?", "What happened to Margaret's parents when she was 16 years old?", "What did Annie fake to cause Margaret and Andrew to make up?", "What job does Margaret hold?", "Why does she talk Andrew, her assistant, into marrying her?", "Why does Andrew and Margaret go to Sitka, Alaska? ", "Who is Mr. Gilbertson?", "Who is Ramone?", "Why did Gertrude turn down Andrew's proposal?", "When does Andrew save Margaret?", "Where does Margaret make her big confession?", "How does \"Gammy\" make Andrew realize he's in love with Margaret?", "Who does Gilbertson end up questioning at the end?", "What is Margaret's job title?", "Where is Margaret going to be deported to?", "Why is Margaret going to be deported?", "What does Margaret plan to do in order to not be deported?", "What is Andrew's work relationship to Margaret?", "Who is their immigration inspector?", "What is Andrew's punishment if he is convicted?", "Where is Andrew's home town?", "What state is Sitka in?" ]

[ [ "Andrew Paxton", "Andrew Paxton" ], [ "Mr. Gilbertson", "Mr. Gilbertson " ], [ "Publish Paxton's book and make him an editor", "to make him an editor and to publish his book" ], [ "Sitka, Alaska", "Sitka" ], [ "Grace", "Grace" ], [ "Gertrude", "Gertrude" ], [ "Gertrude didn't want to leave Sitka to go to New York with Paxton", "She didn't want to leave Sitka." ], [ "They died", "they died" ], [ "a heart attack", "A heart attack." ], [ "Executive editor in chief", "executive editor in chief" ], [ "She is about to be deported back to Canada", "to not be deported" ], [ "To meet Andrew's family", "to meet his family" ], [ "The US Immigration agent who believes that they are pretending in order for Margaret to stay in the US", "a US immigration agent" ], [ "The locally famous over the hill stripper", "a stripper" ], [ "She didn't want to go to New York", "She didn't want to leave Sitka for New York." ], [ "When they are on the boat, she goes overboard and can't swim.", "when she falls off the boat" ], [ "She admits everything to everyone at the Wedding ceremony", "at the wedding ceremony" ], [ "She fakes a heart attack.", "She fakes a heart attack." ], [ "Andrew, Margaret, Joe, Grace, Gammy and Ramone.", "Margaret, Andrew, Joe, Grace, Annie, and Ramone." ], [ "Executive Editor in Charge", "Executive Editor in Chief " ], [ "Canada", "Canada" ], [ "violated her work visa", "violation of her work visa" ], [ "marry an American", "Marry her assistant, Andrew." ], [ "he is her assistant", "Andrew is Margaret's assistant." ], [ "Mr. Gilbertson", "Mr. Gilbertson" ], [ "up to 5 year in prison and $250,000 fine", "He'll go to jail." ], [ "Sitka", "Sitka, Alaska" ], [ "Alaska", "Alaska" ] ]

[ [ "of a Duke of Omnium marrying the younger son of a country squire.\nNothing further was then said on the matter, and when the Duke went\nto town Lady Mary was left quite alone, with an understanding that if", "\"Yes;--my wife. And now I think you will see that nothing further can\nbe said about this matter.\"\n\n\"Duchess of Omnium!\"\n\n\"She will be Lady Silverbridge.\"", "The Duke of Omnium presents his compliments to Mrs. Finn.\n As the Duke thinks that no good could result either to", "man, and he--she would tell herself--now appeared to care as little\nfor her. And yet to be Duchess of Omnium! But was it not clear that", "daughter of the Duke of Omnium, to be the future Duchess, to escape\nfrom all the cares which her father's vices and follies had brought", "Then the Duke wrote a cheque for the money claimed and sent it with\na note, as follows:--\"The Duke of Omnium presents his compliments to", "who ought to see that no wrong was committed. She was not directly\nresponsible to the Duke of Omnium, but she was thoroughly permeated\nby a feeling that it was her duty to take care that there should", "Lady Mary had said. Why should the Duke of Omnium wish to meet her?\n\"Silverbridge will be here too,\" Mary had gone on to say. \"It is just", "\"It is altogether different;--altogether. Frank's wife will be simply\nhis wife. Mine, should I outlive my father, will be Duchess of\nOmnium.\"", "contained himself. \"She won't look at me because she has got it into\nher head that perhaps some day she may be Duchess of Omnium! That of\ncourse is out of the question.\"", "Duchess of Omnium.\" Then she kissed her friend and went away to her\nown room.", "personal dignity in the continued correspondence which this would\nproduce. \"The Duke of Omnium regrets to say, in answer to Mrs.\nFinn's letter, that he thinks no good can be attained by a prolonged", "The Duke of Omnium understands from Mrs. Finn's letter\n that Mrs. Finn, while she was the Duke's guest at", "of the leaders of the party. The old Duke of St. Bungay wrote the\nfollowing letter to the Duke of Omnium. The letter purported to be an", "the Duke of Omnium and his daughter. The Duke and Lady Mary had just\narrived, having passed through the mountains from the salt-mine\ndistrict, and were about to take up their residence in the hotel for", "affection with which the Duchess had regarded her. And yet if she\nwere to be silent how could she forgive herself? \"The Duke certainly\nought to know at once,\" said she, repeating her words merely that she", "should cease to think of being Duchess of Omnium. It was not fit that\nshe should think of it. She herself cared but little for the young", "accept him, but if so, she would do it simply in order that she might\nbecome Duchess of Omnium. She might, he thought, have accepted him", "and we have come to a conclusion. If the Duke of Omnium will tell us\nthat she would be safe as your wife,--safe from the contempt of those", "future Dukes of Omnium,--the ancestress, it was to be hoped, of all\nfuture Dukes of Omnium! By what she might be, by what she might have" ], [ "Glencora's; but with the death of my friend there was an end of all\nthat.\"", "had availed in the case of his own wife. Before he had ever seen her\nas Lady Glencora McCloskie she had been desirous of giving herself", "would be expedient. But she felt very strongly that it could not\nbe done. No doubt that Lady Glencora had been turned from her evil\ndestiny; but Lady Glencora had been younger than her daughter was", "beautiful. And he could remember how his uncle, the late Duke, who\nhad seldom taken much trouble in merely human affairs, had said a\nword or two--\"I have heard a whisper about you and Lady Glencora", "\"She ought to do as she is told,\" said the Duke, remembering how\nobedient his Glencora had been. \"Has he spoken to her?\"\n\n\"I think not.\"", "not prevailed. And in her case had not the opposition which had been\nmade to her wishes been most fortunate? That young person had become\nhis wife, his Glencora, his Duchess. Had she been allowed to have her", "as the rupture might have been, she would have reconciled herself at\nlast to her new life. So it had been with his Glencora, after a time.", "Midlothian had first hinted to him that Lady Glencora's property was\nvery large, and had then added that the young lady herself was very", "connexion between Lady Cantrip and Lord Popplecourt, everybody there\nwas more or less connected with everybody else. Nidderdale had been a\nfirst cousin of Lady Glencora, and he had married a daughter of Lady", "There had been one lady, a very dear ally, staying in the house with\nthem when the Duchess died. This was Mrs. Finn, the wife of Phineas", "well. He was told that Lady Mabel would be down to him directly. As\nhe looked about him he could see that already had been commenced that\nwork of division of spoil which is sure to follow the death of most", "over her the sort of power to which Lady Glencora had been subjected.\nIf he persevered,--and he still was sure, almost sure, that he would", "house. There was no Lady Grex alive, but there lived with the Earl\na certain elderly lady, reported to be in some distant way a cousin\nof the family, named Miss Cassewary, who, in the matter of looking", "her youth. It is not often, I fancy, that women die after that\nfashion. But a broken heart may bring the sufferer to the grave after", "\"And there she died,--in my arms. I will not try to harass you by\ntelling you what those few days were; how absolutely he was struck to", "Then they went to lunch, and Lady Mary did find herself to be happy\nwith her new acquaintance. Her life since her mother's death had", "Mrs. Montacute Jones, who lived in Grosvenor Place and had a country\nhouse in Gloucestershire, and a place for young men to shoot at in", "That same night, after Miss Cassewary had gone to bed, when the moon\nwas high in the heavens and the world around her was all asleep, Lady", "Lady Mabel spent the greater part of the afternoon alone,\nendeavouring to recall to her mind all that she had said to Frank", "dearest spot in the world.\" So she went on in almost high spirits,\nthough alluding to the general decadence of the Grex family, till\nTregear took his leave." ], [ "this objectionable lover had either contrived a meeting, or had met\nher without contriving, it was necessary that the Duke should be\ninformed. \"I would rather you wrote the letter,\" said Lady Mary. \"But", "in his study. \"I think you ought to be aware,\" she said to the Duke,\n\"that though I trust Mary implicitly and know her to be thoroughly", "the Duke, and that in answer I have received a very short one. That\nhas been the whole correspondence. Here is your father's letter to\nme.\" Then she brought out of her pocket a note, which Lady Mary", "of showing them to the Duke. \"Oh yes,\" said Mary, \"I think it would\nbe so much the best. Give papa my kindest love, and tell him from me", "\"So he is,\" said Mary. Whereupon the Duke kissed the two girls and\nwent his way,--showing that by this time he had adopted the one and\nthe proposed husband of the other into his heart.", "She did show the letters to the Duke, and in answer to a word or two\nfrom him explained that she could not take upon herself to debar her\nguest from the use of the post. \"But she will write nothing without\nletting you know it.\"", "\"Quite aware. I believe I may say that if other things go straight,\nshe will consent.\"\n\n\"And your father--the Duke?\"\n\n\"He knows nothing about it,--as yet.\"", "heard nothing of his son's courtship. And she was equally sure that\nthe matter had not reached Lady Mary's ears. She perceived that the\nDuke and her father would often converse together. Mr. Boncassen", "offence to the Duke. She was there with the object of ingratiating\nherself with the Duke. She must not impede her favour with the Duke\nby making herself the medium of any secret communications between", "affection with which the Duchess had regarded her. And yet if she\nwere to be silent how could she forgive herself? \"The Duke certainly\nought to know at once,\" said she, repeating her words merely that she", "our minds as to what had better be done. It is out of the question\nthat Lady Mary should be allowed to consider herself to be engaged,\nand that the father should be kept in ignorance of her position.\" She", "\"I knew that I loved her. What is a man to do when he feels like\nthat? Of course I meant to tell you.\" The Duke was now looking very\nblack. \"I thought you liked her, sir.\"", "\"Well, yes;--the Duke is very kind.\"\n\n\"Don't you think--?\"\n\n\"Eh!\"\n\n\"You have heard of her mother's fortune?\"", "\"I should be glad to see you marry early,\" said the Duke, speaking\nin a low voice, almost solemnly, but in his quietest, sweetest tone", "\"I am complying with Lady Mary's wishes in asking your permission to\nenter your house as her suitor.\" The Duke stood for a moment biting", "know whether you approve it,\" Lady Cantrip said to the Duke; \"but\nMary has become very intimate with our new American friend.\" At this\ntime Lady Cantrip had become very nervous,--so as almost to wish", "Mrs. Finn, Mary had made a request, and then the Duke had suggested\nthat the husband should be asked to accompany his wife.", "For two or three days after the first scene between the Duke and his\ndaughter,--that scene in which she was forbidden either to see or", "circumstanced, that if her happiness depended on marrying a poor\nman, want of money need not prevent it.\" The Duke suspecting nothing,\nbelieving this to be a not unnatural expression of maternal interest,", "\"Why not, Mary? Of course he has made it his business to ascertain\nall particulars as to Lord Popplecourt's character and property.\"\n\n\"Papa knows that I love somebody else.\"" ], [ "\"But I have!\" Lord Silverbridge as he made the announcement blushed\nup to the eyes.\n\nThen there came over the father something almost of fear. If he was\nto be told, how would it be if he could not approve?", "somewhat moved. And Silverbridge also was moved by it. Of course he\ncould not but remember that he had pledged himself to his father to", "continued the Duke. Silverbridge when he heard this at once knew that\nhe had gained his cause. His father had spoken of the marriage as a\nthing that was to happen. A joyous light dawned in his eyes, and the", "When Tregear left him, Silverbridge went to his father's room. He\nwas anxious that they should understand each other as to Mary's\nengagement.\n\n\"I thought you were at the House,\" said the Duke.", "of her lover. Silverbridge was so much annoyed by a feeling that this\ninterview was a treason to his father, that he sat cudgelling his", "disgust of the father and not altogether with the approbation of Miss\nCass. But Lady Mabel had declared that she would not be guilty of the\nfolly of changing old habits. Silverbridge, being Silverbridge to", "said the Duke, with a long sigh. Then Silverbridge took his father's\nhand, and looked up in his face. \"I most sincerely hope that she may", "be not, still I would wish you to bear in mind what is my idea as to\nyour duty.\" Silverbridge said that he would bear this in mind, and\nthen escaped from the room.", "him new life. All this Lord Silverbridge understood, but had said to\nhimself and to all his friends that it was a matter in which he did\nnot intend to be controlled.", "\"For what good? I have not spoken to father or mother because I have\nknown that it must depend upon your father. Lord Silverbridge, if", "And so it was settled, that on the day but one after this\nconversation Lord Silverbridge and Tregear should go together to\nSilverbridge. But the Major, when on the same night his noble", "her.\" Silverbridge looked up into his father's face with beseeching\nimploring eyes as though everything now depended on the next few\nwords that he might utter. \"I shall think it an unwise marriage,\"", "\"I was so sorry, Lord Silverbridge,\" said Sir Timothy, \"that you\ncould not accede to our little request.\"\n\n\"I did not quite see my way,\" said Silverbridge, with his eye upon\nIsabel.", "to pay Lord Silverbridge's electioneering expenses, feeling it to be\nhis duty as a father to do so much for his son.", "with Lord Silverbridge. But to do so he must make a clean breast\nwith his Lordship and confess the intended sin. As he heard all that\nwas being done, his conscience troubled him sorely. With pitch of", "\"Quite so, my Lord Duke. I hope you think that Silverbridge is\nlooking well?\"\n\n\"Yes;--yes. I think so.\"", "in the crowd of departing people on the terrace. \"Mind you keep\nyour word,\" she said. And then she turned to her father. \"Lord\nSilverbridge has promised to call.\"", "sister,\" Tregear had said; \"do you object?\" Lord Silverbridge was the\nweaker of the two, and much subject to the influence of his friend;", "Boncassen entered by another door, and the two men were alone\ntogether. \"My dear Lord Silverbridge,\" said the father, \"I want to\nhave a few words with you.\" Of course there was nothing for him but", "\"My father does not take it in bad part at all,\" said Silverbridge.\n\n\"Perhaps he's ratting himself,\" said the Earl. \"When a man lends\nhimself to a coalition he is as good as half gone.\"" ], [ "Silverbridge had thought very much of somebody. He was quite aware\nthat he had almost made an offer to Lady Mabel. She certainly had not", "\"What can it be?\"\n\n\"Your brother has asked me to be his wife.\"\n\n\"Silverbridge!\"\n\n\"Yes;--Lord Silverbridge. You are astonished.\"", "Thrice within the next three weeks did Lord Silverbridge go forth\nto ask Mabel to be his wife, but thrice in vain. On one occasion", "\"Lord Silverbridge!\"\n\n\"I do. I do. Can you say that you will love me in return?\"", "\"Lord Silverbridge! But we know that in certain employments all\nthings are fair.\" He looked at her not knowing what were the", "of 'em. I put it to Lord Silverbridge to say whether I'm that sort of\nfellow.\" Then he sat down.", "he was Lord Silverbridge to Lady Mabel. Lady Mabel had not as yet\nbecome Mabel to him, but, as by her very intimate friends she was", "had not been Lord Silverbridge, but had been some young man with whom\nit would not have been expedient that Lady Mabel should fall in love,\nmay perhaps be doubted. But then it may be taken as certain that", "\"Lord Silverbridge!\"\n\n\"I think you are--\"\n\n\"Stop, stop. Do not say it.\"", "sister,\" Tregear had said; \"do you object?\" Lord Silverbridge was the\nweaker of the two, and much subject to the influence of his friend;", "In truth Mabel had sent for Lord Silverbridge, and this had been her\nletter:\n\n\n DEAR LORD SILVERBRIDGE,", "disgust of the father and not altogether with the approbation of Miss\nCass. But Lady Mabel had declared that she would not be guilty of the\nfolly of changing old habits. Silverbridge, being Silverbridge to", "his friend Lord Silverbridge. Hitherto he had contented himself with\nthe brilliancy of the connection; but now his brilliant friend had\ntaken to snubbing him, and had on more than one occasion made himself", "\"I was so sorry, Lord Silverbridge,\" said Sir Timothy, \"that you\ncould not accede to our little request.\"\n\n\"I did not quite see my way,\" said Silverbridge, with his eye upon\nIsabel.", "\"You should answer my question, Lord Silverbridge. It is surely one\nwhich I have a right to ask.\" Then she stood waiting for his reply,", "Funds.\" Lord Silverbridge had declared him to be a fool. No one\nthought him to be bright. But in the eyes of the Duke,--and of Lady\nCantrip,--he had his good qualities.", "in London that he loved her? Had he not given her the ring which she\nwell knew he valued? Ah;--if she could but have been aware of all\nthat had passed between Silverbridge and the Duke, how different", "\"Now we've been round the haycocks, and really, Lord Silverbridge, I\ndon't think we have gained much by it. Those forced marches never do\nany good.\" And so they parted.", "\"Perhaps Silverbridge might admire her.\"\n\n\"I have no doubt he would,--or does, for I am aware that they have\nmet. But why should he not admire her?\"", "She sat down and took one of his hands within her own. Then, as he\ndid not begin at once, she asked a question. \"Will Silverbridge stand\nfor the county, papa?\"\n\n\"No, my dear.\"" ], [ "had not been Lord Silverbridge, but had been some young man with whom\nit would not have been expedient that Lady Mabel should fall in love,\nmay perhaps be doubted. But then it may be taken as certain that", "\"Perhaps Silverbridge might admire her.\"\n\n\"I have no doubt he would,--or does, for I am aware that they have\nmet. But why should he not admire her?\"", "\"Lord Silverbridge!\"\n\n\"I do. I do. Can you say that you will love me in return?\"", "\"Lord Silverbridge!\"\n\n\"I think you are--\"\n\n\"Stop, stop. Do not say it.\"", "\"Lord Silverbridge! But we know that in certain employments all\nthings are fair.\" He looked at her not knowing what were the", "\"What can it be?\"\n\n\"Your brother has asked me to be his wife.\"\n\n\"Silverbridge!\"\n\n\"Yes;--Lord Silverbridge. You are astonished.\"", "of her lover. Silverbridge was so much annoyed by a feeling that this\ninterview was a treason to his father, that he sat cudgelling his", "\"That remains to be seen, Lord Silverbridge. The rich man will at any\nrate have to fall in love with me first. If you know of any one you\nneed not tell him to be too sure because he has a good income.\"", "\"I dare say she would consent,--if it were all serene. Why should she\nnot? Do not try her too hard, Lord Silverbridge. You say you love\nher.\"\n\n\"I do, indeed.\"", "Silverbridge had thought very much of somebody. He was quite aware\nthat he had almost made an offer to Lady Mabel. She certainly had not", "Lord Silverbridge found himself close to Lady Mabel and Tregear, and\nalso to Miss Cassewary, who had now joined Lady Mabel. He had been", "he was Lord Silverbridge to Lady Mabel. Lady Mabel had not as yet\nbecome Mabel to him, but, as by her very intimate friends she was", "\"My belief is that he's almost as much in love with you as I am,\"\nsaid Silverbridge, as he took her to the door of the Duke's room.\n\"Here we are, sir.\"", "sister,\" Tregear had said; \"do you object?\" Lord Silverbridge was the\nweaker of the two, and much subject to the influence of his friend;", "him much. He had known Miss Boncassen a week or two before Lord\nSilverbridge had seen her, having by some chance dined out and sat\nnext to her. From that moment he had become changed, and had gone", "Silverbridge must enter in upon his share of the trouble. He did not\nknow that in saying all this he was offering his son as a husband\nto Lady Mabel, but she understood it as thoroughly as though he had", "Funds.\" Lord Silverbridge had declared him to be a fool. No one\nthought him to be bright. But in the eyes of the Duke,--and of Lady\nCantrip,--he had his good qualities.", "in love with Frank Tregear;--but Miss Cassewary knew that whatever\ndanger there might have been in that respect had passed away. Frank\nwas willing to talk to her, while Mabel and Lord Silverbridge were in", "attend upon Miss Boncassen, and the feeling of this privilege had\nbeen enhanced by the manner in which Lord Silverbridge had devoted\nhimself to her. Fashion of course makes fashion. Had not Lord", "\"It is hardly the same thing, Frank. Of course, there is not a girl\nin London to whom Lord Silverbridge would not be the best match that\nshe could make. He has the choice of us all.\"" ], [ "\"I will not be separated from her,\" said Silverbridge, who was\nbeginning to feel that he was subjugated to tyranny. If he chose to\nmarry Isabel, no one could have a right to hinder him.", "\"I am sure I don't know, Lord Silverbridge. Isabel is most used to\nhaving her own way, I guess. I think when hearts are joined almost", "\"Yes, sir,--on condition that you will approve.\"\n\n\"Did you go to her, Silverbridge, with such a stipulation as that?\"\n\n\"It was not like that.\"", "\"I dare say she would consent,--if it were all serene. Why should she\nnot? Do not try her too hard, Lord Silverbridge. You say you love\nher.\"\n\n\"I do, indeed.\"", "\"Lord Silverbridge!\"\n\n\"I do. I do. Can you say that you will love me in return?\"", "\"What can it be?\"\n\n\"Your brother has asked me to be his wife.\"\n\n\"Silverbridge!\"\n\n\"Yes;--Lord Silverbridge. You are astonished.\"", "\"I want to marry your daughter,\" said Silverbridge. Isabel had told\nhim that he was downright, and in such a matter he had hardly as", "around her,--you shall have her. And I shall rejoice to give her to\nyou,--not because you are Lord Silverbridge, not because of your rank\nand wealth; but because you are--that individual human being whom I", "\"Yes;--my wife. And now I think you will see that nothing further can\nbe said about this matter.\"\n\n\"Duchess of Omnium!\"\n\n\"She will be Lady Silverbridge.\"", "strongly suspected that something had been said between her father\nand her brother on the subject. But then she had Isabel Boncassen's\ndirect assurance that Silverbridge was engaged to her! Now when", "Silverbridge must enter in upon his share of the trouble. He did not\nknow that in saying all this he was offering his son as a husband\nto Lady Mabel, but she understood it as thoroughly as though he had", "its owner off. Silverbridge was on this occasion quite determined not\nto take himself off at all. As it was only a lunch the people must\ngo, and then he would be left with Isabel. But the vacillation of the", "\"You should answer my question, Lord Silverbridge. It is surely one\nwhich I have a right to ask.\" Then she stood waiting for his reply,", "\"For what good? I have not spoken to father or mother because I have\nknown that it must depend upon your father. Lord Silverbridge, if", "\"Lord Silverbridge! But we know that in certain employments all\nthings are fair.\" He looked at her not knowing what were the", "her.\" Silverbridge looked up into his father's face with beseeching\nimploring eyes as though everything now depended on the next few\nwords that he might utter. \"I shall think it an unwise marriage,\"", "After this they settled down for a few minutes to general\nconversation, and then Lord Silverbridge again took his leave. When\nhe was gone Isabel Boncassen almost regretted that the \"something", "\"I am quite sure she will,\" said Silverbridge, whose ideas as to\nIsabel's duties were confined at present to a feeling that she would\nnow have to give him kisses without stint.", "continued the Duke. Silverbridge when he heard this at once knew that\nhe had gained his cause. His father had spoken of the marriage as a\nthing that was to happen. A joyous light dawned in his eyes, and the", "\"He hardly ever spoke to her. I'll tell you what; I expect\nSilverbridge is going to marry her.\"\n\n\"Why shouldn't he?\"" ], [ "the Duke at once, but Gerald won't hear of it. I hope you\n won't think me wrong to tell you. If I could help him I", "At this time both his sons were living with the Duke in London. It\nhad been found impracticable to send Lord Gerald back to Cambridge.", "\"Oh, indeed,\" said the Duke in a solemn, dry, funereal tone. And then\nall the little life which Gerald's remark about the boat-race had", "\"And Gerald is a regular brick.\" The Duke bowed. \"Silverbridge used\nalways to be going off to Killancodlem, where there were a lot of", "must be explained somewhat at length. Lord Gerald Palliser, the\nDuke's second son, was at this time at Cambridge,--being almost as", "\"So you have come at last,\" he said to Gerald. That was the first\ngreeting,--to which the son responded by an awkward smile. But in the", "time. Lord Gerald, the younger son, was at once sent up to Trinity.\nFor the eldest son a seat was to be found in the House of Commons,", "far as I can see we all feel that we could not get along very well\nwithout him.\" Upon the whole the Duke was pleased with what he heard\nfrom his son. The young man's ideas about politics were boyish, but", "When the Duke arrived in London his sons were not there. Gerald had\ngone back to Oxford, and Silverbridge had merely left an address.", "But Lord Gerald, who had never as yet heard anything as to his future\ndestiny from his father, was interested by the statement. \"When I\nthink of all this,--of what constitutes happiness,--I am almost", "The Duke paused so long, collecting his own thoughts and thinking of\nhis own words, that Gerald found himself obliged to answer. \"Cheques,\nand sovereigns, and bank-notes,\" he replied with much hesitation.", "been intended. \"When the governor drank that glass of wine it seemed\nas though half the marriage ceremony had been performed,\" Gerald said\nto his brother that evening. When the Duke's glass was replaced on", "\"But indeed there is,--a most terrible misfortune.\" Then he told the\nwhole story. How Gerald had been kept in London, and how he had gone", "Gerald told his story, standing bolt upright, and looking his father\nfull in the face as he told it. \"You lost three thousand four hundred\npounds at one sitting to Lord Percival--at cards!\"", "\"The Duke, I think, does not much care about young people. I hardly\nknow what he used to do with himself. When I dined with them, I saw", "if he could prevent it, by Gerald. There should be no dealings with\nComfort and Criball. The Duke had succeeded, at any rate, in filling", "have had Gerald there in the Gallery sometimes. It is just as well he\nshould know what is being done.\"", "on such an occasion were bound to show themselves, as members of the\nfamily. With them and his two sons the Duke walked across to the\ngraveyard, and then walked back; but even to those who stayed the", "much triumph. It was going to be the greatest thing ever done by six\nguns in Scotland. As for Gerald, whom he had regarded as a boy, and", "exactitude. He ought to have received the two young men with open\narms because they were punctual; but he had been somewhat angered by\nwhat he considered the extreme youth of Lord Gerald. Boys who could" ], [ "For two or three days after the first scene between the Duke and his\ndaughter,--that scene in which she was forbidden either to see or", "\"Well, yes;--the Duke is very kind.\"\n\n\"Don't you think--?\"\n\n\"Eh!\"\n\n\"You have heard of her mother's fortune?\"", "She did show the letters to the Duke, and in answer to a word or two\nfrom him explained that she could not take upon herself to debar her\nguest from the use of the post. \"But she will write nothing without\nletting you know it.\"", "\"I knew that I loved her. What is a man to do when he feels like\nthat? Of course I meant to tell you.\" The Duke was now looking very\nblack. \"I thought you liked her, sir.\"", "to the Duke. He must take all that as it might come.", "\"There shall be an end to that, sir.\"\n\n\"God bless you, my boy!\" said the Duke.", "\"And let her know also that anything I can do to make her happy shall\nbe done. But, Duke, there is but one cure.\"\n\n\"Time, you mean.\"", "is true enough.\" This was not encouraging, but as the Duke went on\nreading, Mabel did not think it necessary to argue the matter. He had\nto read the last paragraph twice before he understood it. He did read", "\"What makes you fancy that?\" said the Duke, striving to conceal\nby his manner, but not altogether successful in concealing, the\ngratification which he certainly felt.", "The Duke, though he had already considered the matter very seriously,\nnevertheless took a few minutes to consider it again. \"The offer,\"\nsaid he, \"must be acknowledged as very flattering.\"\n\n\"But the circumstances are not usual.\"", "himself is so acceptable and well-behaved.\" That was her idea, and\nwith that she would have indoctrined the Duke had she been able. But", "\"Well he may,\" said the Duke sententiously. \"We have laid ourselves\nvery open to having fun poked at us in this matter.\"", "\"Surely we ought to listen to him,\" said the Duke. And for a short\ntime they did listen. \"Sir Timothy is not a man I like, you know,\"", "The Duke paused a moment before he answered. \"Yes I do;--and in what\nI said just now perhaps I wronged him. I have been under obligations", "would be unbearable. The Duke felt that, and though his ears were\ntingling and his brow knitted, he could have forgiven the language,\nif only he could have admitted the argument. He understood every word", "\"Hardly that. He may put impediments in the way; and the Duke will\ndo so. But if I am happy enough to have won the affections of his", "the Thursday had come. The Duke had been impatient but had restrained\nhimself. He had seen that they were much together and that they were\napparently friends. He too told himself that there were two more", "The Duke, who had again seated himself, and was leaning back in his\nchair, raised himself up, placed his hands on the table before him,", "chosen such a friend. The Duke was essentially a just man; and\nthough, at the very moment in which the request was made, his heart\nwas half crushed by his son's apostasy, he gave the permission asked.", "circumstanced, that if her happiness depended on marrying a poor\nman, want of money need not prevent it.\" The Duke suspecting nothing,\nbelieving this to be a not unnatural expression of maternal interest," ], [ "\"Plantagenet;--but we always call him Silverbridge.\"\n\n\"Plantagenet is very much prettier. I shall always call him\nPlantagenet. But I recall that. You will not remember that against\nme?\"", "CHAPTER II\n\nLady Mary Palliser", "I. When the Duchess Was Dead\n II. Lady Mary Palliser\n III. Francis Oliphant Tregear\n IV. Park Lane", "worlds,\" she said. \"It belongs to that Palliser girl. And as I have\ntaught myself to think that what there is left of me may perhaps", "his superior? The reader will understand. It had been settled by\nthe wisdom of the elders that it would be a good thing that Lord\nPopplecourt should marry Lady Mary Palliser.", "\"There's one Palliser would welcome you.\"\n\n\"Would you, dear? Then I will love you so dearly. May I call you\nMary?\"\n\n\"Of course you may.\"", "Duke. The house of Palliser, Gatherum Castle, the Duke of Omnium,\nand this special Duke himself, were all so great in the eyes of", "\"He, I should think, can be very imperious.\"\n\n\"And so can she. The Pallisers are all obstinate.\"\n\n\"Is Silverbridge obstinate?\" she asked.", "while he, Plantagenet Palliser, as he was then, had been quite as\ninsignificant in appearance as Lord Popplecourt.", "upright, looking forward on the table, and taking his dinner as it\ncame to him. He had been put there in order that Lady Mary Palliser\nmight talk to him, and he regarded interference on the part of", "\"A fine high-spirited girl. These Pallisers have more courage about\nthem than one expects from their outward manner. Silverbridge has\nplenty of it.\"\n\n\"I remember telling you he could be obstinate.\"", "daughter! Lady Mary Palliser!\" Again the young man bowed his head.\n\"What are your pretensions?\"", "Palliser. He was tolerably certain that, should he be able to\novercome the parental obstacles which he would no doubt find in his\npath, money would be forthcoming sufficient for the purposes of", "thought much about it, and had declared to himself that on no account\nwould he marry a woman for her money. Then he had encountered Lady\nMary Palliser. There had been no doubt, no resolution after that,", "all the world was nothing to him, except as far as the world was\nconcerned with Lady Mary Palliser. He had come back to England\nsomewhat before the ducal party, and the pleasures and occupations", "acknowledged that he had as yet flattered himself with no hopes in\nregard to Lady Mary Palliser. He, when he prepared himself for his\njourney down to Richmond, thought much more of the Duke than of the", "honour in the house of Palliser,--but that was a matter which must\nhenceforward be buried in silence. \"He did not say as much, but", "from him asking for her presence. Then she sat down and read two\nletters, one from Lady Cantrip, and the other from a Mrs. Jeffrey\nPalliser, each of which contained an invitation for his daughter,", "that he could not abdicate, but he was quite sure that no one could\nprevent him from going to America and calling himself Mr. Palliser.\nThat his father would forgive him and accept the daughter-in-law", "interrupted her. \"The Pallisers have always been Liberal. It will be\na blow to me, indeed, if Silverbridge deserts his colours. I know" ], [ "Queen's government had been carried on for two or three years. The\nDuke of Omnium had been the head of that Ministry; but during those\nyears had suffered so much as to have become utterly ashamed of the", "of the leaders of the party. The old Duke of St. Bungay wrote the\nfollowing letter to the Duke of Omnium. The letter purported to be an", "Then the Duke wrote a cheque for the money claimed and sent it with\na note, as follows:--\"The Duke of Omnium presents his compliments to", "been done because the man was Duke of Omnium. There are positions\nexalted beyond the reach of benevolence, because benevolence would", "of a Duke of Omnium marrying the younger son of a country squire.\nNothing further was then said on the matter, and when the Duke went\nto town Lady Mary was left quite alone, with an understanding that if", "man, and he--she would tell herself--now appeared to care as little\nfor her. And yet to be Duchess of Omnium! But was it not clear that", "\"The Duke of Omnium presents his compliments to Mr. Francis Tregear,\nand begs to acknowledge the receipt of Mr. Tregear's letter of ----.", "\"Yes;--my wife. And now I think you will see that nothing further can\nbe said about this matter.\"\n\n\"Duchess of Omnium!\"\n\n\"She will be Lady Silverbridge.\"", "the Duke of Omnium and his daughter. The Duke and Lady Mary had just\narrived, having passed through the mountains from the salt-mine\ndistrict, and were about to take up their residence in the hotel for", "The Duke of Omnium presents his compliments to Mrs. Finn.\n As the Duke thinks that no good could result either to", "daughter of the Duke of Omnium, to be the future Duchess, to escape\nfrom all the cares which her father's vices and follies had brought", "the Duke himself while he was a commoner, but they had returned him\nas being part and parcel of the Omnium appendages. That was all over", "who ought to see that no wrong was committed. She was not directly\nresponsible to the Duke of Omnium, but she was thoroughly permeated\nby a feeling that it was her duty to take care that there should", "\"Yes;--I know that. What good does that do? Father is not a Duke of\nOmnium. No one supposed that he would object.\"\n\n\"But he did,\" said Silverbridge.", "Duke of Omnium, and alive also to the flattering courtesy shown to\nhim by Lady Cantrip. But justice would not be done him unless it were", "now. As a constituency they were not endowed with advanced views, and\nthought that a Conservative would suit them best. That being so, and\nas they had been told that the Duke's son was a Conservative, they", "personal dignity in the continued correspondence which this would\nproduce. \"The Duke of Omnium regrets to say, in answer to Mrs.\nFinn's letter, that he thinks no good can be attained by a prolonged", "who was beautiful, well-born, rich, who was the daughter of the Duke\nof Omnium, and he had absolutely nothing of his own to offer.", "No one, probably, ever felt himself to be more alone in the world\nthan our old friend, the Duke of Omnium, when the Duchess died. When", "because he was heir to the Dukedom of Omnium. She herself was so\ninfinitely superior to all wealth, to all rank, to all sublunary" ], [ "\"Yes;--my wife. And now I think you will see that nothing further can\nbe said about this matter.\"\n\n\"Duchess of Omnium!\"\n\n\"She will be Lady Silverbridge.\"", "The Duke of Omnium presents his compliments to Mrs. Finn.\n As the Duke thinks that no good could result either to", "\"It is altogether different;--altogether. Frank's wife will be simply\nhis wife. Mine, should I outlive my father, will be Duchess of\nOmnium.\"", "of a Duke of Omnium marrying the younger son of a country squire.\nNothing further was then said on the matter, and when the Duke went\nto town Lady Mary was left quite alone, with an understanding that if", "Duchess of Omnium.\" Then she kissed her friend and went away to her\nown room.", "daughter of the Duke of Omnium, to be the future Duchess, to escape\nfrom all the cares which her father's vices and follies had brought", "future Dukes of Omnium,--the ancestress, it was to be hoped, of all\nfuture Dukes of Omnium! By what she might be, by what she might have", "Lady Mary had said. Why should the Duke of Omnium wish to meet her?\n\"Silverbridge will be here too,\" Mary had gone on to say. \"It is just", "Duke of Omnium, and alive also to the flattering courtesy shown to\nhim by Lady Cantrip. But justice would not be done him unless it were", "Then the Duke wrote a cheque for the money claimed and sent it with\na note, as follows:--\"The Duke of Omnium presents his compliments to", "The Duke of Omnium understands from Mrs. Finn's letter\n that Mrs. Finn, while she was the Duke's guest at", "who was beautiful, well-born, rich, who was the daughter of the Duke\nof Omnium, and he had absolutely nothing of his own to offer.", "man, and he--she would tell herself--now appeared to care as little\nfor her. And yet to be Duchess of Omnium! But was it not clear that", "the Duke of Omnium and his daughter. The Duke and Lady Mary had just\narrived, having passed through the mountains from the salt-mine\ndistrict, and were about to take up their residence in the hotel for", "and we have come to a conclusion. If the Duke of Omnium will tell us\nthat she would be safe as your wife,--safe from the contempt of those", "Duchess of Omnium was not to be found everywhere. But this girl,\nhe thought as he saw her walking briskly and strongly through the\nsnow, with every mark of health about her, with every sign of high", "heir of the Duke of Omnium has done me the inexpressible honour of\nasking me--to marry him.\"", "personal dignity in the continued correspondence which this would\nproduce. \"The Duke of Omnium regrets to say, in answer to Mrs.\nFinn's letter, that he thinks no good can be attained by a prolonged", "should cease to think of being Duchess of Omnium. It was not fit that\nshe should think of it. She herself cared but little for the young", "contained himself. \"She won't look at me because she has got it into\nher head that perhaps some day she may be Duchess of Omnium! That of\ncourse is out of the question.\"" ], [ "\"She ought to do as she is told,\" said the Duke, remembering how\nobedient his Glencora had been. \"Has he spoken to her?\"\n\n\"I think not.\"", "connexion between Lady Cantrip and Lord Popplecourt, everybody there\nwas more or less connected with everybody else. Nidderdale had been a\nfirst cousin of Lady Glencora, and he had married a daughter of Lady", "had availed in the case of his own wife. Before he had ever seen her\nas Lady Glencora McCloskie she had been desirous of giving herself", "beautiful. And he could remember how his uncle, the late Duke, who\nhad seldom taken much trouble in merely human affairs, had said a\nword or two--\"I have heard a whisper about you and Lady Glencora", "her story to her mother's old friend. Lady Mary no doubt had had her\nconfidences with her mother,--confidences from which it had been\nintended by both that the father should be excluded; and now she", "Midlothian had first hinted to him that Lady Glencora's property was\nvery large, and had then added that the young lady herself was very", "Very quickly there came to be close intimacy between Mrs. Finn\nand Lady Mary. For a day or two the elder woman, though the place\nshe filled was one of absolute confidence, rather resisted than", "would be expedient. But she felt very strongly that it could not\nbe done. No doubt that Lady Glencora had been turned from her evil\ndestiny; but Lady Glencora had been younger than her daughter was", "Glencora's; but with the death of my friend there was an end of all\nthat.\"", "This woman was regarded by Lady Mary as her mother's dearest friend.\nIt was therefore incumbent on him now to induce her to believe in him\nas the Duchess had believed.", "not prevailed. And in her case had not the opposition which had been\nmade to her wishes been most fortunate? That young person had become\nhis wife, his Glencora, his Duchess. Had she been allowed to have her", "\"I wanted her to go to Lady Cantrip who had invited her, but she\nwould not. In that way we were thrown together in the closest\nintercourse, for two or three weeks. Then she told me the story of\nyour engagement.\"", "Then gradually there came confidences,--and at last absolute\nconfidence. The whole story about Mr. Tregear was told. Yes; she\nloved Mr. Tregear. She had given him her heart, and had told him so.", "Lady Cantrip she never said a word. But Lady Cantrip was always a\nduenna to her, whereas Mrs. Finn was a friend. While the Duke and\nPhineas were discussing politics together--thoroughly enjoying the", "in her early life. But her husband to her had always been an outside\npower which had in many cases to be evaded. Lady Mary, though she did\nnot express all this, evidently thought that in this new friend she", "There had been one lady, a very dear ally, staying in the house with\nthem when the Duchess died. This was Mrs. Finn, the wife of Phineas", "\"Then the maiden should--in any class of life--be allowed to take the\nman--that just suits her eye?\" As he said this his mind was intent on\nhis Glencora and on Burgo Fitzgerald.", "In all this she half-confided her thoughts and her prospects to her\nold friend, Miss Cassewary. \"That girl has gone at last,\" she said to\nMiss Cass.", "\"Not at all! No one less so!\" As she said this she could not hinder\nthe colour from coming into her face. \"I was her friend,--Lady", "\"Not particularly. It seems to me now that everybody knows\neverything. There are no longer any secrets.\"\n\n\"But she is a special friend.\"\n\n\"Of yours,\" said Silverbridge." ], [ "\"She ought to do as she is told,\" said the Duke, remembering how\nobedient his Glencora had been. \"Has he spoken to her?\"\n\n\"I think not.\"", "beautiful. And he could remember how his uncle, the late Duke, who\nhad seldom taken much trouble in merely human affairs, had said a\nword or two--\"I have heard a whisper about you and Lady Glencora", "connexion between Lady Cantrip and Lord Popplecourt, everybody there\nwas more or less connected with everybody else. Nidderdale had been a\nfirst cousin of Lady Glencora, and he had married a daughter of Lady", "\"Then the maiden should--in any class of life--be allowed to take the\nman--that just suits her eye?\" As he said this his mind was intent on\nhis Glencora and on Burgo Fitzgerald.", "had availed in the case of his own wife. Before he had ever seen her\nas Lady Glencora McCloskie she had been desirous of giving herself", "not prevailed. And in her case had not the opposition which had been\nmade to her wishes been most fortunate? That young person had become\nhis wife, his Glencora, his Duchess. Had she been allowed to have her", "would be expedient. But she felt very strongly that it could not\nbe done. No doubt that Lady Glencora had been turned from her evil\ndestiny; but Lady Glencora had been younger than her daughter was", "\"Lady Mabel Grex. She is daughter of Lord Grex. That man with her\nis my particular friend. His name is Frank Tregear, and they are\ncousins.\"\n\n\"I am so glad they are cousins.\"", "\"Yes;--my wife. And now I think you will see that nothing further can\nbe said about this matter.\"\n\n\"Duchess of Omnium!\"\n\n\"She will be Lady Silverbridge.\"", "his superior? The reader will understand. It had been settled by\nthe wisdom of the elders that it would be a good thing that Lord\nPopplecourt should marry Lady Mary Palliser.", "allowed to talk together, and very right indeed that such a young\ngentleman as Lord Silverbridge should be allowed to talk to such a\nyoung lady as Lady Mabel. What could be so nice as a marriage between", "from him asking for her presence. Then she sat down and read two\nletters, one from Lady Cantrip, and the other from a Mrs. Jeffrey\nPalliser, each of which contained an invitation for his daughter,", "\"And especially so with Lady Mary?\" This she said in her sweetest\npossible tone, and with a most gracious smile.\n\n\"Especially so with Lady Mary,\" he replied.", "Midlothian had first hinted to him that Lady Glencora's property was\nvery large, and had then added that the young lady herself was very", "see her.\" But he had not meant to tell her this. The request had been\nmade at Lady Mabel's instance. When his sister had spoken of her\nfather's possible objection, then he had become eager in explaining", "Poor Mrs. Boncassen had not perhaps a happy time with her august\nguests on that morning; but when she retired to give Isabel her last\nkiss in privacy she did feel proud to think that her daughter would\nsome day be an English Duchess.", "Lady Mabel had fluttered about him on his first coming, and had been\nvery gracious, doing the part of an old friend. \"There is to be a big\nshooting to-morrow,\" she said, in the presence of Mrs. Jones.", "the daughter had hinted it to her husband. Lord Cantrip of course was\nnot in the dark. Lady Mabel had expressed a hint on the matter to\nMiss Cass, who had not repudiated it. Even Silverbridge had suggested", "as the rupture might have been, she would have reconciled herself at\nlast to her new life. So it had been with his Glencora, after a time.", "Lord Popplecourt endeavoured to make himself pleasant to one of the\nFitzHoward young ladies, and on the next morning he took his leave of\nCustins." ], [ "personal dignity in the continued correspondence which this would\nproduce. \"The Duke of Omnium regrets to say, in answer to Mrs.\nFinn's letter, that he thinks no good can be attained by a prolonged", "\"Yes;--my wife. And now I think you will see that nothing further can\nbe said about this matter.\"\n\n\"Duchess of Omnium!\"\n\n\"She will be Lady Silverbridge.\"", "Mrs. Finn presents her compliments to the Duke of Omnium.\n Mrs. Finn finds it to be essential to her that she should", "The Duke of Omnium presents his compliments to Mrs. Finn.\n As the Duke thinks that no good could result either to", "\"Mrs. Finn is aware of it,\" answered Tregear.\n\n\"Mrs. Finn!\" exclaimed the Duke, as though he had been stung by an\nadder.", "Then Tregear wrote a most chilling note to Mrs. Finn, informing her\nwith great precision, that, as the Duke of Omnium intended to be in", "her, and she had told the Duke that, according to her thinking, Mrs.\nFinn had behaved well! When the Duke, with an energy which was by no", "The Duke of Omnium understands from Mrs. Finn's letter\n that Mrs. Finn, while she was the Duke's guest at", "\"Then, my dear, your father ought to know it,\" said Mrs. Finn.\n\n\"No; not yet. Mamma knew it.\"\n\n\"Did she know all that you have told me?\"", "All this Mrs. Finn repeated to the Duke as closely as she could, and\nthen of course the father was obliged to speak to his daughter.\n\n\"Don't send me away, papa,\" she said at once.", "But he gave her a promise that he would see the Duke before a week\nwas over. Nevertheless he left the house in dudgeon, having told Mrs.\nFinn more than once that she was taking advantage of Lady Mary's", "\"Yes;--I know that. What good does that do? Father is not a Duke of\nOmnium. No one supposed that he would object.\"\n\n\"But he did,\" said Silverbridge.", "\"She ought to do as she is told,\" said the Duke, remembering how\nobedient his Glencora had been. \"Has he spoken to her?\"\n\n\"I think not.\"", "Lady Mary had said. Why should the Duke of Omnium wish to meet her?\n\"Silverbridge will be here too,\" Mary had gone on to say. \"It is just", "man, and he--she would tell herself--now appeared to care as little\nfor her. And yet to be Duchess of Omnium! But was it not clear that", "Lady Mary and Mrs. Finn were alone when the tidings came from\nSilverbridge. The Duke had been absent, having gone to spend an", "\"And now, Mrs. Finn, what is to come next?\"\n\n\"Ah!\"\n\n\"Something must be done! You know of course that the Duke did not\nreceive me with any great favour.\"", "which was now in the occupation of a lady with whom she was not on\ninviting terms, in order that she might thus force herself on the\nDuke's daughter? Mrs. Finn had not left her carriage, but had sent in", "should be told to him, the Duke, in the proper way. \"I think she\ndid,\" said Lady Cantrip, \"what I myself should have done in similar\ncircumstances.\"", "to Lady Mary. This letter reached Matching on Tuesday and made the\nposition of Mrs. Finn very disagreeable. She was bound to carry\nherself as though nothing was amiss, knowing, as she did so, the" ], [ "Silverbridge must enter in upon his share of the trouble. He did not\nknow that in saying all this he was offering his son as a husband\nto Lady Mabel, but she understood it as thoroughly as though he had", "\"Quite so, my Lord Duke. I hope you think that Silverbridge is\nlooking well?\"\n\n\"Yes;--yes. I think so.\"", "attend upon Miss Boncassen, and the feeling of this privilege had\nbeen enhanced by the manner in which Lord Silverbridge had devoted\nhimself to her. Fashion of course makes fashion. Had not Lord", "\"I was so sorry, Lord Silverbridge,\" said Sir Timothy, \"that you\ncould not accede to our little request.\"\n\n\"I did not quite see my way,\" said Silverbridge, with his eye upon\nIsabel.", "\"Poor fellow! I wish he had a little money; he is so nice. And now,\nLord Silverbridge, do you mean to say that there is not something in\nthe wind about Lady Mary?\"", "Lord Silverbridge found his sister alone. \"I particularly want you,\"\nsaid he, \"to come and call on Mabel Grex. She wishes to know you, and\nI am sure you would like her.\"", "sister,\" Tregear had said; \"do you object?\" Lord Silverbridge was the\nweaker of the two, and much subject to the influence of his friend;", "concerned, as proper recreations for a man of wealth. Silverbridge\nshould have it all, if he could arrange it. The one thing necessary\nwas a fitting wife;--and the fitting wife had been absolutely chosen", "\"Lord Silverbridge! But we know that in certain employments all\nthings are fair.\" He looked at her not knowing what were the", "Lord Silverbridge sat in the House--or, to speak more accurately, in\nthe smoking-room of the House--for about an hour thinking over all", "of 'em. I put it to Lord Silverbridge to say whether I'm that sort of\nfellow.\" Then he sat down.", "\"His Lordship is quite aware how much he owes to Mr. Du Boung,\" said\nTregear. Whereupon Lord Silverbridge bowed.\n\n\"And now what are we to do?\" said Lord Silverbridge.", "In truth Mabel had sent for Lord Silverbridge, and this had been her\nletter:\n\n\n DEAR LORD SILVERBRIDGE,", "are quite delighted with Silverbridge for a member. And he is quite\njocose. 'They used to be delighted with me once,' he says, 'but I\nsuppose everybody changes.'\" Then she began to pour out the tea", "with Lord Silverbridge. But to do so he must make a clean breast\nwith his Lordship and confess the intended sin. As he heard all that\nwas being done, his conscience troubled him sorely. With pitch of", "for his future respectability and dignity, that his fears were so\nkeen, and not for his own money. By one so excitable, so fond of\npleasure as Lord Silverbridge, some ravaging would probably be made.", "When the time came in which he could employ himself he called\nfor Silverbridge, and they walked together across the park to\nWestminster. Silverbridge was gay and full of eagerness as to the", "by letter as to Mr. Tregear, of whom she had only known that he\nwas the younger son of a Cornish gentleman, who had become Lord\nSilverbridge's friend at Oxford. In this there had certainly been but", "\"My Lord,\" said Miss Cassewary--she always called him \"My\nLord\"--\"Lord Silverbridge is going to stand for the Duke's borough in\nthe Conservative interest.\"", "Lord Silverbridge to join the party. Mabel Grex was to be at\nKillancodlem, and, determined as he still was to ask her to be his" ], [ "\"What can it be?\"\n\n\"Your brother has asked me to be his wife.\"\n\n\"Silverbridge!\"\n\n\"Yes;--Lord Silverbridge. You are astonished.\"", "Thrice within the next three weeks did Lord Silverbridge go forth\nto ask Mabel to be his wife, but thrice in vain. On one occasion", "\"I was so sorry, Lord Silverbridge,\" said Sir Timothy, \"that you\ncould not accede to our little request.\"\n\n\"I did not quite see my way,\" said Silverbridge, with his eye upon\nIsabel.", "\"Lord Silverbridge!\"\n\n\"I think you are--\"\n\n\"Stop, stop. Do not say it.\"", "\"Lord Silverbridge!\"\n\n\"I do. I do. Can you say that you will love me in return?\"", "\"You should answer my question, Lord Silverbridge. It is surely one\nwhich I have a right to ask.\" Then she stood waiting for his reply,", "Silverbridge had thought very much of somebody. He was quite aware\nthat he had almost made an offer to Lady Mabel. She certainly had not", "disgust of the father and not altogether with the approbation of Miss\nCass. But Lady Mabel had declared that she would not be guilty of the\nfolly of changing old habits. Silverbridge, being Silverbridge to", "her.\" Silverbridge looked up into his father's face with beseeching\nimploring eyes as though everything now depended on the next few\nwords that he might utter. \"I shall think it an unwise marriage,\"", "\"I dare say she would consent,--if it were all serene. Why should she\nnot? Do not try her too hard, Lord Silverbridge. You say you love\nher.\"\n\n\"I do, indeed.\"", "She sat down and took one of his hands within her own. Then, as he\ndid not begin at once, she asked a question. \"Will Silverbridge stand\nfor the county, papa?\"\n\n\"No, my dear.\"", "sister,\" Tregear had said; \"do you object?\" Lord Silverbridge was the\nweaker of the two, and much subject to the influence of his friend;", "\"Lord Silverbridge! But we know that in certain employments all\nthings are fair.\" He looked at her not knowing what were the", "of 'em. I put it to Lord Silverbridge to say whether I'm that sort of\nfellow.\" Then he sat down.", "ladies. \"We won't have either Mr. L. or Lord P.\" Not a word was said\nabout Lord Silverbridge. There was not even an initial to indicate\nhis name.", "\"I will not be separated from her,\" said Silverbridge, who was\nbeginning to feel that he was subjugated to tyranny. If he chose to\nmarry Isabel, no one could have a right to hinder him.", "continued the Duke. Silverbridge when he heard this at once knew that\nhe had gained his cause. His father had spoken of the marriage as a\nthing that was to happen. A joyous light dawned in his eyes, and the", "\"I think nothing of the sort.\"\n\n\"Yes, Silverbridge, you do. You have said to yourself this;--That\ngirl has determined to get me, and she has not scrupled as to how she\nwould do it.\"", "\"Now we've been round the haycocks, and really, Lord Silverbridge, I\ndon't think we have gained much by it. Those forced marches never do\nany good.\" And so they parted.", "Lord.\" Silverbridge would not shake hands with him, but could not\nrefrain from offering him a chair." ], [ "When the American had come to an end, Silverbridge was too much moved\nto make any immediate answer. He had an idea in his own mind that", "\"Perhaps Silverbridge might admire her.\"\n\n\"I have no doubt he would,--or does, for I am aware that they have\nmet. But why should he not admire her?\"", "\"Lord Silverbridge!\"\n\n\"I think you are--\"\n\n\"Stop, stop. Do not say it.\"", "had not been Lord Silverbridge, but had been some young man with whom\nit would not have been expedient that Lady Mabel should fall in love,\nmay perhaps be doubted. But then it may be taken as certain that", "him much. He had known Miss Boncassen a week or two before Lord\nSilverbridge had seen her, having by some chance dined out and sat\nnext to her. From that moment he had become changed, and had gone", "\"It is hardly the same thing, Frank. Of course, there is not a girl\nin London to whom Lord Silverbridge would not be the best match that\nshe could make. He has the choice of us all.\"", "\"That remains to be seen, Lord Silverbridge. The rich man will at any\nrate have to fall in love with me first. If you know of any one you\nneed not tell him to be too sure because he has a good income.\"", "\"Lord Silverbridge! But we know that in certain employments all\nthings are fair.\" He looked at her not knowing what were the", "he was Lord Silverbridge to Lady Mabel. Lady Mabel had not as yet\nbecome Mabel to him, but, as by her very intimate friends she was", "attend upon Miss Boncassen, and the feeling of this privilege had\nbeen enhanced by the manner in which Lord Silverbridge had devoted\nhimself to her. Fashion of course makes fashion. Had not Lord", "\"Lord Silverbridge!\"\n\n\"I do. I do. Can you say that you will love me in return?\"", "Funds.\" Lord Silverbridge had declared him to be a fool. No one\nthought him to be bright. But in the eyes of the Duke,--and of Lady\nCantrip,--he had his good qualities.", "\"What can it be?\"\n\n\"Your brother has asked me to be his wife.\"\n\n\"Silverbridge!\"\n\n\"Yes;--Lord Silverbridge. You are astonished.\"", "her English husband to her American friends, and the American friends\nhad no doubt taken a pride in seeing so glorious a British husband\nin the hands of an American wife. Everything was new to Silverbridge,", "concerned, as proper recreations for a man of wealth. Silverbridge\nshould have it all, if he could arrange it. The one thing necessary\nwas a fitting wife;--and the fitting wife had been absolutely chosen", "Miss Boncassen which made it impossible to forget her. But Miss\nBoncassen was an American, and on many accounts out of the question.\nIt did not occur to him that he would fall in love with Miss", "\"I dare say she would consent,--if it were all serene. Why should she\nnot? Do not try her too hard, Lord Silverbridge. You say you love\nher.\"\n\n\"I do, indeed.\"", "her as blackberries. Young Lord Silverbridge, of whom she was told\nthat of all the young lords of the day he stood first in rank and\nwealth, was peculiarly her friend. Her brain was firmer than that of", "sister,\" Tregear had said; \"do you object?\" Lord Silverbridge was the\nweaker of the two, and much subject to the influence of his friend;", "Silverbridge were not devoted to the American beauty! What if it\nshould turn out that he was going to marry Lady Mabel Grex! \"I" ], [ "spent more money than he ought to have done, and now at this very\nmoment must ask for a large sum. And he had brought Gerald up to see\nthe Derby, thereby causing him to be sent away from Cambridge! And", "Lord Gerald raged against the restriction very loudly. He at first\nproclaimed his intention of ignoring the college authorities\naltogether. Of course he would be expelled. But the order itself", "must be explained somewhat at length. Lord Gerald Palliser, the\nDuke's second son, was at this time at Cambridge,--being almost as", "from Oxford, and he counselled moderation. Gerald should see the\nDerby, but should not encounter that heaviest wrath of all which\ncomes from a man's not sleeping beneath his college roof. There was", "\"Well; of course what I did at Oxford made him unhappy; and now there\nis this affair of Gerald's.\"\n\n\"He did not allude to your sister?\"", "\"But indeed there is,--a most terrible misfortune.\" Then he told the\nwhole story. How Gerald had been kept in London, and how he had gone", "been expelled from Cambridge, and Silverbridge was on the turf in\nconjunction with Major Tifto! Something, too, had oozed out into\ngeneral ears about Lady Mary,--something which should have been", "Gerald had come up from Oxford for the occasion that he might make\nacquaintance with the Boncassens. He had taken Isabel in to dinner,", "Gerald he would talk about Oxford, avoiding all allusions to past\nCambridge misfortunes; but in the presence of Silverbridge, whose\nOxford career had been so peculiarly unfortunate, he would make no", "Gerald told his story, standing bolt upright, and looking his father\nfull in the face as he told it. \"You lost three thousand four hundred\npounds at one sitting to Lord Percival--at cards!\"", "the college authorities that his name had better be taken off the\ncollege books,--all which had been cause of very great sorrow to\nthe Duke. The other boy was to go to Cambridge; but his father had", "The doors of Trinity were closed against him. But some interest had\nbeen made in his favour, and he was to be transferred to Oxford. All\nthe truth had been told, and there had been a feeling that the lad", "At this time both his sons were living with the Duke in London. It\nhad been found impracticable to send Lord Gerald back to Cambridge.", "misfortune at Oxford; but to Gerald himself he said almost nothing.\nNow he has forgiven me because he thinks I am constant at the House.\"", "time. Lord Gerald, the younger son, was at once sent up to Trinity.\nFor the eldest son a seat was to be found in the House of Commons,", "son was at Oxford, admonitions in Latin would serve him better than\nin his native tongue. But Gerald, when he heard the grand hexameter\nrolled out in his father's grandest tone, entertained a comfortable", "expelled. His face fell, and he stood before his father almost like a\nculprit. \"We might as well have it out about this racing,\" continued\nthe Duke. \"Something has to be said about it. You have lost an", "the griefs which weighed upon the Duke's mind, that in reference to\nhis sister was the heaviest. The money which Gerald owed at Cambridge", "Cambridge undergraduate should go to the Derby as that a Member\nof Parliament should do so. Against this three or four rigid\ndisciplinarians had raised their voices,--and as a result, no young", "It was supposed that Lord Gerald passed his mornings in reading, and\nsome little attempts were made in that direction. It is to be feared\nthey did not come to much. Silverbridge was very kind to Gerald," ], [ "CHAPTER I\n\nWhen the Duchess Was Dead", "\"The Duke, I think, does not much care about young people. I hardly\nknow what he used to do with himself. When I dined with them, I saw", "far as I can see we all feel that we could not get along very well\nwithout him.\" Upon the whole the Duke was pleased with what he heard\nfrom his son. The young man's ideas about politics were boyish, but", "He paused for a moment, while the Duke stood with his back to the\nfire looking at him. \"I'm afraid that it is all over, sir,\" he said.\n\n\"All over!\"", "For two or three days after the first scene between the Duke and his\ndaughter,--that scene in which she was forbidden either to see or", "\"There shall be an end to that, sir.\"\n\n\"God bless you, my boy!\" said the Duke.", "That his father should forgive so readily and yet himself suffer so\ndeeply, affected the son's feelings so strongly that for a time he\ncould hardly repress his sobs. \"And now there shall not be a word\nmore said about it,\" said the Duke suddenly.", "The Duke was of course very wretched when these tidings first reached\nhim. Though he was a rich man, and of all men the least careful of", "Then the Duke, who had been sitting, got up from his chair and with\nhis back to the fire made a final little speech. \"We decided just", "CHAPTER XXII\n\nThe Duke in His Study", "He, when he had left her, was angry with his own weakness. He had not\nonly promised that he would make his application to the Duke, but", "grief for the loss of his wife had been in some degree appeased, but\nhe could not speak the words. The Duke, however, perfectly understood\nhim. \"In the meantime, they were not seeing each other.\"", "with his father, and I think it would break the Duke's heart to\nquarrel with his son.\" Tifto endeavoured to argue the matter out; but", "\"Oh, indeed,\" said the Duke in a solemn, dry, funereal tone. And then\nall the little life which Gerald's remark about the boat-race had", "The first person whom he saw was the Duke himself, who, as the fly\nfrom the station arrived, was returning from his walk. \"You are", "The Duke, who had again seated himself, and was leaning back in his\nchair, raised himself up, placed his hands on the table before him,", "\"I do not believe a word of it,\" said the Duke, becoming extremely\nred in the face. He was forced to do now that which he had just", "The Duke was almost beside himself with emotion and grief. He did\nknow,--though now at this moment he was most loath to own to himself", "yours. Tell the Duke what I say;--tell him with what language a son\nmay use to his father. And remember that all you ask for yourself you\nwill ask doubly for me.\"", "\"Duke!\"\n\n\"My child has at any rate been fortunate in securing the friendship\nof such a friend.\" Then he turned back to the fireplace, and she was\nconstrained to leave the room without another word." ], [ "Queen's government had been carried on for two or three years. The\nDuke of Omnium had been the head of that Ministry; but during those\nyears had suffered so much as to have become utterly ashamed of the", "would not, as the Duke thought, be contrary to the spirit of the\nconstitution. But all this was now at an end. He told himself that he", "of his subjects. To the Duke's thinking the maintenance of the\naristocracy of the country was second only in importance to the\nmaintenance of the Crown. How should the aristocracy be maintained if", "CHAPTER LXXVIII\n\nThe Duke Returns to Office", "He paused for a moment, while the Duke stood with his back to the\nfire looking at him. \"I'm afraid that it is all over, sir,\" he said.\n\n\"All over!\"", "far as I can see we all feel that we could not get along very well\nwithout him.\" Upon the whole the Duke was pleased with what he heard\nfrom his son. The young man's ideas about politics were boyish, but", "\"Oh, Duke, that goes for very little anywhere. No one can depute\nauthority. It comes too much from personal accidents, and too little", "Then the Duke, who had been sitting, got up from his chair and with\nhis back to the fire made a final little speech. \"We decided just", "For two or three days after the first scene between the Duke and his\ndaughter,--that scene in which she was forbidden either to see or", "CHAPTER XXII\n\nThe Duke in His Study", "everybody is. Our Duke, though he had not given his mind much to the\npursuit, had nevertheless learned his lesson. It is a knowledge which\nthe possession of the blue blood itself produces. There are countries", "CHAPTER L\n\nThe Duke's Arguments", "That was one of the three attacks which were made upon the Duke\nbefore he went up to his parliamentary duties.", "\"I say so now, and they shall be as though they had been never\nspoken. So you bearded the Duke in his den, and asked him for Lady", "The Duke, who had again seated himself, and was leaning back in his\nchair, raised himself up, placed his hands on the table before him,", "to the Duke. And the matter was not improved when he was made to\nunderstand that all this was to be done for the sake of hunting.\nThere had been the shooting in Scotland; then the racing,--ah, alas!", "\"He has been speaking to me--\" When the Duke had got so far as this\nhe paused, finding himself to be hardly able to declare the disgrace", "been done because the man was Duke of Omnium. There are positions\nexalted beyond the reach of benevolence, because benevolence would", "\"I didn't know the Duke had a borough,\" said the Earl.\n\n\"He had one till he thought it proper to give it up,\" said the son,\ntaking his father's part.", "\"I do not believe a word of it,\" said the Duke, becoming extremely\nred in the face. He was forced to do now that which he had just" ], [ "far as I can see we all feel that we could not get along very well\nwithout him.\" Upon the whole the Duke was pleased with what he heard\nfrom his son. The young man's ideas about politics were boyish, but", "In the meantime the Duke and his son were seated in close\nconversation on one of the upstairs sofas. It was a rule at the", "voice and to see his manner. Of what sort was the eldest son of the\nman of whom the neighbourhood had been so proud? For the county was\nin truth proud of their Duke. Of this son whom they had now made a", "\"The Duke, I think, does not much care about young people. I hardly\nknow what he used to do with himself. When I dined with them, I saw", "friend of the son and heir of a great and wealthy duke. He and Lord\nSilverbridge had been always together, and they who were interested\nin the career of the young nobleman had generally thought he had", "He paused for a moment, while the Duke stood with his back to the\nfire looking at him. \"I'm afraid that it is all over, sir,\" he said.\n\n\"All over!\"", "with his father, and I think it would break the Duke's heart to\nquarrel with his son.\" Tifto endeavoured to argue the matter out; but", "now. As a constituency they were not endowed with advanced views, and\nthought that a Conservative would suit them best. That being so, and\nas they had been told that the Duke's son was a Conservative, they", "The Duke was very anxious that his son should attend to his\nparliamentary duties, but he was too proud a man and too generous to", "At this time both his sons were living with the Duke in London. It\nhad been found impracticable to send Lord Gerald back to Cambridge.", "\"This is Lord Silverbridge, the Duke's son,\" said Chiltern, laughing.", "The first person whom he saw was the Duke himself, who, as the fly\nfrom the station arrived, was returning from his walk. \"You are", "\"Well, yes;--the Duke is very kind.\"\n\n\"Don't you think--?\"\n\n\"Eh!\"\n\n\"You have heard of her mother's fortune?\"", "of emigrating. As soon as he heard that the Duke's heir had serious\nthoughts of marrying the lady whom he loved he withdrew at once from", "\"How is it now between you and her?\" That was the question which the\nDuke put to his son as soon as he had closed the door of the study.", "\"So he is,\" said Mary. Whereupon the Duke kissed the two girls and\nwent his way,--showing that by this time he had adopted the one and\nthe proposed husband of the other into his heart.", "\"It will be a good thing for him, I suppose.\"\n\n\"I do not know,\" said the Duke coldly.\n\n\"He is my cousin, and I have always been interested in his welfare.\"", "doctrine. Such being the case, the Duke's ill-will and hardness and\ngeneral severity would probably be enhanced by his interview with\nhis son. Tregear, therefore, thinking that nothing could be got by", "For two or three days after the first scene between the Duke and his\ndaughter,--that scene in which she was forbidden either to see or", "Duke. That no doubt would be straight,--and efficacious. The Duke\nwould not have allowed a boy of his to be a debtor to Lord Percival" ], [ "\"She ought to do as she is told,\" said the Duke, remembering how\nobedient his Glencora had been. \"Has he spoken to her?\"\n\n\"I think not.\"", "\"And especially so with Lady Mary?\" This she said in her sweetest\npossible tone, and with a most gracious smile.\n\n\"Especially so with Lady Mary,\" he replied.", "had availed in the case of his own wife. Before he had ever seen her\nas Lady Glencora McCloskie she had been desirous of giving herself", "beautiful. And he could remember how his uncle, the late Duke, who\nhad seldom taken much trouble in merely human affairs, had said a\nword or two--\"I have heard a whisper about you and Lady Glencora", "not prevailed. And in her case had not the opposition which had been\nmade to her wishes been most fortunate? That young person had become\nhis wife, his Glencora, his Duchess. Had she been allowed to have her", "anxious that he should marry Lady Mary Palliser, though so anxious\nalso that something of his love should remain with herself! She was\nquite willing to convey that message,--if it might be done without", "connexion between Lady Cantrip and Lord Popplecourt, everybody there\nwas more or less connected with everybody else. Nidderdale had been a\nfirst cousin of Lady Glencora, and he had married a daughter of Lady", "his superior? The reader will understand. It had been settled by\nthe wisdom of the elders that it would be a good thing that Lord\nPopplecourt should marry Lady Mary Palliser.", "\"Then the maiden should--in any class of life--be allowed to take the\nman--that just suits her eye?\" As he said this his mind was intent on\nhis Glencora and on Burgo Fitzgerald.", "you. But, luckily for me, the two assertions are capable of the\nearliest and most direct proof. You will believe Lady Mary, and she\nwill confirm me in the one and the other.\"", "thought much about it, and had declared to himself that on no account\nwould he marry a woman for her money. Then he had encountered Lady\nMary Palliser. There had been no doubt, no resolution after that,", "and expressed a hope that Lady Mary would not be unwilling to spend\nsome time with the writer. Lady Cantrip's letter was long, and went\nminutely into circumstances. If Lady Mary would come to her, she", "Lady Cantrip said, dropping the ceremonial prefix. Lady Mary of\ncourse went out as she was bidden. Though everybody else knew it, no\nidea of what was intended had yet come across her mind.", "our minds as to what had better be done. It is out of the question\nthat Lady Mary should be allowed to consider herself to be engaged,\nand that the father should be kept in ignorance of her position.\" She", "upright, looking forward on the table, and taking his dinner as it\ncame to him. He had been put there in order that Lady Mary Palliser\nmight talk to him, and he regarded interference on the part of", "expressed her opinion that it would be a good thing that Mary should\nbe taken out. \"She should begin to go somewhere,\" said Lady Cantrip.\nAnd so it was decided. On the next Friday he would come down early in", "at first. I do not think that Lady Mary will bestow her heart till\nshe is sure she can give it with safety.\" There was an amount\nof falsehood in this which was proof at any rate of very strong", "trouble,\" said Lady Mary. This child had a clear idea of what she\nthought to be her own rights. Being the child of rich parents she\nhad the right to money. Being a woman she had a right to a husband.", "with the wonderful words that had been spoken to him. Could it be\nthat Lady Mary had fallen violently in love with him? He would not\nat once give himself up to the pleasing idea, having so thoroughly", "Lady Mary had said. Why should the Duke of Omnium wish to meet her?\n\"Silverbridge will be here too,\" Mary had gone on to say. \"It is just" ], [ "There had been one lady, a very dear ally, staying in the house with\nthem when the Duchess died. This was Mrs. Finn, the wife of Phineas", "This was the woman whom he had prayed to remain awhile with his\ndaughter after his wife had been laid in her grave, in order that", "in London. When he did so Lady Mary at once asked whether she might\nnot be with him,--but he would not permit it. The house in London\nwould, he said, be more gloomy even than Matching.", "CHAPTER XLVI\n\nLady Mary's Dream", "yet two days longer. At dinner they all met,--the father, the three\nchildren, and Mrs. Finn. How far the young people among themselves\nhad been able to throw off something of the gloom of death need not", "to ask if Lady Mary could see her. In all this there was considerable\nembarrassment. She looked round at her guest, who had at once risen", "On the afternoon of the day after the funeral the Duke and his guest\nmet, almost for the first time since the sad event. There had been", "Then they went to lunch, and Lady Mary did find herself to be happy\nwith her new acquaintance. Her life since her mother's death had", "Lady Mary and Mrs. Finn were alone when the tidings came from\nSilverbridge. The Duke had been absent, having gone to spend an", "got up very slowly from her seat, and very slowly crept away to the\ndoor. Then she looked round as though expecting the others to follow\nher. None of them did follow her. Mary felt that she ought to do so;", "In all this she half-confided her thoughts and her prospects to her\nold friend, Miss Cassewary. \"That girl has gone at last,\" she said to\nMiss Cass.", "that Mrs. Finn should go with her. And as she had sunk, and then\ndespaired, and then died, it was this woman who had always been at", "The next day Lady Mary could not leave her bed; and the Duke in his\nsorrow was obliged to apply to Mrs. Finn. After what had passed on", "on such an occasion were bound to show themselves, as members of the\nfamily. With them and his two sons the Duke walked across to the\ngraveyard, and then walked back; but even to those who stayed the", "It was therefore a matter of course that these should-be lovers would\nbe sent out of the room together. \"You'll give your arm to Mary,\"", "Lady Cantrip said, dropping the ceremonial prefix. Lady Mary of\ncourse went out as she was bidden. Though everybody else knew it, no\nidea of what was intended had yet come across her mind.", "you,\" he said, rising from his chair. \"Perhaps you will see her again\nthis afternoon.\" Of course she assented, and, as the interview had\ntaken place in his rooms, she took her leave.", "Miss Cassewary followed them quickly. Then came the Finns, and with\nthem Barrington Erle. Lord Silverbridge was the last. He arrived by a", "\"So he is,\" said Mary. Whereupon the Duke kissed the two girls and\nwent his way,--showing that by this time he had adopted the one and\nthe proposed husband of the other into his heart.", "settled,' I replied. Then he turned away from me and remained silent.\n'May I see Lady Mary?' I asked. 'Yes; you may see her,' he replied," ], [ "\"What can it be?\"\n\n\"Your brother has asked me to be his wife.\"\n\n\"Silverbridge!\"\n\n\"Yes;--Lord Silverbridge. You are astonished.\"", "\"Lord Silverbridge!\"\n\n\"I do. I do. Can you say that you will love me in return?\"", "Thrice within the next three weeks did Lord Silverbridge go forth\nto ask Mabel to be his wife, but thrice in vain. On one occasion", "\"Lord Silverbridge!\"\n\n\"I think you are--\"\n\n\"Stop, stop. Do not say it.\"", "of 'em. I put it to Lord Silverbridge to say whether I'm that sort of\nfellow.\" Then he sat down.", "\"You should answer my question, Lord Silverbridge. It is surely one\nwhich I have a right to ask.\" Then she stood waiting for his reply,", "\"Lord Silverbridge! But we know that in certain employments all\nthings are fair.\" He looked at her not knowing what were the", "She sat down and took one of his hands within her own. Then, as he\ndid not begin at once, she asked a question. \"Will Silverbridge stand\nfor the county, papa?\"\n\n\"No, my dear.\"", "\"I was so sorry, Lord Silverbridge,\" said Sir Timothy, \"that you\ncould not accede to our little request.\"\n\n\"I did not quite see my way,\" said Silverbridge, with his eye upon\nIsabel.", "\"I dare say she would consent,--if it were all serene. Why should she\nnot? Do not try her too hard, Lord Silverbridge. You say you love\nher.\"\n\n\"I do, indeed.\"", "\"Now we've been round the haycocks, and really, Lord Silverbridge, I\ndon't think we have gained much by it. Those forced marches never do\nany good.\" And so they parted.", "sister,\" Tregear had said; \"do you object?\" Lord Silverbridge was the\nweaker of the two, and much subject to the influence of his friend;", "Silverbridge had thought very much of somebody. He was quite aware\nthat he had almost made an offer to Lady Mabel. She certainly had not", "\"It is hardly the same thing, Frank. Of course, there is not a girl\nin London to whom Lord Silverbridge would not be the best match that\nshe could make. He has the choice of us all.\"", "her.\" Silverbridge looked up into his father's face with beseeching\nimploring eyes as though everything now depended on the next few\nwords that he might utter. \"I shall think it an unwise marriage,\"", "Then on a sudden she got up and put her hand on his arm. \"Come and\ntake a turn with me,\" she said. \"Lord Silverbridge, do you remember\nanything of last night?\"\n\n\"Remember!\"", "ladies. \"We won't have either Mr. L. or Lord P.\" Not a word was said\nabout Lord Silverbridge. There was not even an initial to indicate\nhis name.", "continued the Duke. Silverbridge when he heard this at once knew that\nhe had gained his cause. His father had spoken of the marriage as a\nthing that was to happen. A joyous light dawned in his eyes, and the", "\"If there were I should not talk about it,\" said Lord Silverbridge.\n\n\"You are a very innocent young gentleman.\"\n\n\"And you are a very interesting young lady.\"", "\"Yes;--my wife. And now I think you will see that nothing further can\nbe said about this matter.\"\n\n\"Duchess of Omnium!\"\n\n\"She will be Lady Silverbridge.\"" ], [ "\"Lord Silverbridge!\"\n\n\"I do. I do. Can you say that you will love me in return?\"", "\"What can it be?\"\n\n\"Your brother has asked me to be his wife.\"\n\n\"Silverbridge!\"\n\n\"Yes;--Lord Silverbridge. You are astonished.\"", "\"I dare say she would consent,--if it were all serene. Why should she\nnot? Do not try her too hard, Lord Silverbridge. You say you love\nher.\"\n\n\"I do, indeed.\"", "\"Lord Silverbridge! But we know that in certain employments all\nthings are fair.\" He looked at her not knowing what were the", "continued the Duke. Silverbridge when he heard this at once knew that\nhe had gained his cause. His father had spoken of the marriage as a\nthing that was to happen. A joyous light dawned in his eyes, and the", "\"Yes;--my wife. And now I think you will see that nothing further can\nbe said about this matter.\"\n\n\"Duchess of Omnium!\"\n\n\"She will be Lady Silverbridge.\"", "around her,--you shall have her. And I shall rejoice to give her to\nyou,--not because you are Lord Silverbridge, not because of your rank\nand wealth; but because you are--that individual human being whom I", "Silverbridge must enter in upon his share of the trouble. He did not\nknow that in saying all this he was offering his son as a husband\nto Lady Mabel, but she understood it as thoroughly as though he had", "Silverbridge then went up to see his sister. \"So you have settled\nyour little business, Mary?\"\n\n\"Oh, Silverbridge, you will wish me joy?\"\n\n\"Certainly. Why not?\"", "sister,\" Tregear had said; \"do you object?\" Lord Silverbridge was the\nweaker of the two, and much subject to the influence of his friend;", "\"It is hardly the same thing, Frank. Of course, there is not a girl\nin London to whom Lord Silverbridge would not be the best match that\nshe could make. He has the choice of us all.\"", "\"But I do. Suppose I were to say the other thing. Oh, Lord\nSilverbridge, you do me so much honour! And now I come to think about", "In truth Mabel had sent for Lord Silverbridge, and this had been her\nletter:\n\n\n DEAR LORD SILVERBRIDGE,", "After a minute's pause Silverbridge resolved that he would be\nmagnanimous. \"Miss Boncassen is going to be my wife,\" he said.\n\n\"Your wife!\"", "should she at the end of three months accept his offer. She was quite\naware that Lord Silverbridge need not repeat the offer unless he\nwere so pleased. But she thought that he would come again. He had so", "\"Perhaps Silverbridge might admire her.\"\n\n\"I have no doubt he would,--or does, for I am aware that they have\nmet. But why should he not admire her?\"", "\"Lord Silverbridge!\"\n\n\"I think you are--\"\n\n\"Stop, stop. Do not say it.\"", "\"You should answer my question, Lord Silverbridge. It is surely one\nwhich I have a right to ask.\" Then she stood waiting for his reply,", "\"I think nothing of the sort.\"\n\n\"Yes, Silverbridge, you do. You have said to yourself this;--That\ngirl has determined to get me, and she has not scrupled as to how she\nwould do it.\"", "\"I can understand that. But is it not joyful that it should all be\nsettled? Only poor Lady Mabel! You have got no Lady Mabel to trouble\nyour conscience.\" From which it was evident that Silverbridge had not\ntold all." ], [ "Cambridge undergraduate should go to the Derby as that a Member\nof Parliament should do so. Against this three or four rigid\ndisciplinarians had raised their voices,--and as a result, no young", "spent more money than he ought to have done, and now at this very\nmoment must ask for a large sum. And he had brought Gerald up to see\nthe Derby, thereby causing him to be sent away from Cambridge! And", "been expelled from Cambridge, and Silverbridge was on the turf in\nconjunction with Major Tifto! Something, too, had oozed out into\ngeneral ears about Lady Mary,--something which should have been", "expelled. His face fell, and he stood before his father almost like a\nculprit. \"We might as well have it out about this racing,\" continued\nthe Duke. \"Something has to be said about it. You have lost an", "House of Commons were to be seen at the Derby; but no doubt there\nwere many rascals and fools, and he could not associate with the", "\"He had asked permission to go to the Derby and had been positively\nrefused. Did you know that?\"", "the college authorities that his name had better be taken off the\ncollege books,--all which had been cause of very great sorrow to\nthe Duke. The other boy was to go to Cambridge; but his father had", "CHAPTER XVII\n\nThe Derby", "The doors of Trinity were closed against him. But some interest had\nbeen made in his favour, and he was to be transferred to Oxford. All\nthe truth had been told, and there had been a feeling that the lad", "Member of Parliament they at present only knew that he had been sent\naway from Oxford,--not so very long ago,--for painting the Dean's\nhouse scarlet. The speech was not very brilliant. He told them", "from Oxford, and he counselled moderation. Gerald should see the\nDerby, but should not encounter that heaviest wrath of all which\ncomes from a man's not sleeping beneath his college roof. There was", "popular at Trinity as his brother had been at Christ Church. It was\nto him quite a matter of course that he should see his brother's\nhorse run for the Derby. But, unfortunately, in this very year a", "\"I fear so, sir.\"\n\n\"He has profited by your example at Oxford. Did you persuade him to\ncome to these races?\"\n\n\"I am afraid I did.\"", "must be explained somewhat at length. Lord Gerald Palliser, the\nDuke's second son, was at this time at Cambridge,--being almost as", "Jockey Club thinks. The Master of our Hunt has been banished from\nracecourses.\" Here there was considerable opposition, and a few short\nbut excited little dialogues were maintained;--throughout all which", "world. On the Derby Day he had won a large sum of money, which had\nbeen to him at the time a matter of intense delight,--for he was", "\"He used to be good-natured. Now he has taken ever so many crotchets\ninto his head. It was he who began all this about none of the men\ngoing to the Derby.\"", "Derby, the most injurious and most deplorable event in the day's\nhistory had not occurred yet. Dinner had been ordered at the\nBeargarden at seven,--an hour earlier than would have been named had", "Newmarket, via Cambridge and Peterborough. Tifto, Silverbridge,\nand Mr. Pook visited him together three times that afternoon and\nevening;--and the Captain also visited the horse, though not in", "the same evening, so as to take his drag down to the Oaks on the\nFriday,--a duty from which even his present misery would not deter\nhim. They reached Cambridge at about three, and Lord Silverbridge at" ], [ "Tregear. I was at school with him;--and I tell you, that you can't\nfind a better fellow anywhere than Frank Tregear.\" Then he sat down,", "CHAPTER XXIII\n\nFrank Tregear Wants a Friend", "\"Mr. Tregear! Frank Tregear!\"\n\n\"I'm told he has been hit very heavy. I hope he's not a friend of\nyours, Lady Mabel.\"", "of such a moment as this, and a few words had occurred to him. \"My\nfriend Frank Tregear,\" he began, rushing at once at his subject, \"is", "Frank Tregear, having been known by the family as a boy, was Frank\nto all of them,--as was Lady Mabel, Mabel to him, somewhat to the", "much because she is a foreigner.\" Then just as she said this the door\nwas opened and Frank Tregear was announced.", "\"You might as well tell me all about it. We are cousins, you know.\"\nFrank Tregear, through his mother's family, was second cousin to Lady", "\"Friends! Frank Tregear, I have been bold enough to tell you I love\nyou; but you are not my friend, and cannot be my friend. If I have", "\"Lady Mabel Grex. She is daughter of Lord Grex. That man with her\nis my particular friend. His name is Frank Tregear, and they are\ncousins.\"\n\n\"I am so glad they are cousins.\"", "\"Certainly I like Tregear. He is the friend, among men, whom I like\nthe best. I have only two real friends.\"\n\n\"Who are they?\" she asked, sinking her voice very low.", "Frank Tregear had come up to town at the end of February. He remained\nin London, with an understanding that he was not to see Lady Mary", "his house the Duke had thought nothing; but the other sojourner had\nthought very much of the Duke. Frank Tregear was fully possessed of\nthat courage which induces a man who knows that he must be thrown", "\"Yes he did. You have heard of all that. Tregear told you.\"\n\n\"He told me something.\"\n\n\"Of course my father does not like it.\"", "was already gone from her. Frank Tregear at any rate knew where her\nheart had been given. Frank Tregear knew that having lost her heart\nto one man she was anxious to marry another. He knew that she was", "objections to Tregear. He had not at first been admitted into\nconfidence, either by his sister or by Tregear, but had questioned\nhis friend when he saw what was going on. \"Certainly I love your", "his Grace was fatigued, but would see Mr. Tregear if the matter in\nquestion was one of importance. Frank's heart quailed for a moment,", "in his friend's favour. \"Of course I should be glad to see it,\" he\nhad said while sitting by Tregear's bedside. \"The worst is that\neverything does seem to go against the poor governor.\"", "certain Mr. Tregear,--Francis Oliphant Tregear. The Duchess, who had\nbeen in constant correspondence with her friend, had asked questions", "There had been objections raised to any intimacy with Frank Tregear;\nbut all that was now nearly two years since. He had been assured over", "there explained the cause of his intended journey. The member for\nPolpenno had died, and Frank Tregear had been invited to stand for\nthe borough. He had written to his friend to ask him to come and" ], [ "\"There shall be an end to that, sir.\"\n\n\"God bless you, my boy!\" said the Duke.", "\"Well, yes;--the Duke is very kind.\"\n\n\"Don't you think--?\"\n\n\"Eh!\"\n\n\"You have heard of her mother's fortune?\"", "\"So he is,\" said Mary. Whereupon the Duke kissed the two girls and\nwent his way,--showing that by this time he had adopted the one and\nthe proposed husband of the other into his heart.", "\"I knew that I loved her. What is a man to do when he feels like\nthat? Of course I meant to tell you.\" The Duke was now looking very\nblack. \"I thought you liked her, sir.\"", "himself is so acceptable and well-behaved.\" That was her idea, and\nwith that she would have indoctrined the Duke had she been able. But", "circumstanced, that if her happiness depended on marrying a poor\nman, want of money need not prevent it.\" The Duke suspecting nothing,\nbelieving this to be a not unnatural expression of maternal interest,", "is true enough.\" This was not encouraging, but as the Duke went on\nreading, Mabel did not think it necessary to argue the matter. He had\nto read the last paragraph twice before he understood it. He did read", "\"I should be glad to see you marry early,\" said the Duke, speaking\nin a low voice, almost solemnly, but in his quietest, sweetest tone", "For two or three days after the first scene between the Duke and his\ndaughter,--that scene in which she was forbidden either to see or", "far as I can see we all feel that we could not get along very well\nwithout him.\" Upon the whole the Duke was pleased with what he heard\nfrom his son. The young man's ideas about politics were boyish, but", "\"What makes you fancy that?\" said the Duke, striving to conceal\nby his manner, but not altogether successful in concealing, the\ngratification which he certainly felt.", "\"Hardly that. He may put impediments in the way; and the Duke will\ndo so. But if I am happy enough to have won the affections of his", "\"My dear,\" said the Duke, rising up and coming to her, \"I am very\nglad to see you. It is good of you to come to me.\" Then he took her", "\"Quite so, my Lord Duke. I hope you think that Silverbridge is\nlooking well?\"\n\n\"Yes;--yes. I think so.\"", "\"Quite aware. I believe I may say that if other things go straight,\nshe will consent.\"\n\n\"And your father--the Duke?\"\n\n\"He knows nothing about it,--as yet.\"", "\"Well, sir,\" said Silverbridge to the Duke when they were out\ntogether in the park that afternoon, \"what do you think about him?\"\n\n\"I think he is a manly young man.\"", "continued the Duke. Silverbridge when he heard this at once knew that\nhe had gained his cause. His father had spoken of the marriage as a\nthing that was to happen. A joyous light dawned in his eyes, and the", "\"Surely we ought to listen to him,\" said the Duke. And for a short\ntime they did listen. \"Sir Timothy is not a man I like, you know,\"", "\"What I have seen of her personally recommends her to me,\" said the\nDuke. \"Some girls are fools--\"\n\n\"That's quite true, sir.\"", "The Duke, who had again seated himself, and was leaning back in his\nchair, raised himself up, placed his hands on the table before him," ] ]

[ "What is her husband Duke of Omnium left to deal with?", "What did Lady Glencora do before she died?", "Who insists that the Duke be informed of Mary's courtship?", "What wish of his father's does Lord Silverbridge follow?", "Who had Lord Silverbridge proposed to but was turned down by?", "Who does Lord Silverbridge fall in love with?", "On what condition does Isabel agree to marry Lord Silverbridge?", "What does Gerald, the youngest son of the Duke do?", "What does the Duke allow?", "What is the title of Plantagenet Palliser?", "What was the Duke of Omnium's political position before the government fell?", "What was the Duke of Omnium's wife's name?", "Who was Lady Glencora's closest confidant?", "To Whom did Lady Glencora give her blessing that her daughter could court?", "What does Mrs. Finn insist that the Duke of Omnium must be told of? ", "Who wished that Lord Silverbridge enter parliament?", "Who refused Lord Silverbridge's perposal?", "What American heiress did Lord Silverbridge fall in love with?", "How did Gerald get expelled from Cambridge?", "Who dies and leaves the Duke to deal with his children?", "What has happened to the government that the Duke is a part of?", "Who is the Duke's older son and heir?", "Who was Mary given the blessing of Lady Glencora to marry?", "Who remains after the funeral as a chaperone for Mary?", "Who turned down Lord Silverbridge when he proposed?", "Who does accept the proposal of Lord Silverbridge?", "Who was expelled from Cambridge after attending the derby?", "Who is Frank Tregear a friend of?", "What does the Duke end up approving of?" ]

[ [ "His grownup children who he is somewhat distant with.", "His grownup children. " ], [ "She secretly blessed her the courtship of her daughter Mary and a poor man.", "Given her approval to a relationship between Mary and Frank Tregear" ], [ "Mrs. Finn, Lady Glencora's closest confidante.", "Mrs. Finn" ], [ "Entering Parliarment.", "He went into Parliament." ], [ "Lady Mabel Grex.", "Lady Mabel Grex" ], [ "American heiress Isabel Boncassen.", "Isabel Boncassen" ], [ "That the Duke will welcome her into the family.", "She agrees to marry him if the Duke approves." ], [ "Gets himself expelled from Cambridge.", "Gets expelled from Cambridge. " ], [ "The marriage of both his children, Mary and Lord Silverbridge.", "He allows the engagements of his son and daughter." ], [ "Duke of Omnium", "Duke of Omnium." ], [ "Prime Minister", "Prime Minister " ], [ "Lady Glencora", "Lady Glencora" ], [ "Mrs. Finn.", "Mrs. Finn" ], [ "Frank Tregear", "Frank Tregear" ], [ "The seriousness of the relationship between Mary and Frank.", "The relationship between Mary and Frank Tregear." ], [ "His father, Duke of Omnium", "The Duke of Omnium." ], [ "Lady Mabel Grex", "Lady Mabel Grex" ], [ "Isabel Boncassen", "Isabel Boncassen" ], [ "From going to the Darby without permission.", "He went to a Derby without permission" ], [ "Lady Glencora", "Lady Glencora." ], [ "It has collapsed", "It falls." ], [ "Lord Silverbridge", "Lord Silverbridge" ], [ "Frank Tregear", "Frank Tregear. " ], [ "Mrs. Finn", "Mrs. Finn." ], [ "Lady Mabel Grex", "Lady Mabel Grex" ], [ "Isabel Boncassen", "Isabel Boncassen" ], [ "Gerald", "Gerald." ], [ "Lord Silverbridge", "Lord Silverbridge." ], [ "His children's engagements", "Both his son and daughters engagements. " ] ]

[ [ "the walls look like a monochromatic Jackson Pollock. The\nmirrors are smashed. Taped outlines on the mattress indi-\ncate where the bodies had been found. Graham opens the", "GRAHAM\n\nmumbles apologies, scrambles to collect crime photos. The\nmother wants her seat changed.\n\n\n \n39.", "blood on the walls, the smashed mirrors, taped outlines or\nbodies -- is a testament to a violence that is pornographic.\nGraham pulls out a tape recorder and starts dictating his", "Graham exits the car and walks TOWARDS us. We PAN AROUND as\n he moves through EXTREME CLOSEUP and see the Leeds family house", "Detectives file out. Crawford and Graham remain.\nSpringfield crosses to them and they wait for all the other\ndetectives to leave.", "Graham's hand freezes the Leeds' rape and plays the Jacobi\ntape. The Jacobis' cat moves, jumps on the table.", "In the empty white living room. Graham walks OUT OF FRAME.\nBare floors and dead air. His footsteps echo in the empty\nhouse.\n CUT TO:", "8.\nWIDER - GRAHAM\nmoves into the room. The bloodstains are extensive. Half", "We hear three locks opening. The door opens. Graham enters.\nAn attendant behind Graham closes the door and we hear the\nbolts lock again. As Graham is walking towards us, we WIDEN", "still hanging on a towel railing over the bathtub. Graham\nis staring at the normal domesticity of a family bathroom.\nHe doesn't let it unnerve him.\n\n CUT TO:", "GRAHAM\n (intently on the screen )\n From the alley he couldn't have\n seen the glass in the Leeds' kitchen\n door .\n (MORE)", "In the silver mirrors of her eyes, Graham sees reflected\nthere: himself.\n\n\nINT. LEEDS LIVING ROOM - WIDE", "Lecktor's voice fades as Will Graham hangs us on him. Graham\nsits on the crumpled bed and stares out the window at the rain..\n\n CUT TO:", "INT. LEEDS MASTER BEDROOM - LIGHT SWITCH\n Graham's hand enters. He hits the light switch.\n\n BLOOD\n\n screams at us from the walls.", "snaps awake. The child next to Graham is screaming. People\nstare. The mother is shouting at him. Graham is confused,", "It opens. Graham enters. The room is white. We don't see\nthe bed. Graham stands there in profile. Beyond Graham OUT", "CUT TO:\n\nINT. ATLANTA DETECTIVE BUREAU - MOVING WITH GRAHAM, CRAWFORD\n+ SPRINGFIELD -DAY", "Graham stands and walks to Dollarhyde. Reba is collapsed in\nthe corner. Dollarhyde it more exploded from within than\nshot. Graham starts to raise the gun...\n\n\n CUT TO:", "with all of the Atlanta Police department \"crime scene\" postings\n Graham doesn't enter the front door. Be walks around the side.", "Graham stands there as if engraving each one in his memory.\nThen he nods. Then he leaves.\n\n\nGEORGE SHERMAN" ], [ "CUT TO:\n\nINT. WASHINGTON, FBI OFTICE - CRAWFORD - DAY\n\nOn phone to Graham.", "JIMMIE PRICE (V.O.)\n Who am I talking to?\n\n CRAWIIORD\n Jimmie, it's me, Jack Crawford, and\n you got Will Graham here.", "opens. Running down the stairs and across the tarmac is\nWill Graham in shirtsleeves with a Car-15 assault rifle with\ncollapsible stock. His eyes scan the perimeter.\n\n\nFBI MEN", "CRAWFORD\n (into radio phone)\n This is Jack Crawford, FBI. Who\n am I speaking to?", "INT. FBI CAFETERIA - CRAWFORD + BLOOM - DAY\n\n CRAWFORD\n I need to talk to you about Will\n Graham.", "SARAH\n Special Agent Crawford's office.\n\nIn the b.g. all hell is breaking loose. Crawford and Graham\nare both hollering into the phone at Freddie Lounds.", "INT. WASHINGTON FBI OFFICE - CRAWFORD + GRAHAM- LATER", "HOLD. Then it opens. Molly and Kevin, followed by Graham.\nUnmarked FBI cars are parked on the front lawn. Molly enters\nthe foyer, looks around and stops.", "Detectives file out. Crawford and Graham remain.\nSpringfield crosses to them and they wait for all the other\ndetectives to leave.", "SPURGEN, chief SWAT instructor from Quantico, examines the\nparking lot. We've cut in mid-dialogue.", "As they run out of the room:\n\n CUT TO:\n\n\nINT. FBI CONFERENCE ROOM - WIDE SHOT - NIGHT", "BOWMAN\n Have him meet me with pictures of\n Lecktor's books...\n\n CRAWFORD\n Where?\n\n BOWMAN\n Library of Congress.", "As we PULL BACK and see arriving squad car flashers play on\nthe walls and Crawford runs through the foreground, we see", "Crawford is looking at him. Finally:", "Graham moves Molly and Kevin up into the Gulf Stream. FBI\nmen follow. The troopers back off. The flashers on their", "Crawford pulls two pictures from his shirt pocket. He keeps\nthem face down. They draw at Will. Crawford knows this.", "Springfield looks at Graham. Springfield needs answers, not\nvoodoo. Then they enter the squad room. Twenty detectives\nsit at desks. Graham and Crawford move to the back of the\nclass.", "SARAH\n Special Agent Crawford's office.\n (she nods; it's him)\n Could you hold on a second, I'll\n see if I can find him.", "in the back seat. He is distant. His attitude contrasts to\nthe frantic 110 mph race down the highway and the two uniformed\nofficers and Crawford. Their anxiety is visible. Next\nto them Graham seems zoned-our...", "DR. CBILTON (V.O.)\n (shouting)\n I said I need to speak to Special\n Agent Crawford or Mr. Graham.\n Right away!" ], [ "GRAHAM\n If the Tooth Fairy listens to\n Lecktor, he'll come for me. So", "BOWMAN\n it has to be a book the Tooth Fairy\n would know Lecktor has in his cell.", "And your message has to go out in it,\n or he'll know it's not Lecktor talking\n to him.", "GRAHAM\n Then the Tooth Fairy named the\n book in the part Lecktor tore out.\n\n BOWMAN\n Right .\n (beat)\n What about sweating Lecktor?", "CRAWFORD (V.O.)\n You got the message Lecktor called...\n\n GRAHAM\n I arranged for him to have a phone.\n I have to call him in a few minutes.", "DR. CHILTON (V.O.)\n From Hannibal Lecktor's cell. It\n was hidden in a book.", "LECKTOR\n Thank you very much.\n\nON the phone as Lecktor hangs up.\n\n CUT TO:", "At the top it says: 'I hope we can\n correspond.' And then the hole\n begins .\n (beat)\n It looks like Lecktor went over it", "It's the one Lounds took after Graham was slashed by Lecktor.\nIt's a black-and-white square image of a sleeping man with a", "CRAWFORD\n Yes. And I'm leery of running\n Lecktor's message without knowing\n what it says.", "Another silence. Lecktor's eyes look as if they're drilling\ninto Graham's head, trying to find out things. Trying to\nfind a way to hurt Graham. He's very threatening. Then\nrelaxes:", "GRAHAM\nI want you to help me, Dr. Lecktor.\n\n LECKTOR\nYes, I thought so.\n\n GRAHAM\nIt's about Atlanta and Birmingham.", "The DOOR SLAMS shut on Lecktor.\n\n CUT TO:\n\n\n\n32.", "turns to us. His small eyes drill into Graham's brain.\nLecktor's attitude is professionally psychiatric, as if Graham\nis the patient.\n LECKTOR\n Did you get my card?", "what Lecktor tore out. In this\n enlargement of the back side,\n oblique light revealed impressions.\n We can make out: 'six-six-six'.", "GRAHAM\n Something Lecktor said.", "GRAHAM\n We know the Tooth Fairy reads the\n Tattler. The stuff about me and\n Lector? I don't know any other\n paper that carried it...", "CRAWFORD\n (looks at watch)\n We let Lecktor's message run as is\n and decode it after. Or we pull\n it, work our the code and put ours\n in next week.", "Lecktor's voice fades as Will Graham hangs us on him. Graham\nsits on the crumpled bed and stares out the window at the rain..\n\n CUT TO:", "actually buy Tattler, looking for\nLecktor's message. Here's\nwhat he'll find, Bill." ], [ "A finger taps Lounds on his chest. A touch on his eyelids.\nLounds slowly opens his eyes. His face goes white.", "By now we're close to his body curled up on the floor in the\nsanctuary of the developing room. The red glow emanates\nfrom beneath Dollarhyde's shirt.", "is unconscious. A hand puts ammonia under his nose.\nLounds regains consciousness. He tries to move. He can't.", "Dollarhyde starts spilling liquid on Lounds. Lounds starts\nto moan and rouse from unconsciousness. His head starts to\nturn. He knows he's going to die. And he has some courage.", "CUT TO:\n\n\nINT. DOLLARHYDE HOUSE (ST. LOUIS) - LOUNDS - NIGHT", "WHAT HE SEES: LOUNDS IN WHEELCHAIR - A MAN AFLAME\n\nLounds is a fireball racing TOWARDS US. Just before the\nfireball would smash into CAMERA...", "Footsteps are going away.\n\n LOUNDS\n What am I doing here?\n\n DOLLARHYDE (O.S.)\n Atoning, Mr. Lounds.", "The hand rips off the sanitary napkins covering Lounds' eyes.\nLounds jams his eyes shut. The lights brighten. A single\nfinger taps the top of his head.", "As if he had any choice. Lounds' face moves; He strains.\nHis arms are glued to the chair. Dollarhyde's hand comes\nback with a cup of tea and a straw. Lounds sips.", "The figures seen from the back. We don't know what Dollar-\nhyde, leaning over Lounds, is doing, but Lounds screams.\n\n CUT TO:", "There are sanitary napkins covering Lounds' eyes and mouth.\nThe one on his mouth is removed. We will see ONLY Lounds.", "carries a tape recorder. We PAN it across the room to Lounds'\nface .\n DOLLARHYDE (O.S.)\n Open your eyes, Mr. Lounds.\n\nLounds obeys.", "LOUNDS\n Yes .\n\nCLICK. Next slide. Mrs. Leeds alive, locked into a silent\nscream in her bedroom.\n\n DOLLARHYDE\n Do you see?", "CUT TO:\n\n\nINT. CXR - FREDDIE LOUNDS - DAY", "LOUNDS\n You'll let me go now?\n\n DOLLARHYDE\n You will tell the truth?\n\n LOUNDS\n Absolutely,", "LOUNDS\n Yes.\n\nCLICK.\n\n\nLOUNDS\n\nstaring in horror. We will not see the rest of the slider.", "LOUNDS\n Yes .\n\n DOLLARHYDE\n Mrs. Jacobi after her changing.\n (as Lounds nods)\n The Dragon rampant. Do you see?", "rolled-up stocking covers Dollarhyde's head to just below\nhis nose. Dollarhyde's teeth are jagged and brown-stained.\nAnd he smiles at Lounds in front of the white screen.", "Grabs Lounds by the labels, kicks his legs out from under\n him and throws him over the hood of a car upside-down. The", "Dollarhyde leaves. Lounds closes his eyes." ], [ "DOLLARHYDE\n Do you want a Coke or something, Reba?\n\n REBA\n I'm fine, Francis.\n\nDollarhyde gets out.", "face from underneath his jaw. He starts crushing Dandridge's\nface. THREE soft POPS are from Dollarhyde's nine millimeter.\nHe shot Dandridge three times in the heart.", "approaches. She, too, wears goggles, but on a lanyard around\nher neck. She's petite, fragile. Dollarhyde towers over her.", "with echoes of Dollarhyde. Now he gets up and walks out of\nthe room leaving the door open. Outside is only the deserted\nparking lot.", "we are seeing Dollarhyde's face. The fanged dentures are\nin his mouth. Dollarhyde makes Reba's hand feel his teeth.", "DOLLARHYDE\n Ms. McClain, I'm Francis Dollarhyde.\n I came about the low light level\n infrared film stock.", "is white. There is something in Dollarhyde's face that he has\nnever seen before, anywhere.\n\n\nDOLLARHYDE", "Dollarhyde looks at Reba. Then he looks at the film. The\ntwo of them are like a tableau of suburban TV-watching.\nThey're like a married couple sitting on the sofa. Except:", "rolled-up stocking covers Dollarhyde's head to just below\nhis nose. Dollarhyde's teeth are jagged and brown-stained.\nAnd he smiles at Lounds in front of the white screen.", "lieved. Then Dollarhyde touches her gently, softly in wonder\nand amazement. Then Dollarhyde leaves...", "The Attendant tries to say he's sorry, but he can't talk.\nDollarhyde's hand has grabbed his face. He hesitates. Then\nhe throws money at the Attendant and leaves...", "By now we're close to his body curled up on the floor in the\nsanctuary of the developing room. The red glow emanates\nfrom beneath Dollarhyde's shirt.", "GRAHAM\n (roars)\n STOP IT!!!\n\nDollarhyde turns to the window in time to see:\n\n\n\n\n128.", "stands four feet from her, just staring. Then he walks\nfrom the room.\n\nINT. DOLLARHYDE'S LIVING ROOM - DOLLARHYDE", "is pulled down slightly on the left side, making his left\neye moon-shaped. There is a half-healed wound and butter-\nfly bandage where Dollarhyde stabbed him. He is standing\nin a black raincoat with a black hat.", "where Dollarhyde hit her. She feels, around on the bed.\nShe's very frightened. She's trying to control herself...", "It slams open. Dollarhyde enters and walks through the dim\ngreen light past the developers in his black goggles with\nred lenses. Thousands of feet of negative move through the", "starts printing our line by line: a blow-up of a driver's\nlicense with picture. The lines compose hair, forehead,\neyes... coming at us line by line is: Francis Dollarhyde.", "GRAHAM\n (re Dollarhyde)\n This is our boy...!\n\n CUT TO:", "ENTERS THE FRAME and kisses Dollarhyde on the mouth.\nDollarhyde's eyes freeze open. He is stunned. Reba's left" ], [ "Dollarhyde looks at Reba. Then he looks at the film. The\ntwo of them are like a tableau of suburban TV-watching.\nThey're like a married couple sitting on the sofa. Except:", "arms, a Magnavox console TV set and a sofa with Dollarhyde and\nReba on it. They're watching a movie.", "We see what Dollarhyde imagines: Dandridge's fingers caress\nthe soft skin of Reba's face. Reba's expression and mouth\nare open and warm to him.", "Reba's hand is gripped by Dollarhyde's. He brings her\nfingers up to his face. For the first time in this scene", "Dollarhyde's arm moves under her pillow. She snuggles closer\nto him. Dollarhyde's eyes are moist. Reba's hand moves up", "It is morning. He snaps awake. he is horror-struck: Reba's\npillow is empty. She's nor there. Dollarhyde races our of\nthe room.\n\n CUT TO:", "her breasts swelling and shining above her suit as she pushes\nherself our of the pool. Dollarhyde's blase, watching his\nhorror show. He looks at Reba.", "EXT. DOLLARHYDE HOUSE, BACKYARD - DOOR - DAY\nslams open. Dollarhyde stops in the door frame.\n REBA (O.S.)\n Is that you. D?", "REBA\n No, no! I want to.\n\nDollarhyde reacts with a light smile at the compliment.", "Dollarhyde -- cloven in two, accepted by a living Reba -- will\nnot sleep for a very long time.\n\n CUT TO:", "REBA\n I can 'help' myself home, Ralph...\n\nDandridge leaves. Dollarhyde stares after him. He doesn't\nLike him. Then:", "He's heavy-set and sullen. Dollarhyde's van, with Reba, pulls\nin.\n\n\n\n\n\n\n\n102.", "99.\nREBA'S HAND\nmoves along the back of the sofa to Dollarhyde.\n\n\nREBA\n\nmoves towards Dollarhyde's face.", "Reba walks our of the dark room.\n\n CUT TO:\n\n\nINT. DOLLARHYDE'S VAN, TRAVELLING - OUT OF WINDOW - NIGHT", "We and Graham see Dollarhyde's arm arc back for an uppercutting\nthrust into Reba. Dollarhyde's left hand clutching her dress,", "Reba stops. She likes Dollarhyde's directness. He gets our\nand comes around to help her in. He starts to take her arm.\n\n REBA\n It's better if I rake your arm.", "REBA.\n If you don't want to talk. okay.\n Bur I hope you will... because I\n like what you say.\n\nDollarhyde is stunned, at both her perception and frankness.", "Dollarhyde re-enters FRAME and puts a glass of water next to\nher. He covers her. He lays down again next to her. Reba", "we are seeing Dollarhyde's face. The fanged dentures are\nin his mouth. Dollarhyde makes Reba's hand feel his teeth.", "We see Dollarhyde's form follow instructions and sit.\n\n REBA\nCan you give me an idea of the\n conditions..." ], [ "is pulled down slightly on the left side, making his left\neye moon-shaped. There is a half-healed wound and butter-\nfly bandage where Dollarhyde stabbed him. He is standing\nin a black raincoat with a black hat.", "where Dollarhyde hit her. She feels, around on the bed.\nShe's very frightened. She's trying to control herself...", "face from underneath his jaw. He starts crushing Dandridge's\nface. THREE soft POPS are from Dollarhyde's nine millimeter.\nHe shot Dandridge three times in the heart.", "GRAHAM\n (roars)\n STOP IT!!!\n\nDollarhyde turns to the window in time to see:\n\n\n\n\n128.", "bleeding, brings the .44 down from the recoil of the first shot.\nNow, up on one knee, he FIRES FOUR more rounds into Dollarhyde.", "On the right we see Dollarhyde's right arm with the aluminum\nshafts... Beyond them, THROUGH THE WINDOW we see Graham has", "rolled-up stocking covers Dollarhyde's head to just below\nhis nose. Dollarhyde's teeth are jagged and brown-stained.\nAnd he smiles at Lounds in front of the white screen.", "approaches. She, too, wears goggles, but on a lanyard around\nher neck. She's petite, fragile. Dollarhyde towers over her.", "we are seeing Dollarhyde's face. The fanged dentures are\nin his mouth. Dollarhyde makes Reba's hand feel his teeth.", "Dollarhyde's arm moves under her pillow. She snuggles closer\nto him. Dollarhyde's eyes are moist. Reba's hand moves up", "Dollarhyde starts spilling liquid on Lounds. Lounds starts\nto moan and rouse from unconsciousness. His head starts to\nturn. He knows he's going to die. And he has some courage.", "ing past the hedges. An arm shoots out and turns Dandridge.\nDollarhyde's hand clutches the whole of Dandridge's lower", "We see what Dollarhyde imagines: Dandridge's fingers caress\nthe soft skin of Reba's face. Reba's expression and mouth\nare open and warm to him.", "and slams into the station wall. CANS CRASH and roll away...\nDollarhyde does know what he can do about it.", "lieved. Then Dollarhyde touches her gently, softly in wonder\nand amazement. Then Dollarhyde leaves...", "We and Graham see Dollarhyde's arm arc back for an uppercutting\nthrust into Reba. Dollarhyde's left hand clutching her dress,", "is white. There is something in Dollarhyde's face that he has\nnever seen before, anywhere.\n\n\nDOLLARHYDE", "The Attendant tries to say he's sorry, but he can't talk.\nDollarhyde's hand has grabbed his face. He hesitates. Then\nhe throws money at the Attendant and leaves...", "STARTS MOVING towards the shape on the floor. As we get\ncloser we realize it's Dollarhyde. Something is wrong with\nhim. ..", "turns away. The shape of Dollarhyde passes behind his head.\nThe kimono is on again.\n\n\nPAST LOUNDS' HEAD: SCREEN" ], [ "face from underneath his jaw. He starts crushing Dandridge's\nface. THREE soft POPS are from Dollarhyde's nine millimeter.\nHe shot Dandridge three times in the heart.", "bleeding, brings the .44 down from the recoil of the first shot.\nNow, up on one knee, he FIRES FOUR more rounds into Dollarhyde.", "Graham stands and walks to Dollarhyde. Reba is collapsed in\nthe corner. Dollarhyde it more exploded from within than\nshot. Graham starts to raise the gun...\n\n\n CUT TO:", "GRAHAM\n (roars)\n STOP IT!!!\n\nDollarhyde turns to the window in time to see:\n\n\n\n\n128.", "and slams into the station wall. CANS CRASH and roll away...\nDollarhyde does know what he can do about it.", "is pulled down slightly on the left side, making his left\neye moon-shaped. There is a half-healed wound and butter-\nfly bandage where Dollarhyde stabbed him. He is standing\nin a black raincoat with a black hat.", "Dollarhyde starts spilling liquid on Lounds. Lounds starts\nto moan and rouse from unconsciousness. His head starts to\nturn. He knows he's going to die. And he has some courage.", "100.\n\nDollarhyde knows what he feels: he is pole-axed. He doesn't\nknow what he thinks.\n\n\nSAME - REBA - LATER", "Dollarhyde leaves. Lounds closes his eyes.", "approaches. She, too, wears goggles, but on a lanyard around\nher neck. She's petite, fragile. Dollarhyde towers over her.", "Dollarhyde's unsteady hand takes it off the wall. Be pours\nsweat. If the acid that makes his shirt smoke burns him,\nhe doesn't acknowledge it. He punches four numbers.", "lieved. Then Dollarhyde touches her gently, softly in wonder\nand amazement. Then Dollarhyde leaves...", "Graham point the gun down to Dollarhyde's head. As we're\npulling away comes the final FLASH + REPORT and...", "CUT TO:\n\n\nINT. LIGHT TRAP-DOOR - DAY\nslams open. Dollarhyde enters. As he reaches the next door...\n \n\t\t\t\t CUT TO:", "The Attendant tries to say he's sorry, but he can't talk.\nDollarhyde's hand has grabbed his face. He hesitates. Then\nhe throws money at the Attendant and leaves...", "turns away. The shape of Dollarhyde passes behind his head.\nThe kimono is on again.\n\n\nPAST LOUNDS' HEAD: SCREEN", "rolled-up stocking covers Dollarhyde's head to just below\nhis nose. Dollarhyde's teeth are jagged and brown-stained.\nAnd he smiles at Lounds in front of the white screen.", "ing past the hedges. An arm shoots out and turns Dandridge.\nDollarhyde's hand clutches the whole of Dandridge's lower", "where Dollarhyde hit her. She feels, around on the bed.\nShe's very frightened. She's trying to control herself...", "By now we're close to his body curled up on the floor in the\nsanctuary of the developing room. The red glow emanates\nfrom beneath Dollarhyde's shirt." ], [ "GRAHAM\n (roars)\n STOP IT!!!\n\nDollarhyde turns to the window in time to see:\n\n\n\n\n128.", "turns away. The shape of Dollarhyde passes behind his head.\nThe kimono is on again.\n\n\nPAST LOUNDS' HEAD: SCREEN", "bleeding, brings the .44 down from the recoil of the first shot.\nNow, up on one knee, he FIRES FOUR more rounds into Dollarhyde.", "By now we're close to his body curled up on the floor in the\nsanctuary of the developing room. The red glow emanates\nfrom beneath Dollarhyde's shirt.", "Graham's already out the door. Crawford races after him.\n\n CUT TO:\n\nINT. DOLLARHYDE'S HOUSE, KITCHEN - REBA - NIGHT", "Dollarhyde starts spilling liquid on Lounds. Lounds starts\nto moan and rouse from unconsciousness. His head starts to\nturn. He knows he's going to die. And he has some courage.", "stands four feet from her, just staring. Then he walks\nfrom the room.\n\nINT. DOLLARHYDE'S LIVING ROOM - DOLLARHYDE", "where Dollarhyde hit her. She feels, around on the bed.\nShe's very frightened. She's trying to control herself...", "CUT TO:\n\n\nINT. DOLLARHYDE'S KITCHEN - PANNING - NIGHT", "face from underneath his jaw. He starts crushing Dandridge's\nface. THREE soft POPS are from Dollarhyde's nine millimeter.\nHe shot Dandridge three times in the heart.", "Graham stands and walks to Dollarhyde. Reba is collapsed in\nthe corner. Dollarhyde it more exploded from within than\nshot. Graham starts to raise the gun...\n\n\n CUT TO:", "STARTS MOVING towards the shape on the floor. As we get\ncloser we realize it's Dollarhyde. Something is wrong with\nhim. ..", "is pulled down slightly on the left side, making his left\neye moon-shaped. There is a half-healed wound and butter-\nfly bandage where Dollarhyde stabbed him. He is standing\nin a black raincoat with a black hat.", "lieved. Then Dollarhyde touches her gently, softly in wonder\nand amazement. Then Dollarhyde leaves...", "and slams into the station wall. CANS CRASH and roll away...\nDollarhyde does know what he can do about it.", "with echoes of Dollarhyde. Now he gets up and walks out of\nthe room leaving the door open. Outside is only the deserted\nparking lot.", "we are seeing Dollarhyde's face. The fanged dentures are\nin his mouth. Dollarhyde makes Reba's hand feel his teeth.", "CUT TO:\n\n\nINT. LIGHT TRAP-DOOR - DAY\nslams open. Dollarhyde enters. As he reaches the next door...\n \n\t\t\t\t CUT TO:", "ENTERS THE FRAME and kisses Dollarhyde on the mouth.\nDollarhyde's eyes freeze open. He is stunned. Reba's left", "We see what Dollarhyde imagines: Dandridge's fingers caress\nthe soft skin of Reba's face. Reba's expression and mouth\nare open and warm to him." ], [ "SPRINGFIELD\n (to Graham)\n The Commissioner was saying you\n were the one that caught Dr. Lecter\n three years ago.\n (beat)\n He killed nine people, didn't he?", "GRARAM\n Will Graham, FBI.", "Lecktor's voice fades as Will Graham hangs us on him. Graham\nsits on the crumpled bed and stares out the window at the rain..\n\n CUT TO:", "DR. CHILTON\n The consensus around here is that\n the only person who has demonstrated\n any practical understanding of Dr.\n Hannibal Lecter is you, Mr. Graham.\n Can you tell me anything about him?", "GRAHAM\n (calm)\n This is Will Graham. Can I help\n you?\n\n VOICE (V.O.)\n No. I can help you.", "GRAHAEI\n My name's Will Graham. I...", "before was lies from Will Graham. He\n made me write them. Now I understand.\n (beat)\n 'Will Graham: you will learn from my", "We will only see the rear of Will Graham sitting alone on the\nside of the bed in the alienating motel room. His head is\nbandaged.\n\n\n GRAHAM\n (into phone)\n Hello.", "GRAHAM\nHobbs was insane. He was attacking\ncollege girls and he killed them.\n\n KEVIN\nHow?\n\n GRAHAM\nWith a knife.", "GRAHAM\nI want you to help me, Dr. Lecktor.\n\n LECKTOR\nYes, I thought so.\n\n GRAHAM\nIt's about Atlanta and Birmingham.", "JIMMIE PRICE (V.O.)\n Who am I talking to?\n\n CRAWIIORD\n Jimmie, it's me, Jack Crawford, and\n you got Will Graham here.", "His arms are widespread. The phone RINGS. Will Graham\ndoesn't hear it. It keeps RINGING. MOVE IN on Graham.\nFinally, he stirs, then fights his way up out of sleep.", "asked him -- through the speaker:\n 'Why did you have to kill my\n daddy? '\n (beat)\n That's when Graham had his nervous", "It's the one Lounds took after Graham was slashed by Lecktor.\nIt's a black-and-white square image of a sleeping man with a", "his left shoulder to reveal he's reading the National Tattler.\nIt's about Will Graham with a Freddie Lounds byline. The\nonly words we catch are: \"FBI Manhunter Consults Fiend Who", "GRAHAM\n Something Lecktor said.", "GRAHAM\n They tried sodium amytal on him\n three years ago to find where he\n buried a Princeton student.\n (beat)\n He gave them a recipe for potato\n chip dip.", "Graham punches the phone and takes the call. Crawford's\nyelling at Lounds.\n\n GRARAM\n It's Will Graham...", "Tried To Kill Him, by Freddie Lounds.\" We also catch: \"The\nTooth Fairy - Psychopathic Slayer of Entire Families in\nBirmingham and Atlanta...\"", "Graham stands and walks to Dollarhyde. Reba is collapsed in\nthe corner. Dollarhyde it more exploded from within than\nshot. Graham starts to raise the gun...\n\n\n CUT TO:" ], [ "JIMMIE PRICE (V.O.)\n Who am I talking to?\n\n CRAWIIORD\n Jimmie, it's me, Jack Crawford, and\n you got Will Graham here.", "CRAWFORD\n (into radio phone)\n This is Jack Crawford, FBI. Who\n am I speaking to?", "CHESTER (V.O.)\n This is Chester here. Who am I\n talking to?\n\n GRAHAM\n Will Graham, Jack Crawford...", "Tried To Kill Him, by Freddie Lounds.\" We also catch: \"The\nTooth Fairy - Psychopathic Slayer of Entire Families in\nBirmingham and Atlanta...\"", "GRAHAM\n (calm)\n This is Will Graham. Can I help\n you?\n\n VOICE (V.O.)\n No. I can help you.", "GRAHAM\nI want you to help me, Dr. Lecktor.\n\n LECKTOR\nYes, I thought so.\n\n GRAHAM\nIt's about Atlanta and Birmingham.", "SPRINGFIELD\n (to Graham)\n The Commissioner was saying you\n were the one that caught Dr. Lecter\n three years ago.\n (beat)\n He killed nine people, didn't he?", "his left shoulder to reveal he's reading the National Tattler.\nIt's about Will Graham with a Freddie Lounds byline. The\nonly words we catch are: \"FBI Manhunter Consults Fiend Who", "GRAHAM\nI don't know, Jack. He's got no\nface for me.\n\n CRAWFORD\nYou can tell something about him\nor we wouldn't have found the finger\nprint. ..", "DR. CHILTON\n The consensus around here is that\n the only person who has demonstrated\n any practical understanding of Dr.\n Hannibal Lecter is you, Mr. Graham.\n Can you tell me anything about him?", "GRARAM\n Will Graham, FBI.", "DR. CHILTON\n When you saw Dr. Lecktor's murders,\n their 'style,' so to speak, were you\n able to reconstruct his fantasies?\n And did that help you identify him?", "SARAH CRAWFORD\n (fading up) (fading down)\n Special Agent Crawford's No. The killer's not in", "Graham punches the phone and takes the call. Crawford's\nyelling at Lounds.\n\n GRARAM\n It's Will Graham...", "Lecktor's voice fades as Will Graham hangs us on him. Graham\nsits on the crumpled bed and stares out the window at the rain..\n\n CUT TO:", "LOUNDS\n How does he rate compared to Dr,\n Hannibal Lecktor?\n\n GRAHAM\n He's not as intelligent.", "GRAHAEI\n My name's Will Graham. I...", "It's the one Lounds took after Graham was slashed by Lecktor.\nIt's a black-and-white square image of a sleeping man with a", "turns to us. His small eyes drill into Graham's brain.\nLecktor's attitude is professionally psychiatric, as if Graham\nis the patient.\n LECKTOR\n Did you get my card?", "GRAHAM\n (long stare at\n Crawford; then)\n ... I'm going to see Lecter.\n\nCrawford's cup of coffee stops in front of his mouth:" ], [ "CUT TO:\n\nINT. HOTEL ROOM - GRAHAM - NIGHT\nWith Crawford on the phone.", "CRAWFORD\n How much do you know?\n\n GRAHAM\n What was in the 'Miami Herald' and\n the 'Times.'\n (beat)\n Confessions?", "CUT TO:\n INT. DINER, BOOTH - GRAHAM + CRAWFORD - DAY\n Graham is staring into the black deep recesses of his coffee.", "CRAWFORD\n He found them...\n\n\nGraham pushes aside the videotape sleeve and picks up the\nLeeds' home-movie can.", "Lounds barks orders to the still photographer and splits.\nThe photographer starts breaking down his gear. Crawford\ntakes Graham aside.\n\n\n\n\n75.", "47.\nCRAWFORD\n\nscribbles on a piece of paper.\n\n GRAHAM (O.S.)\n Do you know something about that?", "Graham and Crawford are moving dawn the sidewalk now. Crawford\ntries to block Lounds. Lounds moves around him, dogging Graham:", "GRAHAM\n (very low)\n Keep the fuck away from me!\n\n Crawford is pulling on Graham. He can't budge him. Graham\n lets go.", "PULL BACK to reveal Bloom, Crawford, a photographer and\nassistant. Graham motions for Lounds to turn off his\ntape recorder.", "Graham punches the phone and takes the call. Crawford's\nyelling at Lounds.\n\n GRARAM\n It's Will Graham...", "Meanwhile Graham has grabbed the second radio phone.\n\n CRAWFORD\n (into phone)\n Start feeding me names.\n\n\n INTERCUT WITH:", "senses Springfield's staring at him. Graham's face is blank.\nHe leaves. Springfield -- shaking Crawford's hand -- watches\nGraham all the way to the door.\n\n CUT TO:", "Crawford is staring at Graham strangely. This is why\nCrawford drafted him. But Crawford doesn't look like he\nwants to be alone in the same room with Graham anymore...", "Crawford holds up the piece of paper. It says: \"Chicago\nphone booth. Police scrambling.\"", "CUT TO:\n\nINT. WASHINGTON, FBI OFTICE - CRAWFORD - DAY\n\nOn phone to Graham.", "GRAHAM\n (to Crawford)\n No.\n\n CRAWFORD\n (into phone)\n Next ...\n\n CUT TO:", "CRAWFORD\n It's getting late and...\n\n GRAHAM\n (explodes)\n Don't talk to me!!\n\nCrawford's surprised.", "CRAWFORD\n I know...\n\n Graham looks away. Then he lights another cigarette.", "CRAWFORD\n (to Graham)\n ... bur if we find him, the print\n as evidence will get a conviction,\n Hold on. What?", "CRAWFORD\n Issue the toilet paper tear as a...\n\nThe phone RINGS. Graham punches the speaker." ], [ "We hear three locks opening. The door opens. Graham enters.\nAn attendant behind Graham closes the door and we hear the\nbolts lock again. As Graham is walking towards us, we WIDEN", "The PHONE RINGS. Crawford answers. His attention is riveted\non Graham.\n\n\n CRAWFORD\n It's the guard in the storeroom.", "closes the door. There's an awkward look on his face. He\ndidn't get to say what he wanted to say to Graham.\n\n\n CUT TO:", "GRAHAM\n Tell her I called.\n\nGraham hangs up. He dials again.", "GRAHAM\nsits in the chair. He wants a cigarette. He doesn't take\none. He waits. And he watches. What he sees:", "asked him -- through the speaker:\n 'Why did you have to kill my\n daddy? '\n (beat)\n That's when Graham had his nervous", "It opens. Graham enters. The room is white. We don't see\nthe bed. Graham stands there in profile. Beyond Graham OUT", "Graham stops at the door before he knocks for the attendant.\nThen he folds the abridged file tightly into the sliding\ntray. Lecktor pulls it through.", "is picked up and we MOVE WITH IT to his face. Graham punches\nnumbers into the phone. He waits. He clamps dawn again.\n\nHe is cold, calm.", "Graham and us hear a telephone booth door slam open. We hear\na receiver fall with a CLANG. He hear faint voices. The", "DISSOLVE TO:\n\nGRAHAM", "GRAHAM\n I have to see somebody.\n\nThere is a silence. Graham does not want to tell her that\nhe is going to see Lecter. Molly stays cool, she doesn't", "CUT TO:\n\nINT. HOTEL ROOM - GRAHAM - NIGHT\nWith Crawford on the phone.", "Graham stands there as if engraving each one in his memory.\nThen he nods. Then he leaves.\n\n\nGEORGE SHERMAN", "GRAHAM\n When I'm done.\n\nGraham hangs up the phone. He looks out the window at the\nrain. He dials again.", "In the silver mirrors of her eyes, Graham sees reflected\nthere: himself.\n\n\nINT. LEEDS LIVING ROOM - WIDE", "The DOOR SLAMS open and Graham comes out into daylight and\nair. The air is tactile to him. He can almost feel the\nmotes of dust and light that swim freely. He breathes.", "GRAHAM\n (long stare at\n Crawford; then)\n ... I'm going to see Lecter.\n\nCrawford's cup of coffee stops in front of his mouth:", "GRAHAM\n Uh-uh.\n\nGeehan leaves. The door closes with a SLAM.\n\n\nWIDE - GRAHAM", "Graham drops the phone. Tension floods out of him. In the\nouter office people are cheering,\n\n\n\nCLOSE ON GRAHAM" ], [ "DR. CHILTON (V.O.)\n From Hannibal Lecktor's cell. It\n was hidden in a book.", "LECKTOR\n Thank you very much.\n\nON the phone as Lecktor hangs up.\n\n CUT TO:", "At the top it says: 'I hope we can\n correspond.' And then the hole\n begins .\n (beat)\n It looks like Lecktor went over it", "CRAWFORD (V.O.)\n You got the message Lecktor called...\n\n GRAHAM\n I arranged for him to have a phone.\n I have to call him in a few minutes.", "GRAHAM\n After we've worked the note we\n want to replace it in Lecktor's\n cell. I don't want him to know", "Graham stops at the door before he knocks for the attendant.\nThen he folds the abridged file tightly into the sliding\ntray. Lecktor pulls it through.", "turns to us. His small eyes drill into Graham's brain.\nLecktor's attitude is professionally psychiatric, as if Graham\nis the patient.\n LECKTOR\n Did you get my card?", "The DOOR SLAMS shut on Lecktor.\n\n CUT TO:\n\n\n\n32.", "Lecktor's voice fades as Will Graham hangs us on him. Graham\nsits on the crumpled bed and stares out the window at the rain..\n\n CUT TO:", "GRAHAM\n Something Lecktor said.", "CRAWFORD\nAfter we find Lecktor's response,\nwe substitute our own. Somewhere\ntomorrow night the Tooth Fairy will", "CRAWFORD\n Yes. And I'm leery of running\n Lecktor's message without knowing\n what it says.", "GRAHAM\n Hair from Lecktor's comb. Whiskers\n from an electric razor they let\n him use. This is hair from the\n cleaning man.\n\n CUT TO:", "GRAHAM\n Goodbye, Dr. Lecktor. You can\n leave messages for me at the number\n on the file.", "And your message has to go out in it,\n or he'll know it's not Lecktor talking\n to him.", "GRAHAM\nI want you to help me, Dr. Lecktor.\n\n LECKTOR\nYes, I thought so.\n\n GRAHAM\nIt's about Atlanta and Birmingham.", "LECKTOR\n Do you dream much, Will?\n\n GRAHAM\n Good-bye, Dr. Lecktor.", "BOWMAN\n That's probably in the part Lecktor\n tore out.\n (beat)", "Another silence. Lecktor's eyes look as if they're drilling\ninto Graham's head, trying to find out things. Trying to\nfind a way to hurt Graham. He's very threatening. Then\nrelaxes:", "It's the one Lounds took after Graham was slashed by Lecktor.\nIt's a black-and-white square image of a sleeping man with a" ], [ "GBAHAM\n Until we've taken out the Tooth\n Fairy.\n\nGraham gestures for Lounds to turn off the tape recorder.", "them as unfair. As unfair as\n mine. The \"Tooth Fairy.\" What\n could be more inappropriate.\n Investigator Graham interests me.", "GRAHAM\n If the Tooth Fairy listens to\n Lecktor, he'll come for me. So", "GRAHAM (CONT'D)\n (beat)\n The Tooth Fairy will go on until we\n get smart or get lucky. He won't\n stop.", "SPRINGFIELD\n One more thing: I've heard officers\n referring to the killer as the 'Tooth\n Fairy.", "does color. The color's different\nthan the Tooth Fairy's taken in\nBirmingham and Atlanta. Three blue\ngrains and some dark flecks went to", "REBA\n The Tooth...\n\nIn a flash Dollarhyde grips her mouth, shutting off the\nsound.", "against the Smithsonian teeth. This\n is your boy...\n (beat)\n He folded the bottom part, including", "GRAHAM\n We know the Tooth Fairy reads the\n Tattler. The stuff about me and\n Lector? I don't know any other\n paper that carried it...", "GRAHAM\n Then the Tooth Fairy named the\n book in the part Lecktor tore out.\n\n BOWMAN\n Right .\n (beat)\n What about sweating Lecktor?", "BOWMAN\n it has to be a book the Tooth Fairy\n would know Lecktor has in his cell.", "GRAHAM\n Run it.\n\n CRAWFORD\n What if it encourages the Tooth\n Fairy to do something besides\n write?", "Tried To Kill Him, by Freddie Lounds.\" We also catch: \"The\nTooth Fairy - Psychopathic Slayer of Entire Families in\nBirmingham and Atlanta...\"", "As if he had any choice. Lounds' face moves; He strains.\nHis arms are glued to the chair. Dollarhyde's hand comes\nback with a cup of tea and a straw. Lounds sips.", "the fly. Possibly from the Tooth\n Fairy. Number one priority.,\n It has to go to Hair and Fiber,\n Latent Prints and Documents.", "'fairy.' Plus smeared bloodstains\n indicate that he put the shorts on\n Charles Leeds after he was dead.\n I believe he did this to emphasize", "stands four feet from her, just staring. Then he walks\nfrom the room.\n\nINT. DOLLARHYDE'S LIVING ROOM - DOLLARHYDE", "Reba's hand is gripped by Dollarhyde's. He brings her\nfingers up to his face. For the first time in this scene", "-- are transparent to infrared. The\n Tooth Fairy's ballpoint isn't...", "and shoves down to hoist herself out. Her breasts are glis-\ntening. Her teeth are white. She smiles at the camera.\nWhoever controls the console puts Mrs. Sherman in reverse." ], [ "CRAWFORD (V.O.)\n Will, Bowman just broke the code. It\n was a James Beard cook book. You\n need to know what it says right now.", "The numbers aren't right for a\n jailhouse alphabet code. It's a\n book code.\n (beat)", "Crawford holds up the piece of paper. It says: \"Chicago\nphone booth. Police scrambling.\"", "It means Red Dragon.\n (beat)\n That mean anything to you?", "SARAH\n He asked for Will. He said he\n might call back tonight. I tried\n to hold him... I'm sorry... He said\n 'tell Graham \"broken mirrors.\"'", "SARAH\n They got shot a Telex. They're on\n if now...\n\nEverybody exhibits disciplined surface calm. The tension is\nscreaming underneath.", "And your message has to go out in it,\n or he'll know it's not Lecktor talking\n to him.", "CHESTER (V.O.)\n We got an ad order in tonight's\n \"Tattler\" with 'six-six-six' in it.\n It's being Telexed to you right now.", "Very purposeful locking. I hope\n we can correspond.\n (beat)\n There's another piece missing here.\n I'LL read the bottom part.", "CRAWFORD\n (looks at watch)\n We let Lecktor's message run as is\n and decode it after. Or we pull\n it, work our the code and put ours\n in next week.", "what Lecktor tore out. In this\n enlargement of the back side,\n oblique light revealed impressions.\n We can make out: 'six-six-six'.", "DR. CHILTON\n It's written on toilet tissue.\n (reads )\n 'My dear Dr. Lecktor, I wanted to tell", "A finger taps Lounds on his chest. A touch on his eyelids.\nLounds slowly opens his eyes. His face goes white.", "DR. CHILTON (V.O.)\n Well, it's about goddamn time! I\n have a note here, or two pieces of", "Dollarhyde's unsteady hand takes it off the wall. Be pours\nsweat. If the acid that makes his shirt smoke burns him,\nhe doesn't acknowledge it. He punches four numbers.", "Bowman switches to a closed-circuit TV camera.\n\n\nMONITOR\n\nThe image focuses as Bowman focuses the lens. Then:\nThe ink smear is gone. Fragments of writing appear.", "asked him -- through the speaker:\n 'Why did you have to kill my\n daddy? '\n (beat)\n That's when Graham had his nervous", "At the top it says: 'I hope we can\n correspond.' And then the hole\n begins .\n (beat)\n It looks like Lecktor went over it", "(reads )\n 'After I hear back from you, I\n might send you something wet.\n Signed: Avid Fan.\n (to Graham)", "It's now sunset out the window. Both men are tense. On\nCrawford's desk are two new telephones and a tape recorder." ], [ "SPRINGFIELD\n One more thing: I've heard officers\n referring to the killer as the 'Tooth\n Fairy.", "Tried To Kill Him, by Freddie Lounds.\" We also catch: \"The\nTooth Fairy - Psychopathic Slayer of Entire Families in\nBirmingham and Atlanta...\"", "them as unfair. As unfair as\n mine. The \"Tooth Fairy.\" What\n could be more inappropriate.\n Investigator Graham interests me.", "GBAHAM\n Until we've taken out the Tooth\n Fairy.\n\nGraham gestures for Lounds to turn off the tape recorder.", "GRAHAM\n If the Tooth Fairy listens to\n Lecktor, he'll come for me. So", "BOWMAN\n it has to be a book the Tooth Fairy\n would know Lecktor has in his cell.", "GRAHAM\n Then the Tooth Fairy named the\n book in the part Lecktor tore out.\n\n BOWMAN\n Right .\n (beat)\n What about sweating Lecktor?", "GRAHAM\n We know the Tooth Fairy reads the\n Tattler. The stuff about me and\n Lector? I don't know any other\n paper that carried it...", "'fairy.' Plus smeared bloodstains\n indicate that he put the shorts on\n Charles Leeds after he was dead.\n I believe he did this to emphasize", "GRAHAM (CONT'D)\n (beat)\n The Tooth Fairy will go on until we\n get smart or get lucky. He won't\n stop.", "does color. The color's different\nthan the Tooth Fairy's taken in\nBirmingham and Atlanta. Three blue\ngrains and some dark flecks went to", "face from underneath his jaw. He starts crushing Dandridge's\nface. THREE soft POPS are from Dollarhyde's nine millimeter.\nHe shot Dandridge three times in the heart.", "A silent shot shoves her back to the headboard. Red blood\nstarts to stain her nightgown as she holds the wound. We\nFLOAT CLOSER. In SLOW MOTION Mr. Leeds starts to rise.", "REBA\n The Tooth...\n\nIn a flash Dollarhyde grips her mouth, shutting off the\nsound.", "(beat)\n The intruder cut Charles Leeds'\n throat as he lay asleep beside Mrs.\n Leeds. He shot Mrs. Leeds as she was", "against the Smithsonian teeth. This\n is your boy...\n (beat)\n He folded the bottom part, including", "rolled-up stocking covers Dollarhyde's head to just below\nhis nose. Dollarhyde's teeth are jagged and brown-stained.\nAnd he smiles at Lounds in front of the white screen.", "Something massive and silver flashes through the FRAME. He Is\ngone. Mirrors explode. Mrs. Leeds was looking at her hand\ncovered with blood. Now Mrs. Leeds looks up at us. Her face", "asked him -- through the speaker:\n 'Why did you have to kill my\n daddy? '\n (beat)\n That's when Graham had his nervous", "is pulled down slightly on the left side, making his left\neye moon-shaped. There is a half-healed wound and butter-\nfly bandage where Dollarhyde stabbed him. He is standing\nin a black raincoat with a black hat." ], [ "is pulled down slightly on the left side, making his left\neye moon-shaped. There is a half-healed wound and butter-\nfly bandage where Dollarhyde stabbed him. He is standing\nin a black raincoat with a black hat.", "approaches. She, too, wears goggles, but on a lanyard around\nher neck. She's petite, fragile. Dollarhyde towers over her.", "The Attendant tries to say he's sorry, but he can't talk.\nDollarhyde's hand has grabbed his face. He hesitates. Then\nhe throws money at the Attendant and leaves...", "We see what Dollarhyde imagines: Dandridge's fingers caress\nthe soft skin of Reba's face. Reba's expression and mouth\nare open and warm to him.", "lieved. Then Dollarhyde touches her gently, softly in wonder\nand amazement. Then Dollarhyde leaves...", "Dollarhyde's arm moves under her pillow. She snuggles closer\nto him. Dollarhyde's eyes are moist. Reba's hand moves up", "is white. There is something in Dollarhyde's face that he has\nnever seen before, anywhere.\n\n\nDOLLARHYDE", "GRAHAM\n (roars)\n STOP IT!!!\n\nDollarhyde turns to the window in time to see:\n\n\n\n\n128.", "Dollarhyde leaves. Lounds closes his eyes.", "GRAHAM\n (re Dollarhyde)\n This is our boy...!\n\n CUT TO:", "stands four feet from her, just staring. Then he walks\nfrom the room.\n\nINT. DOLLARHYDE'S LIVING ROOM - DOLLARHYDE", "where Dollarhyde hit her. She feels, around on the bed.\nShe's very frightened. She's trying to control herself...", "Dollarhyde looks at Reba. Then he looks at the film. The\ntwo of them are like a tableau of suburban TV-watching.\nThey're like a married couple sitting on the sofa. Except:", "Dollarhyde starts spilling liquid on Lounds. Lounds starts\nto moan and rouse from unconsciousness. His head starts to\nturn. He knows he's going to die. And he has some courage.", "DOLLARHYDE\n Do you want a Coke or something, Reba?\n\n REBA\n I'm fine, Francis.\n\nDollarhyde gets out.", "REBA\n No, no! I want to.\n\nDollarhyde reacts with a light smile at the compliment.", "rolled-up stocking covers Dollarhyde's head to just below\nhis nose. Dollarhyde's teeth are jagged and brown-stained.\nAnd he smiles at Lounds in front of the white screen.", "voice and see little of her. We will see Dollarhyde's face\nand the expressions on it: wonder and amazement.", "It slams open. Dollarhyde enters and walks through the dim\ngreen light past the developers in his black goggles with\nred lenses. Thousands of feet of negative move through the", "100.\n\nDollarhyde knows what he feels: he is pole-axed. He doesn't\nknow what he thinks.\n\n\nSAME - REBA - LATER" ], [ "GRAHAM\n (roars)\n STOP IT!!!\n\nDollarhyde turns to the window in time to see:\n\n\n\n\n128.", "bleeding, brings the .44 down from the recoil of the first shot.\nNow, up on one knee, he FIRES FOUR more rounds into Dollarhyde.", "face from underneath his jaw. He starts crushing Dandridge's\nface. THREE soft POPS are from Dollarhyde's nine millimeter.\nHe shot Dandridge three times in the heart.", "Dollarhyde starts spilling liquid on Lounds. Lounds starts\nto moan and rouse from unconsciousness. His head starts to\nturn. He knows he's going to die. And he has some courage.", "Graham stands and walks to Dollarhyde. Reba is collapsed in\nthe corner. Dollarhyde it more exploded from within than\nshot. Graham starts to raise the gun...\n\n\n CUT TO:", "lieved. Then Dollarhyde touches her gently, softly in wonder\nand amazement. Then Dollarhyde leaves...", "Dollarhyde leaves. Lounds closes his eyes.", "ENTERS THE FRAME and kisses Dollarhyde on the mouth.\nDollarhyde's eyes freeze open. He is stunned. Reba's left", "Dollarhyde's arm moves under her pillow. She snuggles closer\nto him. Dollarhyde's eyes are moist. Reba's hand moves up", "100.\n\nDollarhyde knows what he feels: he is pole-axed. He doesn't\nknow what he thinks.\n\n\nSAME - REBA - LATER", "is pulled down slightly on the left side, making his left\neye moon-shaped. There is a half-healed wound and butter-\nfly bandage where Dollarhyde stabbed him. He is standing\nin a black raincoat with a black hat.", "We see what Dollarhyde imagines: Dandridge's fingers caress\nthe soft skin of Reba's face. Reba's expression and mouth\nare open and warm to him.", "and slams into the station wall. CANS CRASH and roll away...\nDollarhyde does know what he can do about it.", "where Dollarhyde hit her. She feels, around on the bed.\nShe's very frightened. She's trying to control herself...", "we are seeing Dollarhyde's face. The fanged dentures are\nin his mouth. Dollarhyde makes Reba's hand feel his teeth.", "approaches. She, too, wears goggles, but on a lanyard around\nher neck. She's petite, fragile. Dollarhyde towers over her.", "The Attendant tries to say he's sorry, but he can't talk.\nDollarhyde's hand has grabbed his face. He hesitates. Then\nhe throws money at the Attendant and leaves...", "is white. There is something in Dollarhyde's face that he has\nnever seen before, anywhere.\n\n\nDOLLARHYDE", "Graham point the gun down to Dollarhyde's head. As we're\npulling away comes the final FLASH + REPORT and...", "turns away. The shape of Dollarhyde passes behind his head.\nThe kimono is on again.\n\n\nPAST LOUNDS' HEAD: SCREEN" ], [ "GRARAM\n Will Graham, FBI.", "Lecktor's voice fades as Will Graham hangs us on him. Graham\nsits on the crumpled bed and stares out the window at the rain..\n\n CUT TO:", "We will only see the rear of Will Graham sitting alone on the\nside of the bed in the alienating motel room. His head is\nbandaged.\n\n\n GRAHAM\n (into phone)\n Hello.", "before was lies from Will Graham. He\n made me write them. Now I understand.\n (beat)\n 'Will Graham: you will learn from my", "GRAHAM\n (calm)\n This is Will Graham. Can I help\n you?\n\n VOICE (V.O.)\n No. I can help you.", "GRAHAEI\n My name's Will Graham. I...", "Will Graham thinks about this.", "JIMMIE PRICE (V.O.)\n Who am I talking to?\n\n CRAWIIORD\n Jimmie, it's me, Jack Crawford, and\n you got Will Graham here.", "His arms are widespread. The phone RINGS. Will Graham\ndoesn't hear it. It keeps RINGING. MOVE IN on Graham.\nFinally, he stirs, then fights his way up out of sleep.", "opens. Running down the stairs and across the tarmac is\nWill Graham in shirtsleeves with a Car-15 assault rifle with\ncollapsible stock. His eyes scan the perimeter.\n\n\nFBI MEN", "Graham punches the phone and takes the call. Crawford's\nyelling at Lounds.\n\n GRARAM\n It's Will Graham...", "GRAHAM\n It's Will Graham. Is Molly there,\n Mr. Swenson?", "in the dark shadows of the trees. He seems to float: through\nthe branches and slows and settles quietly. Then the ex-\npression on Will Graham's face starts to change...", "CHESTER (V.O.)\n This is Chester here. Who am I\n talking to?\n\n GRAHAM\n Will Graham, Jack Crawford...", "INT. FBI CAFETERIA - CRAWFORD + BLOOM - DAY\n\n CRAWFORD\n I need to talk to you about Will\n Graham.", "The front walk vertically bisects the FRAME. An Atlanta\nPolice department car pulls to the curb and stops. The door\nopens, lighting the interior and Will Graham starts out the", "SPRINGFIELD\n (to Graham)\n The Commissioner was saying you\n were the one that caught Dr. Lecter\n three years ago.\n (beat)\n He killed nine people, didn't he?", "DR. CHILTON\n The consensus around here is that\n the only person who has demonstrated\n any practical understanding of Dr.\n Hannibal Lecter is you, Mr. Graham.\n Can you tell me anything about him?", "his left shoulder to reveal he's reading the National Tattler.\nIt's about Will Graham with a Freddie Lounds byline. The\nonly words we catch are: \"FBI Manhunter Consults Fiend Who", "LECKTOR\n Do you dream much, Will?\n\n GRAHAM\n Good-bye, Dr. Lecktor." ], [ "Lecktor's voice fades as Will Graham hangs us on him. Graham\nsits on the crumpled bed and stares out the window at the rain..\n\n CUT TO:", "We will only see the rear of Will Graham sitting alone on the\nside of the bed in the alienating motel room. His head is\nbandaged.\n\n\n GRAHAM\n (into phone)\n Hello.", "GRAHAM\n (calm)\n This is Will Graham. Can I help\n you?\n\n VOICE (V.O.)\n No. I can help you.", "before was lies from Will Graham. He\n made me write them. Now I understand.\n (beat)\n 'Will Graham: you will learn from my", "JIMMIE PRICE (V.O.)\n Who am I talking to?\n\n CRAWIIORD\n Jimmie, it's me, Jack Crawford, and\n you got Will Graham here.", "GRARAM\n Will Graham, FBI.", "GRAHAEI\n My name's Will Graham. I...", "Graham punches the phone and takes the call. Crawford's\nyelling at Lounds.\n\n GRARAM\n It's Will Graham...", "GRAHAM\n (roars)\n STOP IT!!!\n\nDollarhyde turns to the window in time to see:\n\n\n\n\n128.", "LECKTOR\n You're very tan, Will.\n\nGraham does not answer, If anything happens, there is a\ntightening of the musculature repressing his reactions to\nLecktor.", "It's the one Lounds took after Graham was slashed by Lecktor.\nIt's a black-and-white square image of a sleeping man with a", "in the dark shadows of the trees. He seems to float: through\nthe branches and slows and settles quietly. Then the ex-\npression on Will Graham's face starts to change...", "Another silence. Lecktor's eyes look as if they're drilling\ninto Graham's head, trying to find out things. Trying to\nfind a way to hurt Graham. He's very threatening. Then\nrelaxes:", "DR. CHILTON\n The consensus around here is that\n the only person who has demonstrated\n any practical understanding of Dr.\n Hannibal Lecter is you, Mr. Graham.\n Can you tell me anything about him?", "His arms are widespread. The phone RINGS. Will Graham\ndoesn't hear it. It keeps RINGING. MOVE IN on Graham.\nFinally, he stirs, then fights his way up out of sleep.", "GRAHAM\n Something Lecktor said.", "GPAHAM\n This is Will Graham. Dr. Chilton\n arranged for me to talk with Dr.\n Lecktor .\n\n OPERATOR (V.O.)\n I'll put you through.", "GRAHAM\nI want you to help me, Dr. Lecktor.\n\n LECKTOR\nYes, I thought so.\n\n GRAHAM\nIt's about Atlanta and Birmingham.", "Graham stands and walks to Dollarhyde. Reba is collapsed in\nthe corner. Dollarhyde it more exploded from within than\nshot. Graham starts to raise the gun...\n\n\n CUT TO:", "opens. Running down the stairs and across the tarmac is\nWill Graham in shirtsleeves with a Car-15 assault rifle with\ncollapsible stock. His eyes scan the perimeter.\n\n\nFBI MEN" ], [ "Tried To Kill Him, by Freddie Lounds.\" We also catch: \"The\nTooth Fairy - Psychopathic Slayer of Entire Families in\nBirmingham and Atlanta...\"", "SPRINGFIELD\n One more thing: I've heard officers\n referring to the killer as the 'Tooth\n Fairy.", "(beat)\n The intruder cut Charles Leeds'\n throat as he lay asleep beside Mrs.\n Leeds. He shot Mrs. Leeds as she was", "has hit the stop button. He picks up a measured field sketch\nof the master bedroom. The bloodstains are represented in\noutline. Three are along the left wall. The arterial", "Leeds. And Jacobi. The police\n think they were murdered.\n (beat)\n Do you know what they call the\n being that visited these people?", "SARAH CRAWFORD\n (fading up) (fading down)\n Special Agent Crawford's No. The killer's not in", "A silent shot shoves her back to the headboard. Red blood\nstarts to stain her nightgown as she holds the wound. We\nFLOAT CLOSER. In SLOW MOTION Mr. Leeds starts to rise.", "asked him -- through the speaker:\n 'Why did you have to kill my\n daddy? '\n (beat)\n That's when Graham had his nervous", "74.\n GRAHAM\n The killer has sexually molested\n all his male victims. He is a", "the walls look like a monochromatic Jackson Pollock. The\nmirrors are smashed. Taped outlines on the mattress indi-\ncate where the bodies had been found. Graham opens the", "face from underneath his jaw. He starts crushing Dandridge's\nface. THREE soft POPS are from Dollarhyde's nine millimeter.\nHe shot Dandridge three times in the heart.", "He obeys Graham and floors it. Graham puts his black plastic\nbriefcase on his lap and extracts the .44 Charter Arms Bulldog.", "GRAHAM\nHobbs was insane. He was attacking\ncollege girls and he killed them.\n\n KEVIN\nHow?\n\n GRAHAM\nWith a knife.", "28.\n\n GRAHAM\n You'll get to see the file on this\n case. And there's another reason.\n\n LECKTOR\n Pray tell.", "Detectives file out. Crawford and Graham remain.\nSpringfield crosses to them and they wait for all the other\ndetectives to leave.", "yourself. Kill them all.\n (beat)\n It's your home address, Will. The\n bastard gave him your home address.", "his left shoulder to reveal he's reading the National Tattler.\nIt's about Will Graham with a Freddie Lounds byline. The\nonly words we catch are: \"FBI Manhunter Consults Fiend Who", "Graham shoulders past Crawford He throws the Kevlar vest\nacross the parking lot. He almost killed the man. Meanwhile,\nSpurgen is with the Runner.", "SPRINGFIELD\n (to Graham)\n The Commissioner was saying you\n were the one that caught Dr. Lecter\n three years ago.\n (beat)\n He killed nine people, didn't he?", "It's the one Lounds took after Graham was slashed by Lecktor.\nIt's a black-and-white square image of a sleeping man with a" ], [ "GRAHAM\n (stands)\n I want to see Lecktor now.\n\n DR. CHILTON\n Uh... sure...", "Graham stops at the door before he knocks for the attendant.\nThen he folds the abridged file tightly into the sliding\ntray. Lecktor pulls it through.", "Another silence. Lecktor's eyes look as if they're drilling\ninto Graham's head, trying to find out things. Trying to\nfind a way to hurt Graham. He's very threatening. Then\nrelaxes:", "CRAWFORD (V.O.)\n You got the message Lecktor called...\n\n GRAHAM\n I arranged for him to have a phone.\n I have to call him in a few minutes.", "Lecktor's voice fades as Will Graham hangs us on him. Graham\nsits on the crumpled bed and stares out the window at the rain..\n\n CUT TO:", "GRAHAM\nI want you to help me, Dr. Lecktor.\n\n LECKTOR\nYes, I thought so.\n\n GRAHAM\nIt's about Atlanta and Birmingham.", "turns to us. His small eyes drill into Graham's brain.\nLecktor's attitude is professionally psychiatric, as if Graham\nis the patient.\n LECKTOR\n Did you get my card?", "GRAHAM\n Something Lecktor said.", "Graham exits the car and walks TOWARDS us. We PAN AROUND as\n he moves through EXTREME CLOSEUP and see the Leeds family house", "GRAHAM\n (long stare at\n Crawford; then)\n ... I'm going to see Lecter.\n\nCrawford's cup of coffee stops in front of his mouth:", "LECKTOR\n You're very tan, Will.\n\nGraham does not answer, If anything happens, there is a\ntightening of the musculature repressing his reactions to\nLecktor.", "GRAHAM\n I have to see somebody.\n\nThere is a silence. Graham does not want to tell her that\nhe is going to see Lecter. Molly stays cool, she doesn't", "It's the one Lounds took after Graham was slashed by Lecktor.\nIt's a black-and-white square image of a sleeping man with a", "DR. CHILTON (V.O.)\n In a holding cell.\n\n GRAHAM\n How long can you keep Lecktor out\n without him getting suspicious?", "GRAHAM\n Hair from Lecktor's comb. Whiskers\n from an electric razor they let\n him use. This is hair from the\n cleaning man.\n\n CUT TO:", "GRAHAM\n He'd know it from articles he's\n read about Lecktor...", "GRAHAM\n After we've worked the note we\n want to replace it in Lecktor's\n cell. I don't want him to know", "GRAHAM\n The main thing is: how was Lecktor\n to reply.", "GRAHAM\n Goodbye, Dr. Lecktor. You can\n leave messages for me at the number\n on the file.", "GRAHAM\n Very interesting, even to a layman.\n\nLecktor rolls around and examines the term \"layman\" in his\nhead. Then:" ], [ "GRAHAM\n (stands)\n I want to see Lecktor now.\n\n DR. CHILTON\n Uh... sure...", "Graham stops at the door before he knocks for the attendant.\nThen he folds the abridged file tightly into the sliding\ntray. Lecktor pulls it through.", "Lecktor's voice fades as Will Graham hangs us on him. Graham\nsits on the crumpled bed and stares out the window at the rain..\n\n CUT TO:", "GRAHAM\n Goodbye, Dr. Lecktor. You can\n leave messages for me at the number\n on the file.", "Graham exits the car and walks TOWARDS us. We PAN AROUND as\n he moves through EXTREME CLOSEUP and see the Leeds family house", "GRAHAM\n Something Lecktor said.", "Another silence. Lecktor's eyes look as if they're drilling\ninto Graham's head, trying to find out things. Trying to\nfind a way to hurt Graham. He's very threatening. Then\nrelaxes:", "It's the one Lounds took after Graham was slashed by Lecktor.\nIt's a black-and-white square image of a sleeping man with a", "LECKTOR\n Do you dream much, Will?\n\n GRAHAM\n Good-bye, Dr. Lecktor.", "GRAHAM\n I have to see somebody.\n\nThere is a silence. Graham does not want to tell her that\nhe is going to see Lecter. Molly stays cool, she doesn't", "Graham stands and walks to Dollarhyde. Reba is collapsed in\nthe corner. Dollarhyde it more exploded from within than\nshot. Graham starts to raise the gun...\n\n\n CUT TO:", "GRAHAM\n After we've worked the note we\n want to replace it in Lecktor's\n cell. I don't want him to know", "GRAHAM\nI want you to help me, Dr. Lecktor.\n\n LECKTOR\nYes, I thought so.\n\n GRAHAM\nIt's about Atlanta and Birmingham.", "turns to us. His small eyes drill into Graham's brain.\nLecktor's attitude is professionally psychiatric, as if Graham\nis the patient.\n LECKTOR\n Did you get my card?", "LECKTOR\n You're very tan, Will.\n\nGraham does not answer, If anything happens, there is a\ntightening of the musculature repressing his reactions to\nLecktor.", "The DOOR SLAMS shut on Lecktor.\n\n CUT TO:\n\n\n\n32.", "GRAHAM\n (long stare at\n Crawford; then)\n ... I'm going to see Lecter.\n\nCrawford's cup of coffee stops in front of his mouth:", "We will only see the rear of Will Graham sitting alone on the\nside of the bed in the alienating motel room. His head is\nbandaged.\n\n\n GRAHAM\n (into phone)\n Hello.", "CRAWFORD (V.O.)\n You got the message Lecktor called...\n\n GRAHAM\n I arranged for him to have a phone.\n I have to call him in a few minutes.", "senses Springfield's staring at him. Graham's face is blank.\nHe leaves. Springfield -- shaking Crawford's hand -- watches\nGraham all the way to the door.\n\n CUT TO:" ], [ "We hear three locks opening. The door opens. Graham enters.\nAn attendant behind Graham closes the door and we hear the\nbolts lock again. As Graham is walking towards us, we WIDEN", "walks down the corridor. He's very stiff. He's walking\ntowards the outside door. The door is a rectangle of white\nlight that sends daggers of brilliance across the highly\npolished institution's floor. Graham walks for the light.", "until his foot is level to where he saw the mud. He looks\nto his left. Something he sees stops him cold.", "Graham stops at the door before he knocks for the attendant.\nThen he folds the abridged file tightly into the sliding\ntray. Lecktor pulls it through.", "The PHONE RINGS. Crawford answers. His attention is riveted\non Graham.\n\n\n CRAWFORD\n It's the guard in the storeroom.", "By now we're close to his body curled up on the floor in the\nsanctuary of the developing room. The red glow emanates\nfrom beneath Dollarhyde's shirt.", "GUARD\n When we were cleaning out Dr.\n Lector's cell, he heard us coming\n and hid something in a book.. We\n got him out of there and dug around...", "stares at it. He puts his hands under and runs cold water\non his upturned wrists.\n\n CUT TO:", "A finger taps Lounds on his chest. A touch on his eyelids.\nLounds slowly opens his eyes. His face goes white.", "GUARD\n Yeah. It's right here.\n\nGuard pulls three sheers of toiler paper with writing on them\nout of his pocket. We HOLD ON it.\n\n\nDR. CHILTON", "INT. CHESAPEAKE: STATE HOSPITAL FOR THE CRIMINALLY\nINSANE, CORRIDOR - GRAHAM - DAY", "starts to move around the van he sees something in the\ninterior and stops. A smile dawns on his face. We don't\nknow what he sees. He starts wiping the windshield. He", "stands four feet from her, just staring. Then he walks\nfrom the room.\n\nINT. DOLLARHYDE'S LIVING ROOM - DOLLARHYDE", "been cleaned up. It is absolutely naked. Shades are drawn.\nSlashes of light hit the floor. Graham stands there. Then\nhe walks forward...", "runs to the door. In a WIDER SHOT, we see there is a sho-\ngun resting inside the door jamb. It's within reach or\nSherman's hand. We see why Tina Sherman screamed:", "Dr. Chilton looks over at Graham, perhaps expecting a.\n response. There is nothing to read in Graham's face. It is\n a blank.", "The DOOR SLAMS open and Graham comes out into daylight and\nair. The air is tactile to him. He can almost feel the\nmotes of dust and light that swim freely. He breathes.", "is unconscious. A hand puts ammonia under his nose.\nLounds regains consciousness. He tries to move. He can't.", "Bowman is already running through the onion-skinned pages of\na Bible he took from a shelf. Nobody talks to him.", "Attendant hesitates. Then he leaves. Lecktor is allowed to\n call his attorney in privacy.\n\n\n LECKTOR\n\n picks up the phone and punches in his number." ], [ "Footsteps are going away.\n\n LOUNDS\n What am I doing here?\n\n DOLLARHYDE (O.S.)\n Atoning, Mr. Lounds.", "LOUNDS\n You'll let me go now?\n\n DOLLARHYDE\n You will tell the truth?\n\n LOUNDS\n Absolutely,", "As if he had any choice. Lounds' face moves; He strains.\nHis arms are glued to the chair. Dollarhyde's hand comes\nback with a cup of tea and a straw. Lounds sips.", "Dollarhyde starts spilling liquid on Lounds. Lounds starts\nto moan and rouse from unconsciousness. His head starts to\nturn. He knows he's going to die. And he has some courage.", "Lounds reacts.\n\n DOLLARHYDE (O.S.)\n Do you know who I am, Mr. Lounds?\n\n LOUNDS\n I don't want to know.", "A finger taps Lounds on his chest. A touch on his eyelids.\nLounds slowly opens his eyes. His face goes white.", "Dollarhyde leaves. Lounds closes his eyes.", "There are sanitary napkins covering Lounds' eyes and mouth.\nThe one on his mouth is removed. We will see ONLY Lounds.", "CUT TO:\n\n\nINT. DOLLARHYDE HOUSE (ST. LOUIS) - LOUNDS - NIGHT", "carries a tape recorder. We PAN it across the room to Lounds'\nface .\n DOLLARHYDE (O.S.)\n Open your eyes, Mr. Lounds.\n\nLounds obeys.", "The figures seen from the back. We don't know what Dollar-\nhyde, leaning over Lounds, is doing, but Lounds screams.\n\n CUT TO:", "LOUNDS\n Yes .\n\n DOLLARHYDE\n Mrs. Jacobi after her changing.\n (as Lounds nods)\n The Dragon rampant. Do you see?", "is unconscious. A hand puts ammonia under his nose.\nLounds regains consciousness. He tries to move. He can't.", "It's the one Lounds took after Graham was slashed by Lecktor.\nIt's a black-and-white square image of a sleeping man with a", "The hand rips off the sanitary napkins covering Lounds' eyes.\nLounds jams his eyes shut. The lights brighten. A single\nfinger taps the top of his head.", "LOUNDS\n Yes .\n\n DOLLARHYDE\n Freddie Lounds. Your photograph.\n\n Do you see?", "LOUNDS\n Oh, God.\n\n DOLLARHYDE\n Do you see?\n\n LOUNDS\n Please, no.", "LOUNDS\n Yes .\n\nCLICK. Next slide. Mrs. Leeds alive, locked into a silent\nscream in her bedroom.\n\n DOLLARHYDE\n Do you see?", "LOUNDS\n How does this guy compare with\n Lecter? How does he do them?\n\nRight now he makes the mistake of grabbing Graham's arm to\nturn him around.", "LOUNDS\n (to himself)\n Didn't take off the mask. Please,\n God, let him not take off the mask.\n If he comes back with it off, I'm dead..." ], [ "A finger taps Lounds on his chest. A touch on his eyelids.\nLounds slowly opens his eyes. His face goes white.", "is unconscious. A hand puts ammonia under his nose.\nLounds regains consciousness. He tries to move. He can't.", "CUT TO:\n\n\nINT. DOLLARHYDE HOUSE (ST. LOUIS) - LOUNDS - NIGHT", "CUT TO:\n\n\nINT. CXR - FREDDIE LOUNDS - DAY", "Dollarhyde starts spilling liquid on Lounds. Lounds starts\nto moan and rouse from unconsciousness. His head starts to\nturn. He knows he's going to die. And he has some courage.", "carries a tape recorder. We PAN it across the room to Lounds'\nface .\n DOLLARHYDE (O.S.)\n Open your eyes, Mr. Lounds.\n\nLounds obeys.", "The hand rips off the sanitary napkins covering Lounds' eyes.\nLounds jams his eyes shut. The lights brighten. A single\nfinger taps the top of his head.", "Footsteps are going away.\n\n LOUNDS\n What am I doing here?\n\n DOLLARHYDE (O.S.)\n Atoning, Mr. Lounds.", "There are sanitary napkins covering Lounds' eyes and mouth.\nThe one on his mouth is removed. We will see ONLY Lounds.", "LOUNDS\n Will, listen...\n\n CUT TO:", "As if he had any choice. Lounds' face moves; He strains.\nHis arms are glued to the chair. Dollarhyde's hand comes\nback with a cup of tea and a straw. Lounds sips.", "LOUNDS\n Yes .\n\nCLICK. Next slide. Mrs. Leeds alive, locked into a silent\nscream in her bedroom.\n\n DOLLARHYDE\n Do you see?", "The figures seen from the back. We don't know what Dollar-\nhyde, leaning over Lounds, is doing, but Lounds screams.\n\n CUT TO:", "It is morning. He snaps awake. he is horror-struck: Reba's\npillow is empty. She's nor there. Dollarhyde races our of\nthe room.\n\n CUT TO:", "It's the one Lounds took after Graham was slashed by Lecktor.\nIt's a black-and-white square image of a sleeping man with a", "CUT TO:\n\nEXT. CHICAGO STREET, PHONE BOOTH - FREDDIE LOUNDS - NIGHT\ngrabs for the phone.", "LOUNDS\n You'll let me go now?\n\n DOLLARHYDE\n You will tell the truth?\n\n LOUNDS\n Absolutely,", "LOUNDS\n Yes.\n\nCLICK.\n\n\nLOUNDS\n\nstaring in horror. We will not see the rest of the slider.", "LOUNDS\n Was I in an accident?\n\n DOLLARHYDE (O.S.)\n No, Mr. Lounds. You'll be just fine.", "His arms are widespread. The phone RINGS. Will Graham\ndoesn't hear it. It keeps RINGING. MOVE IN on Graham.\nFinally, he stirs, then fights his way up out of sleep." ], [ "DOLLARHYDE\n Do you want a Coke or something, Reba?\n\n REBA\n I'm fine, Francis.\n\nDollarhyde gets out.", "we are seeing Dollarhyde's face. The fanged dentures are\nin his mouth. Dollarhyde makes Reba's hand feel his teeth.", "is white. There is something in Dollarhyde's face that he has\nnever seen before, anywhere.\n\n\nDOLLARHYDE", "DOLLARHYDE\n Ms. McClain, I'm Francis Dollarhyde.\n I came about the low light level\n infrared film stock.", "ENTERS THE FRAME and kisses Dollarhyde on the mouth.\nDollarhyde's eyes freeze open. He is stunned. Reba's left", "voice and see little of her. We will see Dollarhyde's face\nand the expressions on it: wonder and amazement.", "We see what Dollarhyde imagines: Dandridge's fingers caress\nthe soft skin of Reba's face. Reba's expression and mouth\nare open and warm to him.", "rolled-up stocking covers Dollarhyde's head to just below\nhis nose. Dollarhyde's teeth are jagged and brown-stained.\nAnd he smiles at Lounds in front of the white screen.", "starts printing our line by line: a blow-up of a driver's\nlicense with picture. The lines compose hair, forehead,\neyes... coming at us line by line is: Francis Dollarhyde.", "is pulled down slightly on the left side, making his left\neye moon-shaped. There is a half-healed wound and butter-\nfly bandage where Dollarhyde stabbed him. He is standing\nin a black raincoat with a black hat.", "approaches. She, too, wears goggles, but on a lanyard around\nher neck. She's petite, fragile. Dollarhyde towers over her.", "Dollarhyde's arm moves under her pillow. She snuggles closer\nto him. Dollarhyde's eyes are moist. Reba's hand moves up", "face from underneath his jaw. He starts crushing Dandridge's\nface. THREE soft POPS are from Dollarhyde's nine millimeter.\nHe shot Dandridge three times in the heart.", "GRAHAM\n (roars)\n STOP IT!!!\n\nDollarhyde turns to the window in time to see:\n\n\n\n\n128.", "100.\n\nDollarhyde knows what he feels: he is pole-axed. He doesn't\nknow what he thinks.\n\n\nSAME - REBA - LATER", "lieved. Then Dollarhyde touches her gently, softly in wonder\nand amazement. Then Dollarhyde leaves...", "Dollarhyde looks at Reba. Then he looks at the film. The\ntwo of them are like a tableau of suburban TV-watching.\nThey're like a married couple sitting on the sofa. Except:", "GRAHAM\n (re Dollarhyde)\n This is our boy...!\n\n CUT TO:", "is asleep. She holds Dollarhyde in the near dark. His hand\ncaresses her forehead and brushes light brown hair from her\nface .\n\n\nDOLLARHME", "where Dollarhyde hit her. She feels, around on the bed.\nShe's very frightened. She's trying to control herself..." ], [ "A silent shot shoves her back to the headboard. Red blood\nstarts to stain her nightgown as she holds the wound. We\nFLOAT CLOSER. In SLOW MOTION Mr. Leeds starts to rise.", "is pulled down slightly on the left side, making his left\neye moon-shaped. There is a half-healed wound and butter-\nfly bandage where Dollarhyde stabbed him. He is standing\nin a black raincoat with a black hat.", "By now we're close to his body curled up on the floor in the\nsanctuary of the developing room. The red glow emanates\nfrom beneath Dollarhyde's shirt.", "(beat)\n The intruder cut Charles Leeds'\n throat as he lay asleep beside Mrs.\n Leeds. He shot Mrs. Leeds as she was", "The hand rips off the sanitary napkins covering Lounds' eyes.\nLounds jams his eyes shut. The lights brighten. A single\nfinger taps the top of his head.", "asked him -- through the speaker:\n 'Why did you have to kill my\n daddy? '\n (beat)\n That's when Graham had his nervous", "The Attendant tries to say he's sorry, but he can't talk.\nDollarhyde's hand has grabbed his face. He hesitates. Then\nhe throws money at the Attendant and leaves...", "Dollarhyde leaves. Lounds closes his eyes.", "It slams open. Dollarhyde enters and walks through the dim\ngreen light past the developers in his black goggles with\nred lenses. Thousands of feet of negative move through the", "stands four feet from her, just staring. Then he walks\nfrom the room.\n\nINT. DOLLARHYDE'S LIVING ROOM - DOLLARHYDE", "As if he had any choice. Lounds' face moves; He strains.\nHis arms are glued to the chair. Dollarhyde's hand comes\nback with a cup of tea and a straw. Lounds sips.", "approaches. She, too, wears goggles, but on a lanyard around\nher neck. She's petite, fragile. Dollarhyde towers over her.", "face from underneath his jaw. He starts crushing Dandridge's\nface. THREE soft POPS are from Dollarhyde's nine millimeter.\nHe shot Dandridge three times in the heart.", "There are sanitary napkins covering Lounds' eyes and mouth.\nThe one on his mouth is removed. We will see ONLY Lounds.", "Attendant starts away. Dollarhyde catches him and shoves him\ninto and through a display of STP. The Attendant bounces once", "Something massive and silver flashes through the FRAME. He Is\ngone. Mirrors explode. Mrs. Leeds was looking at her hand\ncovered with blood. Now Mrs. Leeds looks up at us. Her face", "is blind. Her white cane is propped in the corner. She's\nthirty with a handsome prairie face.", "Graham stops at the door before he knocks for the attendant.\nThen he folds the abridged file tightly into the sliding\ntray. Lecktor pulls it through.", "LOUNDS\n Yes .\n\nCLICK. Next slide. Mrs. Leeds alive, locked into a silent\nscream in her bedroom.\n\n DOLLARHYDE\n Do you see?", "The figures seen from the back. We don't know what Dollar-\nhyde, leaning over Lounds, is doing, but Lounds screams.\n\n CUT TO:" ] ]

[ "Where is the most recent crime scene Graham visits?", "Who does Crawford bring to the FBI Academy in Quantico?", "What is in Lecktor's coded message to the Tooth Fairy?", "Where is Lounds's flaming body rolled into?", "Where does Francis Dollarhyde work?", "What is Dollarhyde watching when he takes Reba to his home?", "What weapon does Dollarhyde use to wound Crawford?", "How many police officers does Dollarhyde kill in his firefight with Crawford?", "What happens when Dollarhyde returns to the kitchen to kill Crawford?", "What serial killer did Wil Graham catch?", "What is the name of the serial killer Jack Crawford ask him to help catch?", "What tabloid journalist accousts Crawford and Graham?", "Who does Graham visit in his cell?", "Who wrote a note to Lecktor?", "Who does the Tooth Fairy kidnap?", "What did the coded message say?", "What is the name of the Tooth Fairy killer?", "What is the name of Dollarhyde's blind co-worker?", "Who kills Dollarhyde?", "What did Will Graham retire from?", "Who was Will Graham attacked by?", "What is the name of the new killer case?", "Where does Graham visit Lecktor?", "Where does Graham go after leaving Lecktor?", "What does the warden find?", "Who is Lounds taken by?", "Where does Lounds wake up?", "Who is Francis Dollarhyde?", "Who is the killer's blind co-worker?" ]

[ [ "Atlanta.", "Atlanta " ], [ "Crawford brings Graham.", "Graham." ], [ "Graham's home address.", "Save yourself, kill them all. " ], [ "The parking garage of the National Tattler.", "The parking garage of the National Tattler." ], [ "A St. Louis film lab.", "A film lab. " ], [ "Home movie footage of his planned next victim.", "He is watching home movie foortage of his next intended victim." ], [ "A shotgun.", "A shotgun. " ], [ "He kills two.", "Two." ], [ "He misses and is killed himself when Crawford returns fire.", "He misses because of his injuries and is killed when Graham returns fire." ], [ "Dr. Hannibal Lecktor", "Hannibal Lecter. " ], [ "The Tooth Fairy", "The Tooth Fairy." ], [ "Lounds", "Freddy Lounds." ], [ "Lecktor", "Hannibal Lecktor." ], [ "The Tooth Fairy", "The Tooth Fairy." ], [ "Lounds", "Reba McClane. " ], [ "It had Graham's home address on it and said, \"Save Yourself, Kill Them All\"", "Save yourself. Kill them all. " ], [ "Francis Dollarhyde", "Francis Dollarhyde. " ], [ "Reba", "Reba McClane." ], [ "Graham", "Graham. " ], [ "The FBI.", "The FBI" ], [ "Dr. Hannibal Lecktor.", "Will Graham is attacked by Dollarhyde." ], [ "The Tooth Fairy.", "Tooth Fairy." ], [ "In his cell.", "Graham visits Lecktor in his jail cell." ], [ "Birmingham.", "The first crime scene in Birmingham, Alabama." ], [ "A note.", "The warden finds a note in Lecktor's personal effects from the Tooth Fairy killer." ], [ "The Tooth Fairy.", "The Tooth Fairy. " ], [ "In the killer's home.", "The killer's home. " ], [ "The Tooth Fairy", "The \"tooth fairy\"/ the killer " ], [ "Reba", "Reba McClane " ] ]

[ [ "\"Teaching is really very interesting work,\" wrote Anne to a Queen's\nAcademy chum. \"Jane says she thinks it is monotonous but I don't find it", "Anne, by what somebody has called \"a Herculaneum effort,\" kept back her\ntears until she got home that night. Then she shut herself in the east", "The day went by like a dream. Anne could never clearly recall it\nafterwards. It almost seemed as if it were not she who was teaching", "are. Well, Anne, my easy times are over . . . all over. It's neatness and\ntidiness for me for the rest of my natural life, I suppose.\"", "Anne hastened to the sitting room closet to get the platter. She had,\nin accordance with her promise to Mrs. Lynde, written to Miss Barry of", "School opened and Anne returned to her work, with fewer theories but\nconsiderably more experience. She had several new pupils, six- and", "Anne had her own opinion about that as she hastened into the house to\nwrite a note at Miss Lavendar's desk.", "Anne leaned back in her chair one mild October evening and sighed. She\nwas sitting at a table covered with text books and exercises, but the\nclosely written sheets of paper before her had no apparent connection\nwith studies or school work.", "Anne hopped briskly up and went to work. She washed the teapot in\nseveral waters before she put the tea to steep. Then she swept the stove", "the circumstances, and she'll have Anne to help her. Anne's tickled\nto death over the whole business, and she has a real knacky way with", "\"I like teaching, too,\" said Gilbert. \"It's good training, for one\nthing. Why, Anne, I've learned more in the weeks I've been teaching the", "Anne kept her own counsel and Mrs. Harrison never knew that her\ngratitude found its way to its object. Anne felt rather bewildered", "Both girls laughed over the old memory . . . concerning which, if any of\nmy readers are ignorant and curious, I must refer them to Anne's earlier\nhistory.", "\"Another chapter in my life is closed,\" said Anne aloud, as she locked\nher desk. She really felt very sad over it; but the romance in the idea\nof that \"closed chapter\" did comfort her a little.", "returned to her work. Any one who has ever shifted feathers from one\ntick to another will not need to be told that when Anne finished she", "Anne had always a weather eye open for kindred spirits.\n\nMarilla Cuthbert was driving into the yard as Anne returned from the\nhouse, and the latter flew to get tea ready. They discussed the matter\nat the tea table.", "While Anne was not beautiful in any strictly defined sense of the word\nshe possessed a certain evasive charm and distinction of appearance that\nleft beholders with a pleasurable sense of satisfaction in that softly", "Anne, left alone in her glory, worked with a will. The floor was swept,\nthe beds made, the hens fed, the muslin dress washed and hung out on the", "and interests easy. And, Anne, as she talked about it the thought came\nto me that I would ask her to come and live with me, but I thought I", "Anne. But I could never care for anybody else and I didn't want to.\nI knew I would rather be an old maid for a thousand years than marry" ], [ "\"I guess you'd better have sold me that cow when I wanted to buy her\nlast week, Anne,\" chuckled Mr. Shearer.", "Five minutes later Jim Shearer and the Jersey cow were marching up the\nroad, and impulsive Anne was driving along the Green Gables lane with\nher twenty dollars.\n\n\"What will Marilla say?\" asked Diana.", "said Anne, with due increase of dignity at every word. \"I am very sorry\nthat my cow should have broken into your oats . . . she is my cow and not", "In early April, before Anne had come home from Queen's, Mr. Robert Bell,\nwhose farm adjoined the Cuthbert place on the west, had sold out and", "\"Don't tell her about Mr. Harrison and the cow,\" implored Anne.\n\nMarilla promised; but the promise was quite unnecessary, for Mrs. Lynde\nwas no sooner fairly seated than she said,", "Anne was charging through the grain like a mad thing. Diana hopped\nbriskly down, tied the horse securely to a post, turned the skirt of her", "pen. It was YOUR cow I had sold to Mr. Shearer.\"", "This was not the first time Anne had run over and chatted with Mr.\nHarrison since the notable affair of the Jersey cow. She had been", "\"Done. I'll give you twenty for her as I offered before, and Jim here\ncan drive her right over to Carmody. She'll go to town with the rest of\nthe shipment this evening. Mr. Reed of Brighton wants a Jersey cow.\"", "Anne's Carmody purchases when she heard a shrill shriek in the barnyard.\nA minute later Anne dashed into the kitchen, wringing her hands.", "Anne, tired as she was, made one more effort for the public weal that\nnight, slipping over the fields to interview Mr. Harrison, who was as", "of grass that had fallen on the carpet from Anne's dress. Anne felt\nwretchedly guilty; but Mrs. White subscribed two dollars and paid the", "\"Oh, she won't care. Dolly was my own cow and it isn't likely she'd\nbring more than twenty dollars at the auction. But oh dear, if Mr.", "\"Twenty dollars,\" said Anne, who was never meant to match business wits\nwith a Copp, or she would not have offered her price at the start.", "No, Anne was positive it would not do as well. So Davy scrambled out\nand knelt down at her knee. When he had finished his devotions he leaned\nback on his little, bare, brown heels and looked up at her.", "Anne kept her own counsel and Mrs. Harrison never knew that her\ngratitude found its way to its object. Anne felt rather bewildered", "Marilla, of course. But I'm dreadfully given to doing things without\nthinking--everybody who knows me will tell you that. Mr. Shearer took\nthe cow right away to ship her on the afternoon train.\"", "Anne hastened to the sitting room closet to get the platter. She had,\nin accordance with her promise to Mrs. Lynde, written to Miss Barry of", "Both girls laughed over the old memory . . . concerning which, if any of\nmy readers are ignorant and curious, I must refer them to Anne's earlier\nhistory.", "Anne had been down to old Mrs. Irving's on the shore road the preceding\nevening and had come home by a short cut which led her first over the" ], [ "said Anne dazedly. \"But as for asking Mrs. Lynde to come here, that is\nfor you to decide, Marilla. Do you think . . . are you sure . . . you", "Mrs. Lynde rushed in where Anne had feared to tread. Nothing would have\ninduced the latter to go over to the Harrison place; but she had her", "\"Don't tell her about Mr. Harrison and the cow,\" implored Anne.\n\nMarilla promised; but the promise was quite unnecessary, for Mrs. Lynde\nwas no sooner fairly seated than she said,", "Mrs. Lynde was in the Green Gables kitchen. She had been telling the\nwhole story to Marilla.\n\n\"Well, and how do you like Mrs. Harrison?\" she asked Anne.", "\"So is Mrs. Lynde,\" said Anne, before she could prevent herself.", "Anne and Marilla furtively exchanged amused smiles. Few things in\nAvonlea ever escaped Mrs. Lynde. It was only that morning Anne had said,", "Anne hastened to the sitting room closet to get the platter. She had,\nin accordance with her promise to Mrs. Lynde, written to Miss Barry of", "On the day after Thomas Lynde's funeral Marilla went about Green Gables\nwith a strangely preoccupied air. Occasionally she looked at Anne,", "Anne sent in her resignation the next day; and Mrs. Rachel, after a\nheart to heart talk with Marilla, gratefully accepted the offer of a", "\"I suppose it is,\" assented Marilla gloomily. \"I daresay I'll tell Mary\nI'll take them. You needn't look so delighted, Anne. It will mean a good", "stay . . . seeing that Ginger's dead and the Island's some bigger than she\nthought. There's Mrs. Lynde and her now. No, don't go, Anne. Stay and", "Fortunately Mrs. Lynde came driving up the lane at this moment and\nMarilla made off, feeling that she had escaped from the snare of the", "Anne, who was rather glad that Marilla was not by to be shocked.\nMarilla, it is needless to say, was bringing the twins up in the", "\"It is true,\" answered Anne, looking like the muse of tragedy. \"Mrs.\nLynde called on her way from Carmody to tell me. Oh, it is simply\ndreadful! What is the use of trying to improve anything?\"", "Anne had always a weather eye open for kindred spirits.\n\nMarilla Cuthbert was driving into the yard as Anne returned from the\nhouse, and the latter flew to get tea ready. They discussed the matter\nat the tea table.", "\"Mrs. Lynde has come up to give me good advice about tomorrow,\" thought\nAnne with a grimace, \"but I don't believe I'll go in. Her advice is", "Anne looked at Marilla, who followed her into the pantry and shut the\ndoor cautiously.\n\n\"You can give him some jam on his bread, I know what tea at Levi\nBoulter's is apt to be.\"", "\"She's feeling calmer and more composed,\" answered Marilla, sitting\ndown on Anne's bed . . . a proceeding which betokened some unusual mental", "\"I don't suppose he did, really,\" said Anne, trying to be just. \"He\nnever said he wasn't married. People simply took it for granted. Oh\nMarilla, what will Mrs. Lynde say to this?\"", "Anne, walking home from the post office one Friday evening, was joined\nby Mrs. Lynde, who was as usual cumbered with all the cares of church\nand state." ], [ "animal was kept within safe bounds. Even Mr. Harrison chuckled, if he\nchuckled at all, in private, and was all sympathy outwardly.", "At this point Mr. Harrison arose and, with an expression that would have\nstruck terror into any bird but a parrot, carried Ginger's cage into an", "Finally, Mr. Harrison kept a parrot called Ginger. Nobody in Avonlea had\never kept a parrot before; consequently that proceeding was considered", "Mr. Harrison himself was sitting on his vineshaded veranda, in his shirt\nsleeves, enjoying his evening pipe. When he realized who was coming up", "Mr. Harrison's house was an old-fashioned, low-eaved, whitewashed\nstructure, set against a thick spruce grove.", "Mr. Harrison was smoking on his veranda. His wife had self-sacrificingly\ntold that he might smoke in the house if he took care to sit by an", "care about except a parrot, don't you think? But I notice Mr. Harrison\ndoesn't like to be pitied. Nobody does, I imagine.\"", "Harrison's? She has always been talking about his parrot ever since that\ntime you took her over.\"", "III\n\nMr. Harrison at Home", "\"He's a limb,\" declared Mr. Harrison. \"He came over here yesterday and\npulled six feathers out of Ginger's tail before I could get in from the", "\"Don't you mind that parrot,\" said Mr. Harrison, casting a furious\nglance at Ginger. \"He's . . . he's always talking nonsense. I got him", "A demure little Jersey cow came scuttling down the lane and five seconds\nlater Mr. Harrison arrived . . . if \"arrived\" be not too mild a term to\ndescribe the manner of his irruption into the yard.", "\"He's peculiar enough all right then,\" said Mr. Harrison drily. \"Or at\nleast, folks here will call him so. I never was much of a talker till", "Mr. Harrison had brought Ginger back, averring that the poor bird would\nbe lonesome; and Anne, feeling that she could forgive everybody and", "Mr. Harrison nodded.", "at him in some bewilderment. Mr. Harrison was their new righthand\nneighbor and she had never met him before, although she had seen him\nonce or twice.", "As soon as they were comfortably seated on the veranda Mr. Harrison\nbegan his tale of woe.", "Mr. Harrison did his best to speak dolefully, but an irrepressible\ntwinkle in his eye betrayed him.", "much like pepper, I think . . . excellent in small quantities but rather\nscorching in her doses. I'll run over and have a chat with Mr. Harrison\ninstead.\"", "in the sunlight. By the table sat Mr. Harrison in his working clothes,\nwhich on Friday had been noted for sundry rents and tatters but which" ], [ "School opened and Anne returned to her work, with fewer theories but\nconsiderably more experience. She had several new pupils, six- and", "The day went by like a dream. Anne could never clearly recall it\nafterwards. It almost seemed as if it were not she who was teaching", "\"Teaching is really very interesting work,\" wrote Anne to a Queen's\nAcademy chum. \"Jane says she thinks it is monotonous but I don't find it", "and Mrs. Hiram Sloane called at the school one day and beckoned Anne\nmysteriously out into the porch to tell her that if the \"Sassiety\"", "When Anne reached the school that morning . . . for the first time in her\nlife she had traversed the Birch Path deaf and blind to its beauties . . .", "Anne locked the schoolhouse door on a still, yellow evening, when the\nwinds were purring in the spruces around the playground, and the shadows", "When school was dismissed and the children had gone Anne dropped wearily\ninto her chair. Her head ached and she felt woefully discouraged. There", "The last day of school came and went. A triumphant \"semi-annual\nexamination\" was held and Anne's pupils acquitted themselves splendidly.", "\"I like teaching, too,\" said Gilbert. \"It's good training, for one\nthing. Why, Anne, I've learned more in the weeks I've been teaching the", "Anne, by what somebody has called \"a Herculaneum effort,\" kept back her\ntears until she got home that night. Then she shut herself in the east", "When Mrs. H. B. DonNELL had skimmed away Anne locked the school door and\nwent home. At the foot of the hill she found Paul Irving by the Birch", "Mrs. Rachel had still another item of news.\n\n\"They've given the Carmody school to a Priscilla Grant. Didn't you go to\nQueen's with a girl of that name, Anne?\"", "Back in the schoolroom Anne was sitting alone at her desk, as she had\nsat on the first day of school two years before, her face leaning on her", "\"Yes, indeed. Priscilla to teach at Carmody! How perfectly lovely!\"\nexclaimed Anne, her gray eyes lighting up until they looked like evening", "was no real reason for discouragement, since nothing very dreadful had\noccurred; but Anne was very tired and inclined to believe that she would\nnever learn to like teaching. And how terrible it would be to be doing", "\"You both have the advantage of me,\" sighed Anne. \"You're going to teach\nchildren who don't know you, but I have to teach my own old schoolmates,", "all was quiet and still. The preceding teacher had trained the\nchildren to be in their places at her arrival, and when Anne entered the\nschoolroom she was confronted by prim rows of \"shining morning faces\"", "and look and move like Anne. Charlotta could never flatter herself\nthat she quite succeeded; but practice makes perfect, as Charlotta had\nlearned at school, and she fondly hoped that in time she might catch the", "When Anne returned to the school after dinner all the children were\nas usual in their seats and every face was bent studiously over a desk", "Anne whom none of her pupils had ever seen before. Joe, with an agonized\nglance at St. Clair, went to the stove, opened the big, square front" ], [ "\"Father's not very easy to get acquainted with,\" Paul had said once. \"I\nnever got really acquainted with him until after my little mother died.", "\"In Paul's last letter he spoke of going with you to visit an old . . .\nfriend of mine . . . Miss Lewis at the stone house in Grafton. Do you know\nher well?\"", "Paul had talked so much to Anne about his mother and father that she\nfelt as if she had known them. She thought his mother must have been", "and Paul had a very merry meal in the dim old sitting room whose windows\nwere open to the gulf breezes, and they talked so much \"nonsense\" that", "\"So this is Stephen's boy,\" she said in a low tone, taking Paul's hand\nand looking at him as he stood, beautiful and boyish, in his smart\nlittle fur coat and cap. \"He . . . he is very like his father.\"", "\"No, he would never dream of such a thing. Paul is a perfect little\ngentleman.\"", "Accordingly, a month later Anne and Paul walked through the woods to\nthe stone house, and met Miss Lavendar in the lane. She had not been\nexpecting them just then and she turned very pale.", "\"I like Miss Lavendar,\" announced Paul, as they walked through the beech\nwoods. \"I like the way she looked at me, and I like her stone house, and", "a glimpse of Paul on somebody's lap; but the next moment he came flying\nthrough the hall.", "for Paul. I think that your influence has been just what he needed.\nMother is one of the best and dearest of women; but her robust,\nmatter-of-fact Scotch common sense could not always understand a", "\"If you would like to see Paul I'll bring him through with me sometime,\"\nsaid Anne.", "\"I know,\" interrupted Paul eagerly. \"He comes and sits beside you . . .\nSO . . . because of course at twelve he'd be too big to climb into your", "Paul sat between them blissfully happy.", "\"Just as if you were looking through me at somebody I put you in mind\nof,\" said Paul, who had such occasional flashes of uncanny insight that\nit wasn't quite safe to have secrets when he was about.", "they come back in the fall Paul and Charlotta the Fourth are to go up to\nBoston to live with them. But Echo Lodge is to be left just as it is. . .", "She knew Paul was ten but he looked no more than eight. He had the most\nbeautiful little face she had ever seen in a child . . . features of", "In the afternoon Anne walked down to the old Irving place to see Paul.\nShe found him stretched out on the grassy bank beside the thick fir", "\"Speaking of marrying, reminds me of another thing that has been\ntroubling me of late,\" continued Paul. \"Mrs. Lynde was down here one", "\"'I have kept the best for the last. You laugh at me because I think Paul\nis a genius but I am sure his letter will convince you that he is a very", "When Anne and Paul reached the stone house that afternoon they found\nMiss Lavendar and Charlotta the Fourth in the garden, weeding, raking," ], [ "and paint the hall; Julia Bell seconded it, with an uneasy feeling that\nshe was doing something not exactly ladylike. Gilbert put the motion,\nit was carried unanimously, and Anne gravely recorded it in her minutes.", "\"The very first thing we ought to do when we get started is to have that\nhall painted,\" said Diana, as they drove past the Avonlea hall, a rather", "colors was no business of his, whatever his private opinion might be; he\nhad been hired to paint the hall, not to talk about it; and he meant to\nhave his money for it.", "Mr. Roger Pye brought the hall paint home that night and Mr. Joshua Pye,\na surly, taciturn man, began painting the next day. He was not disturbed", "Carmody traveled by the longer \"upper\" road. The hall was so closely\nsurrounded by fir woods that it was invisible unless you were near it.\nMr. Joshua Pye painted away in the solitude and independence that were", "\"We have decided on a very pretty green. The roof will be dark red, of\ncourse. Mr. Roger Pye is going to get the paint in town today.\"\n\n\"Who's got the job?\"", "under one end. The house and out-buildings were all whitewashed to a\ncondition of blinding perfection and not a weed was visible in the prim\nkitchen garden surrounded by its white paling.", "town and would get their paint for them, the Improvers told John Andrew\nto tell his father to get 147. John Andrew always averred that he did", "gone to paint the hall and consequently they felt themselves bitterly\naggrieved by the mistake. Public indignation centered on the Pyes. Roger", "a deep, brilliant blue, the shade they use for painting carts and\nwheelbarrows. And Mrs. Lynde says it is the most hideous color for a\nbuilding, especially when combined with a red roof, that she ever saw", "their neighbors' gardens had yielded. They found the stone house agog\nwith excitement. Charlotta the Fourth was flying around with such vim\nand briskness that her blue bows seemed really to possess the power of", "\"But Avonlea's blue hall will be a byword in all the neighboring\nsettlements from this time out,\" said Anne bitterly.\n\nAnd it must be confessed that it was.", "Around the next turn they came in sight, not indeed of a palace, but of\na little house almost as surprising as a palace would have been in this", "the roof is shingled and painted all right. Folks will be able to sit in\nthe hall after this without being leaked on. You've accomplished so much\nanyhow.\"", "Anne locked the schoolhouse door on a still, yellow evening, when the\nwinds were purring in the spruces around the playground, and the shadows", "She took Miss Lavendar on a shopping expedition to town and persuaded\nher to buy a new organdy dress; then came the excitement of cutting", "the lower road out of curiosity to see what the hall looked like in its\nnew coat of paint. When she rounded the spruce curve she saw.", "worse still, with other people living in it. But I can think of it now,\njust as I've always seen it, waiting happily for the summer to bring\nlife and laughter back to it again.\"", "\"That's my contribution to painting the hall,\" she gasped. \"I'd like to\ngive you a dollar but I don't dare take more from my egg money for Eliza", "Mrs. Lynde drove home, meeting several people on the road and stopping\nto tell them about the hall. The news flew like wildfire. Gilbert" ], [ "Mr. Allan opened his blue book and the ceremony proceeded. Just as\nMiss Lavendar and Stephen Irving were pronounced man and wife a very", "Miss Lavendar just as Mr. Irving was starting for San Francisco. Mr.\nIrving says whenever he got that letter he made up his mind to send his", "have a mother after his own heart and everybody will be happy. But Mr.\nIrving will take Miss Lavendar away . . . and dear knows what will", "window. Mr. Irving had no intention of going away. He and Miss Lavendar\nwere strolling slowly down the middle path to the stone bench.", "When Paul had scampered away to do his \"daily duty\" Mr. Irving talked to\nAnne of various matters. But Anne felt that he was thinking of something\nelse underneath all the time. Presently it came to the surface.", "Stephen Irving came forward to meet Anne with a smile. He was a tall,\nhandsome man of middle age, with iron-gray hair, deep-set, dark blue", "\"Of Miss Lavendar and Mr. Irving,\" answered Anne dreamily. \"Isn't it\nbeautiful to think how everything has turned out . . . how they have come\ntogether again after all the years of separation and misunderstanding?\"", "was thankful when Mr. Irving came a few minutes ago and took her off for\na walk in the woods. Courting's all right in its place, Miss Shirley,", "Mr. Irving smiled a little sadly into her uplifted face, all astar with\nits youth and promise.", "proposed to her twenty-five years ago. Marilla, that IS romantic, even\nin prose. There's to be nobody there except Mrs. Irving and Paul and", "At half past two Mr. and Mrs. Irving left, and everybody went to Bright\nRiver to see them off on the afternoon train. As Miss Lavendar . . . I", "Everybody concerned in Miss Lavendar's story was very happy. Paul Irving\nrushed to Green Gables to talk the news over with Anne as soon as his\nfather had told him.", "Boston and live with them . . . and me only fifteen, and the other girls\nnever went till they were sixteen. Ain't Mr. Irving splendid? He", "\"So this is my little son's 'beautiful teacher,' of whom I have heard\nso much,\" said Mr. Irving with a hearty handshake. \"Paul's letters have", "\"Oh, Miss Shirley, ma'am, it has all turned out so beautiful. When Mr.\nIrving and Miss Lavendar come back from their tower I'm to go up to", "\"Stephen Irving is home?\"\n\n\"How did you know? Who told you?\" cried Anne disappointedly, vexed that\nher great revelation had been anticipated.", "\"The last Wednesday in August. They are to be married in the garden\nunder the honeysuckle trellis . . . the very spot where Mr. Irving", "You remember his father, Marilla . . . Stephen Irving, him that jilted\nLavendar Lewis over at Grafton?\"", "Mr. Irving rose and went to the window, looking out on a great, golden,\nbillowing sea where a wild wind was harping. For a few moments there was", "\"Thanks be to goodness, it's over, Miss Shirley, ma'am,\" breathed\nCharlotta the Fourth, \"and they're married safe and sound, no matter" ], [ "The twins were not noticeably alike, although both were fair. Dora had\nlong sleek curls that never got out of order. Davy had a crop of fuzzy", "Marilla looked scandalized and glanced apprehensively around to make\nsure the twins were not within earshot. They came around the corner of\nthe house just then.", "although we are so thankful to think that they will not get worse. And\nthen there are the twins . . . somehow I don't believe their uncle will", "\"Now, you must tell me your names,\" said Miss Lavendar. \"I'm so glad you\nare young girls. I love young girls. It's so easy to pretend I'm a girl", "Anne was fond of children and her heart yearned over the Keith twins.\nThe remembrance of her own neglected childhood was very vivid with", "yet noticed this. \"And she's got the twins with her, . . . yes, there's\nDavy leaning over the dashboard grabbing at the pony's tail and Marilla", "\"It seems dreadful to be glad of anything in connection with a death,\"\nsaid Anne soberly. \"I'm sorry for poor Mr. Keith; but I AM glad that we\ncan keep the twins.\"", "\"Let us hope not, dear,\" she said cheerfully. \"How are your rock people\ncoming on? Does the oldest Twin still continue to behave himself?\"", "Anne caught Davy and Dora by the hands and flew down the hill, along the\nBirch Path, and past Violet Vale and Willowmere, as fast as the twins'", "Anne, standing behind them, implored Priscilla with her eyes not to\nperpetrate another such name and Priscilla rose to the occasion with\n\"Glimmer-glass.\" Anne's selection was \"The Fairies' Mirror.\"", "the twins that I haven't another moment for imagining things. You don't\nknow what splendid adventures I have for a little while after I go to", "\"Oh, I've always been especially interested in twins ever since Mrs.\nHammond had so many,\" said Anne eagerly. \"Are they pretty?\"", "\"I won't meddle with you nor you with me,\" Mrs. Rachel had said\ndecidedly, \"and as for the twins, I'll be glad to do all I can for them;", "twins, _I_ don't know what is to become of them.\"", "\"I'll be afraid to hear from him,\" sighed Anne, beginning to clear away\nthe dishes. \"If a letter should come I'd dread opening it, for fear it\nwould tell us to send the twins to him.\"", "\"Twins are very interesting . . . at least one pair of them,\" said Anne.\n\"It's only when there are two or three pairs that it gets monotonous.", "twins learn anything like that? Or suppose they went to the Wiggins'.\nMrs. Lynde says that Mr. Wiggins sells everything off the place that can", "Marilla had an idea that twins were just twice as bad as single\nchildren.", "leaves. Anne was at the gate to meet them and lift the twins out. Dora\nsubmitted calmly to be kissed, but Davy responded to Anne's welcome", "\"Well, don't let the twins hear you talking like that,\" was Marilla's\nfeeble protest, as she carried her chicken into the house." ], [ "\"Teaching is really very interesting work,\" wrote Anne to a Queen's\nAcademy chum. \"Jane says she thinks it is monotonous but I don't find it", "The day went by like a dream. Anne could never clearly recall it\nafterwards. It almost seemed as if it were not she who was teaching", "Anne, by what somebody has called \"a Herculaneum effort,\" kept back her\ntears until she got home that night. Then she shut herself in the east", "Anne leaned back in her chair one mild October evening and sighed. She\nwas sitting at a table covered with text books and exercises, but the\nclosely written sheets of paper before her had no apparent connection\nwith studies or school work.", "Anne hopped briskly up and went to work. She washed the teapot in\nseveral waters before she put the tea to steep. Then she swept the stove", "waiting for you further on. When I was seventeen, Anne, I didn't think\nforty-five would find me a white-haired little old maid with nothing but\ndreams to fill my life.\"", "\"I like teaching, too,\" said Gilbert. \"It's good training, for one\nthing. Why, Anne, I've learned more in the weeks I've been teaching the", "and look and move like Anne. Charlotta could never flatter herself\nthat she quite succeeded; but practice makes perfect, as Charlotta had\nlearned at school, and she fondly hoped that in time she might catch the", "Anne had always a weather eye open for kindred spirits.\n\nMarilla Cuthbert was driving into the yard as Anne returned from the\nhouse, and the latter flew to get tea ready. They discussed the matter\nat the tea table.", "was no real reason for discouragement, since nothing very dreadful had\noccurred; but Anne was very tired and inclined to believe that she would\nnever learn to like teaching. And how terrible it would be to be doing", "are. Well, Anne, my easy times are over . . . all over. It's neatness and\ntidiness for me for the rest of my natural life, I suppose.\"", "School opened and Anne returned to her work, with fewer theories but\nconsiderably more experience. She had several new pupils, six- and", "\"No, indeed,\" said Anne indignantly. She was an excellent target for\nteasing because she always took things so seriously. \"I shall never have", "Both girls laughed over the old memory . . . concerning which, if any of\nmy readers are ignorant and curious, I must refer them to Anne's earlier\nhistory.", "It really began the night before with a restless, wakeful vigil of\ngrumbling toothache. When Anne arose in the dull, bitter winter morning\nshe felt that life was flat, stale, and unprofitable.", "Anne knew that she had made herself ridiculous and that the incident\nwould be laughed over that night at a score of tea-tables, but the", "Anne. But I could never care for anybody else and I didn't want to.\nI knew I would rather be an old maid for a thousand years than marry", "youth in her heart and soul, and a girl whose imagination and intuition\nsupplied the place of experience. Anne had at last discovered a real\n\"kindred spirit,\" while into the little lady's lonely, sequestered life", "No, Anne was positive it would not do as well. So Davy scrambled out\nand knelt down at her knee. When he had finished his devotions he leaned\nback on his little, bare, brown heels and looked up at her.", "seemed on the point of saying something, then shook her head and\nbuttoned up her mouth. After tea she went down to see Mrs. Rachel; and\nwhen she returned she went to the east gable, where Anne was correcting" ], [ "\"Teaching is really very interesting work,\" wrote Anne to a Queen's\nAcademy chum. \"Jane says she thinks it is monotonous but I don't find it", "The day went by like a dream. Anne could never clearly recall it\nafterwards. It almost seemed as if it were not she who was teaching", "School opened and Anne returned to her work, with fewer theories but\nconsiderably more experience. She had several new pupils, six- and", "\"I like teaching, too,\" said Gilbert. \"It's good training, for one\nthing. Why, Anne, I've learned more in the weeks I've been teaching the", "was no real reason for discouragement, since nothing very dreadful had\noccurred; but Anne was very tired and inclined to believe that she would\nnever learn to like teaching. And how terrible it would be to be doing", "\"Yes, indeed. Priscilla to teach at Carmody! How perfectly lovely!\"\nexclaimed Anne, her gray eyes lighting up until they looked like evening", "Anne had always a weather eye open for kindred spirits.\n\nMarilla Cuthbert was driving into the yard as Anne returned from the\nhouse, and the latter flew to get tea ready. They discussed the matter\nat the tea table.", "Anne, by what somebody has called \"a Herculaneum effort,\" kept back her\ntears until she got home that night. Then she shut herself in the east", "\"You both have the advantage of me,\" sighed Anne. \"You're going to teach\nchildren who don't know you, but I have to teach my own old schoolmates,", "The last day of school came and went. A triumphant \"semi-annual\nexamination\" was held and Anne's pupils acquitted themselves splendidly.", "Anne had her own opinion about that as she hastened into the house to\nwrite a note at Miss Lavendar's desk.", "and Mrs. Hiram Sloane called at the school one day and beckoned Anne\nmysteriously out into the porch to tell her that if the \"Sassiety\"", "The last week in August came. Miss Lavendar was to be married in it.\nTwo weeks later Anne and Gilbert would leave for Redmond College. In a", "When school was dismissed and the children had gone Anne dropped wearily\ninto her chair. Her head ached and she felt woefully discouraged. There", "that there was much promising material for celebrities in Avonlea\nschool; but you could never tell what might happen if a teacher used\nher influence for good. Anne had certain rose-tinted ideals of what a", "Tuesday afternoon the Aid Society met at Green Gables. Anne hurried home\nfrom school, for she knew that Marilla would need all the assistance she", "When Anne reached the school that morning . . . for the first time in her\nlife she had traversed the Birch Path deaf and blind to its beauties . . .", "all was quiet and still. The preceding teacher had trained the\nchildren to be in their places at her arrival, and when Anne entered the\nschoolroom she was confronted by prim rows of \"shining morning faces\"", "Anne hastened to the sitting room closet to get the platter. She had,\nin accordance with her promise to Mrs. Lynde, written to Miss Barry of", "He had fallen asleep then, and the next morning, just as the white dawn\nwas creeping up over the pointed firs in the hollow, Marilla went softly\ninto the east gable and wakened Anne." ], [ "\"Davy?\" But Anne could say no more. She carried Dora home with a heavy\nheart. Her joy at finding the child safe and sound was drowned out in", "\"It seems dreadful to be glad of anything in connection with a death,\"\nsaid Anne soberly. \"I'm sorry for poor Mr. Keith; but I AM glad that we\ncan keep the twins.\"", "\"They'd better go to bed,\" said Marilla, who thought it was the easiest\nway to dispose of them. \"Dora will sleep with me and you can put Davy in", "\"Sometimes Anne's answers were about as queer as Davy's questions,\" said\nMarilla drily. \"The twins will miss her and no mistake; but her future", "Anne did the honors of the table alone for the rest of the meal while\nMarilla went upstairs and redressed Dora in her old clothes. Davy was", "\"I suppose it is,\" assented Marilla gloomily. \"I daresay I'll tell Mary\nI'll take them. You needn't look so delighted, Anne. It will mean a good", "leaves. Anne was at the gate to meet them and lift the twins out. Dora\nsubmitted calmly to be kissed, but Davy responded to Anne's welcome", "so she doesn't need us; and I think,\" concluded Anne, hitting on a very\nvital truth, \"that we always love best the people who need us. Davy\nneeds us badly.\"", "\"Anne, Dora is lost!\"\n\n\"Dora! Lost!\" Anne looked at Davy, who was swinging on the yard gate,\nand detected merriment in his eyes. \"Davy, do you know where she is?\"", "Davy buried his face in Anne's shoulder and cried stormily. Anne, in a\nsudden glad flash of understanding, held him tight and looked over his\ncurly thatch at Marilla.", "Davy and Dora were delighted when they heard that they were to live at\nGreen Gables, \"for good.\" The death of an uncle whom they had never seen\ncould not weigh a moment in the balance against that. But Dora had one\nmisgiving.", "Midway in her visit Anne went home to Green Gables for a day to mend the\ntwins' stockings and settle up Davy's accumulated store of questions. In", "\"Indeed I do,\" said Anne sincerely. Somehow, it was impossible to help\nliking Davy. \"But I'd like you better still if you weren't so naughty.\"", "\"Oh, yes, you are.\" That was all the much-tried Marilla said, but\nsomething in her tone squelched even Davy. He trotted obediently\nupstairs with Anne.", "Most conversations between Anne and Marilla in the presence of the\ntwins, were punctuated by these rebukes Davy-ward. In this instance,", "\"I hate it,\" said Anne calmly, \"but if you are willing to take those\nchildren from a sense of duty surely I can do their sewing from a sense", "said Anne dazedly. \"But as for asking Mrs. Lynde to come here, that is\nfor you to decide, Marilla. Do you think . . . are you sure . . . you", "\"Yes, but I can't go, Marilla. Your eyes are better, of course; but I\ncan't leave you alone with the twins. They need so much looking after.\"", "\"I'll be afraid to hear from him,\" sighed Anne, beginning to clear away\nthe dishes. \"If a letter should come I'd dread opening it, for fear it\nwould tell us to send the twins to him.\"", "Anne caught Davy and Dora by the hands and flew down the hill, along the\nBirch Path, and past Violet Vale and Willowmere, as fast as the twins'" ], [ "\"It seems dreadful to be glad of anything in connection with a death,\"\nsaid Anne soberly. \"I'm sorry for poor Mr. Keith; but I AM glad that we\ncan keep the twins.\"", "\"I'll be afraid to hear from him,\" sighed Anne, beginning to clear away\nthe dishes. \"If a letter should come I'd dread opening it, for fear it\nwould tell us to send the twins to him.\"", "Anne, who knew better than Diana just how much Uncle Abe had to do with\nthe storm, was not much disturbed by this. She slept the sleep of the", "although we are so thankful to think that they will not get worse. And\nthen there are the twins . . . somehow I don't believe their uncle will", "\"Was Uncle Richard buried?\" she whispered to Anne.\n\n\"Yes, dear, of course.\"", "\"I am glad she has no children,\" said Anne solemnly. \"It would be\ndreadful beyond words for them if she had.\"", "\"Sometimes Anne's answers were about as queer as Davy's questions,\" said\nMarilla drily. \"The twins will miss her and no mistake; but her future", "Davy and Dora were delighted when they heard that they were to live at\nGreen Gables, \"for good.\" The death of an uncle whom they had never seen\ncould not weigh a moment in the balance against that. But Dora had one\nmisgiving.", "\"He was much pleased,\" said Anne brightly. \"He says there is a great\nimprovement in them and he thinks the danger of her losing her sight", "Anne was fond of children and her heart yearned over the Keith twins.\nThe remembrance of her own neglected childhood was very vivid with", "doesn't seem as out of the world as it used to do . . . Anne has lots of\ncompany and the twins make it real lively. And anyhow, I'd rather live", "\"I do hope none of the children were caught out in it,\" murmured Anne\nanxiously. As it was discovered later, none of the children had been,", "\"perfectly beautiful\" and who had died so long ago and was buried beside\nher boyish husband in that unvisited grave far away. Anne could not\nremember her mother and for this reason she almost envied Paul.", "\"It's probably from the children's uncle,\" she said excitedly, when she\ngot home. \"Oh, Marilla, I wonder what he says about them.\"", "\"Oh, I've always been especially interested in twins ever since Mrs.\nHammond had so many,\" said Anne eagerly. \"Are they pretty?\"", "Anne, who had been watching the little scene, drew a relieved breath.\nShe saw that Miss Lavendar and Paul had \"taken\" to each other, and that", "\"But she was glad to die,\" said Davy confidentially. \"I know, 'cause\nshe told me so. She was awful tired of being sick. We'd a long talk the", "Anne, who was rather glad that Marilla was not by to be shocked.\nMarilla, it is needless to say, was bringing the twins up in the", "\"Oh, there isn't any, when you put it that way,\" gasped Anne, rather\nas if somebody had thrown cold water over her. \"I suppose that's how", "Gilbert Blythe was probably the only person to whom the news of Anne's\nresignation brought unmixed pleasure. Her pupils looked upon it as" ], [ "Paul Irving would have known the meaning of this, or made a meaning out\nof it for himself, if he didn't; but practical Davy, who, as Anne", "\"'Your loving pupil Paul Irving.'\n\n\"'P. S. of course, this letter isn't really true, teacher. P.I.'\"\n\n\n\n\nXII", "Paul Irving. The first two hymns and the Scripture reading passed off\nuneventfully. Mr. Allan was praying when the sensation came.", "\"Hasn't that Paul Irving grown to be a big boy?\" said Mrs. Andrews. \"He\nwas such a mite for his age when he came here. I declare I hardly knew", "matter how good I am you'd like Paul Irving better. So I might as well\nbe bad and have the fun of it.\"", "Stephen Irving came forward to meet Anne with a smile. He was a tall,\nhandsome man of middle age, with iron-gray hair, deep-set, dark blue", "\"Paul Irving washes his face every day of his own accord,\" said Anne\nastutely.", "\"I s'pose,\" he said reflectively, \"that Paul Irving wouldn't have\ndropped a caterpillar down a girl's neck in church, would he?\"\n\n\"Indeed he wouldn't,\" said Anne sadly.", "\"I don't like Paul Irving BETTER,\" said Anne seriously. \"I like you just\nas well, only in a different way.\"\n\n\"But I want you to like me the same way,\" pouted Davy.", "tear ourselves away,' as Paul Irving says every time he comes to Green\nGables.\"", "When Paul had scampered away to do his \"daily duty\" Mr. Irving talked to\nAnne of various matters. But Anne felt that he was thinking of something\nelse underneath all the time. Presently it came to the surface.", "\"With a hug like a bear's,\" said Mr. Irving, putting his arms around\nPaul's shoulder smilingly. \"I hardly knew my boy, he had grown so big\nand brown and sturdy.\"", "\"Paul Irving?\" There was a subtle change in Miss Lavendar's voice. \"Who\nis he? I didn't think there was anybody of that name in Avonlea.\"", "our pupils, but I can't help loving Paul Irving the best of all mine.\nI don't think it does any harm, though, for everybody loves Paul, even", "\"So this is my little son's 'beautiful teacher,' of whom I have heard\nso much,\" said Mr. Irving with a hearty handshake. \"Paul's letters have", "the evening she went down to the shore road to see Paul Irving. As she\npassed by the low, square window of the Irving sitting room she caught", "naughty ones. The mere thought of Paul Irving made her wonder if Redmond\nwere such a name to conjure with after all.", "In the afternoon Anne walked down to the old Irving place to see Paul.\nShe found him stretched out on the grassy bank beside the thick fir", "Everybody concerned in Miss Lavendar's story was very happy. Paul Irving\nrushed to Green Gables to talk the news over with Anne as soon as his\nfather had told him.", "genius. She knew this must be Paul Irving and that Mrs. Rachel Lynde\nhad been right for once when she prophesied that he would be unlike the" ], [ "While Dora proudly shelled the peas and Davy made boats of the pods,\nwith masts of matches and sails of paper, Anne told Marilla about the\nwonderful contents of her letter.", "youth in her heart and soul, and a girl whose imagination and intuition\nsupplied the place of experience. Anne had at last discovered a real\n\"kindred spirit,\" while into the little lady's lonely, sequestered life", "\"Well, we must name this place before we leave it,\" said Anne, yielding\nto the indisputable logic of facts. \"Everybody suggest a name and we'll\ndraw lots. Diana?\"", "playing at having a tea party, just as if she were a little girl! But\nAnne of the shining eyes exclaimed joyfuly, \"Oh, do YOU imagine things\ntoo?\"", "Both girls laughed over the old memory . . . concerning which, if any of\nmy readers are ignorant and curious, I must refer them to Anne's earlier\nhistory.", "had never been able to infuse much grace into it, for Marilla would not\npermit any alterations. But it is wonderful what flowers can accomplish\nif you give them a fair chance; when Anne and Diana finished with the", "Anne had always a weather eye open for kindred spirits.\n\nMarilla Cuthbert was driving into the yard as Anne returned from the\nhouse, and the latter flew to get tea ready. They discussed the matter\nat the tea table.", "\"Teaching is really very interesting work,\" wrote Anne to a Queen's\nAcademy chum. \"Jane says she thinks it is monotonous but I don't find it", "\"I was just talking it over with some of the girls and boys at the last\nDebating Club,\" said Anne, flushing. \"They thought it would be rather", "\"Splendid,\" agreed Anne gaily. \"And have a rustic seat put under the\nbirches. And when spring comes we'll have a flower-bed made in the\nmiddle of it and plant geraniums.\"", "Fortunately for Anne, Marilla called out at this moment from her room.\n\n\"Anne, Diana's signaling at a great rate. You'd better see what she\nwants.\"", "\"Oh, how perfectly lovely!\" three of the girls cried. Anne only gazed in\neloquent silence.\n\n\"How in the world does it happen that there ever was a garden back\nhere?\" said Priscilla in amazement.", "\"I know all about it,\" replied Anne promptly. \"You see,\" she explained\nhastily, \"Miss Lavendar and I are very intimate. She wouldn't tell\nthings of such a sacred nature to everybody. We are kindred spirits.\"", "Anne drove over to Carmody on a shopping expedition the next afternoon\nand took Diana Barry with her. Diana was, of course, a pledged member of", "her room and put on her new forget-me-not organdy, while Anne did her\nhair for her. Both were dreadfully excited; but Miss Lavendar pretended\nto be very calm and indifferent.", "Charlottetown, asking for the loan of it. Miss Barry was an old friend\nof Anne's, and she promptly sent the platter out, with a letter exhorting", "When Anne and Paul reached the stone house that afternoon they found\nMiss Lavendar and Charlotta the Fourth in the garden, weeding, raking,", "As for what the \"improvements\" were to be, nobody had any very clear\nidea except Anne and Gilbert. They had talked them over and planned them", "Anne smothered a little sigh. She loved Diana dearly and they had always\nbeen good comrades. But she had long ago learned that when she wandered", "\"How can I carry that awful thing out?\" moaned Anne with a shudder. The\nfire shovel suggested itself to her and she crept down to get it while" ], [ "\"It certainly would,\" admitted Mrs. Rachel. \"That old ruin has been an\neyesore to the settlement for years. But if you Improvers can coax", "worse still, with other people living in it. But I can think of it now,\njust as I've always seen it, waiting happily for the summer to bring\nlife and laughter back to it again.\"", "Mrs. Lynde drove home, meeting several people on the road and stopping\nto tell them about the hall. The news flew like wildfire. Gilbert", "\"We've succeeded in almost all our plans so far, except in getting the\nold Boulter house removed,\" said Gilbert, \"and I've given THAT up", "with a lovely garden and roses climbing all over it. It was full of\nlittle children and laughter and songs; and now it is empty, and nothing", "At the close they gave her an address and a writing desk. All the girls\nand ladies present cried, and some of the boys had it cast up to them\nlater on that they cried too, although they always denied it.", "She opened the gate under the firs for them to pass through. She looked\nsuddenly old and tired; the glow and radiance had faded from her face;", "occupation of helping the Allans pack up. Mr. Allan was to preach his\nfarewell sermon the next Sunday. The old order was changing rapidly to", "\"Oh, Gilbert, have you heard the news? Mr. Levi Boulter's old house\nwas struck and burned to the ground. It seems to me that I'm dreadfully", "It was a full hour before quiet was restored . . . but it was a quiet\nthat might be felt. Everybody realized that even the explosion had not", "old shoe with such excellent aim that she struck Mr. Allan squarely on\nthe head. But it was reserved for Paul to give the prettiest send-off.", "and paint the hall; Julia Bell seconded it, with an uneasy feeling that\nshe was doing something not exactly ladylike. Gilbert put the motion,\nit was carried unanimously, and Anne gravely recorded it in her minutes.", "would insist that everybody pull down his house and rebuild it after\nplans approved by the society. Mr. James Spencer sent them word that he\nwished they would kindly shovel down the church hill. Eben Wright told", "object bounding from step to step, finishing up with a grand smash\nat the bottom. Everybody ran out into the hall. Anne gave a shriek of\ndismay.", "She took Miss Lavendar on a shopping expedition to town and persuaded\nher to buy a new organdy dress; then came the excitement of cutting", "adorned with such advertisements. All thought of church and school\ngrounds vanished before this new danger. Parliamentary rules and\nregulations were forgotten, and Anne, in despair, gave up trying to keep", "half guilty feeling, as if I really had 'magicked' it up. We may as\nwell rejoice over the old house being removed, for there's not much to", "their neighbors' gardens had yielded. They found the stone house agog\nwith excitement. Charlotta the Fourth was flying around with such vim\nand briskness that her blue bows seemed really to possess the power of", "trod alone some banquet hall deserted, and closed the blinds. Then\nshe locked the door and sat down under the silver poplar to wait for", "\"But Avonlea's blue hall will be a byword in all the neighboring\nsettlements from this time out,\" said Anne bitterly.\n\nAnd it must be confessed that it was." ], [ "Five minutes later Jim Shearer and the Jersey cow were marching up the\nroad, and impulsive Anne was driving along the Green Gables lane with\nher twenty dollars.\n\n\"What will Marilla say?\" asked Diana.", "\"I guess you'd better have sold me that cow when I wanted to buy her\nlast week, Anne,\" chuckled Mr. Shearer.", "said Anne, with due increase of dignity at every word. \"I am very sorry\nthat my cow should have broken into your oats . . . she is my cow and not", "In early April, before Anne had come home from Queen's, Mr. Robert Bell,\nwhose farm adjoined the Cuthbert place on the west, had sold out and", "\"Don't tell her about Mr. Harrison and the cow,\" implored Anne.\n\nMarilla promised; but the promise was quite unnecessary, for Mrs. Lynde\nwas no sooner fairly seated than she said,", "Marilla, of course. But I'm dreadfully given to doing things without\nthinking--everybody who knows me will tell you that. Mr. Shearer took\nthe cow right away to ship her on the afternoon train.\"", "\"Twenty dollars,\" said Anne, who was never meant to match business wits\nwith a Copp, or she would not have offered her price at the start.", "Anne hastened to the sitting room closet to get the platter. She had,\nin accordance with her promise to Mrs. Lynde, written to Miss Barry of", "Anne's Carmody purchases when she heard a shrill shriek in the barnyard.\nA minute later Anne dashed into the kitchen, wringing her hands.", "\"How can I carry that awful thing out?\" moaned Anne with a shudder. The\nfire shovel suggested itself to her and she crept down to get it while", "Anne was charging through the grain like a mad thing. Diana hopped\nbriskly down, tied the horse securely to a post, turned the skirt of her", "\"Because,\" explained Gilbert to Anne, as they walked home together\nthrough the Haunted Wood, \"the Pyes all live along that road and they\nwon't give a cent unless one of themselves canvasses them.\"", "so she doesn't need us; and I think,\" concluded Anne, hitting on a very\nvital truth, \"that we always love best the people who need us. Davy\nneeds us badly.\"", "of grass that had fallen on the carpet from Anne's dress. Anne felt\nwretchedly guilty; but Mrs. White subscribed two dollars and paid the", "Anne did the honors of the table alone for the rest of the meal while\nMarilla went upstairs and redressed Dora in her old clothes. Davy was", "Anne had been down to old Mrs. Irving's on the shore road the preceding\nevening and had come home by a short cut which led her first over the", "Anne, tired as she was, made one more effort for the public weal that\nnight, slipping over the fields to interview Mr. Harrison, who was as", "\"Then ask her,\" said Anne promptly. \"I'd be very sorry myself to see\nMrs. Rachel go away.\"", "Anne did not mention the misfortune which had befallen HER nose when\nshe related the day's history to Marilla that evening. But she took the\nbottle of freckle lotion and emptied it out of the window.", "Mrs. Lynde rushed in where Anne had feared to tread. Nothing would have\ninduced the latter to go over to the Harrison place; but she had her" ], [ "\"I suppose Gilbert Blythe is going to college in the fall,\" said Marilla\njerkily. \"How would you like to go too, Anne?\"\n\nAnne looked up in astonishment.", "The last week in August came. Miss Lavendar was to be married in it.\nTwo weeks later Anne and Gilbert would leave for Redmond College. In a", "\"Well, I should like to see you go to college, Anne; but if you never\ndo, don't be discontented about it. We make our own lives wherever we", "\"I'm real glad Anne is going to college,\" said Mrs. Bell. \"She has\nalways wanted it and it will be a splendid thing for her.\"", "unexpectedly . . . to the bend in the road; and college was around it,\nwith a hundred rainbow hopes and visions; but Anne realized as well that", "\"And if she comes,\" continued Marilla, \"You can go to college as well as\nnot. She'll be company for me and she'll do for the twins what I can't", "\"Teaching is really very interesting work,\" wrote Anne to a Queen's\nAcademy chum. \"Jane says she thinks it is monotonous but I don't find it", "Anne hastened to the sitting room closet to get the platter. She had,\nin accordance with her promise to Mrs. Lynde, written to Miss Barry of", "\"So you are going away in the fall?\" said Miss Lavendar wistfully. \"I\nought to be glad for your sake, Anne . . . but I'm horribly, selfishly", "Anne fully intended to go down to the Dicksons' that evening, but she\ndid not. When she arrived at Green Gables she found a state of affairs", "\"I was just talking it over with some of the girls and boys at the last\nDebating Club,\" said Anne, flushing. \"They thought it would be rather", "and interests easy. And, Anne, as she talked about it the thought came\nto me that I would ask her to come and live with me, but I thought I", "\"Yes, indeed. Priscilla to teach at Carmody! How perfectly lovely!\"\nexclaimed Anne, her gray eyes lighting up until they looked like evening", "\"When I've finished these exercises I'll run down and chat awhile with\nMrs. Lynde,\" said Anne. \"I had intended to study some Latin composition\ntonight but it can wait.\"", "waiting for you further on. When I was seventeen, Anne, I didn't think\nforty-five would find me a white-haired little old maid with nothing but\ndreams to fill my life.\"", "\"I'll go right over to Spencervale after it tomorrow,\" said Anne\nresolutely, \"and you must come with me. It will be such a weight off", "\"I'm nervous about a good many things,\" said Anne, \"but I don't think\nthere is much fear that I won't be able to talk.\"\n\nAnd, to do her justice, there wasn't.", "He had fallen asleep then, and the next morning, just as the white dawn\nwas creeping up over the pointed firs in the hollow, Marilla went softly\ninto the east gable and wakened Anne.", "\"We'd like to stay,\" said Anne promptly, for she had made up her mind\nthat she wanted to know more of this surprising Miss Lavendar, \"if it", "\"No, indeed,\" said Anne indignantly. She was an excellent target for\nteasing because she always took things so seriously. \"I shall never have" ], [ "Davy and Dora were delighted when they heard that they were to live at\nGreen Gables, \"for good.\" The death of an uncle whom they had never seen\ncould not weigh a moment in the balance against that. But Dora had one\nmisgiving.", "He had fallen asleep then, and the next morning, just as the white dawn\nwas creeping up over the pointed firs in the hollow, Marilla went softly\ninto the east gable and wakened Anne.", "\"They'd better go to bed,\" said Marilla, who thought it was the easiest\nway to dispose of them. \"Dora will sleep with me and you can put Davy in", "\"I suppose it is,\" assented Marilla gloomily. \"I daresay I'll tell Mary\nI'll take them. You needn't look so delighted, Anne. It will mean a good", "Anne had come home from school the previous evening, to find Marilla\naway at an Aid meeting, Dora asleep on the kitchen sofa, and Davy in", "Anne had always a weather eye open for kindred spirits.\n\nMarilla Cuthbert was driving into the yard as Anne returned from the\nhouse, and the latter flew to get tea ready. They discussed the matter\nat the tea table.", "Marilla passed her hard work-worn hand over the girl's glossy, tumbled\nhair with a wonderful tenderness. When Anne's sobs grew quieter she\nsaid, very gently for her,", "\"I don't see that there is anything else for us to do,\" said Marilla\nrather grimly, although she felt a secret relief. \"Anyhow they're not so", "Anne ran home blithely and recounted her adventures to Marilla, who had\nbeen not a little alarmed by her long absence and was on the point of\nstarting out to look for her.", "On the day after Thomas Lynde's funeral Marilla went about Green Gables\nwith a strangely preoccupied air. Occasionally she looked at Anne,", "home at Green Gables. She elected to remain in her own house for the\nsummer, however; the farm was not to be sold until the fall and there\nwere many arrangements to be made.", "Anne and Marilla looked fearfully into each other's eyes. The thought\nhad been with them both through their entire search but neither had\ndared to put it into words.\n\n\"She . . . she might have,\" whispered Marilla.", "Gilbert arrived at Green Gables in the evening and found Marilla and\nAnne busily engaged in nailing strips of oilcloth over the broken\nwindows.", "Anne did the honors of the table alone for the rest of the meal while\nMarilla went upstairs and redressed Dora in her old clothes. Davy was", "\"Davy Keith!\" Anne sprang from Davy's clinging arms and flew across the\nhall to Marilla's room. The bed was slightly rumpled. She threw back the", "Anne, who was rather glad that Marilla was not by to be shocked.\nMarilla, it is needless to say, was bringing the twins up in the", "Marilla listened to the whole story, and if she smiled at certain parts\nof it Anne never knew. When the tale was ended she said briskly,", "Davy buried his face in Anne's shoulder and cried stormily. Anne, in a\nsudden glad flash of understanding, held him tight and looked over his\ncurly thatch at Marilla.", "While Dora proudly shelled the peas and Davy made boats of the pods,\nwith masts of matches and sails of paper, Anne told Marilla about the\nwonderful contents of her letter.", "Matthew Cuthbert had driven down over the hill with what Mrs. Rachel\ncalled \"his imported orphan.\" But that had been in springtime; and this" ], [ "Anne, by what somebody has called \"a Herculaneum effort,\" kept back her\ntears until she got home that night. Then she shut herself in the east", "Anne kept her own counsel and Mrs. Harrison never knew that her\ngratitude found its way to its object. Anne felt rather bewildered", "No, Anne was positive it would not do as well. So Davy scrambled out\nand knelt down at her knee. When he had finished his devotions he leaned\nback on his little, bare, brown heels and looked up at her.", "\"How can I carry that awful thing out?\" moaned Anne with a shudder. The\nfire shovel suggested itself to her and she crept down to get it while", "Anne hastened to the sitting room closet to get the platter. She had,\nin accordance with her promise to Mrs. Lynde, written to Miss Barry of", "Anne did the honors of the table alone for the rest of the meal while\nMarilla went upstairs and redressed Dora in her old clothes. Davy was", "Anne, left alone in her glory, worked with a will. The floor was swept,\nthe beds made, the hens fed, the muslin dress washed and hung out on the", "Anne did not mention the misfortune which had befallen HER nose when\nshe related the day's history to Marilla that evening. But she took the\nbottle of freckle lotion and emptied it out of the window.", "the circumstances, and she'll have Anne to help her. Anne's tickled\nto death over the whole business, and she has a real knacky way with", "Anne had her own opinion about that as she hastened into the house to\nwrite a note at Miss Lavendar's desk.", "Anne went upstairs with Dora and sat by her until she fell asleep. The\nnext day Mirabel Cotton was kept in at recess and \"gently but firmly\"", "Anne knew that she had made herself ridiculous and that the incident\nwould be laughed over that night at a score of tea-tables, but the", "with. When he had gone home Anne soothed and warmed the sobbing,\nshivering Dora, got her her supper and put her to bed. Then she returned", "Anne hopped briskly up and went to work. She washed the teapot in\nseveral waters before she put the tea to steep. Then she swept the stove", "Fortunately for Anne, Marilla called out at this moment from her room.\n\n\"Anne, Diana's signaling at a great rate. You'd better see what she\nwants.\"", "Anne's Carmody purchases when she heard a shrill shriek in the barnyard.\nA minute later Anne dashed into the kitchen, wringing her hands.", "Anne was charging through the grain like a mad thing. Diana hopped\nbriskly down, tied the horse securely to a post, turned the skirt of her", "Diana did run. Anne tried to, and the wicked Jersey went around the\nfield as if she were possessed. Privately, Diana thought she was. It was", "Anne choked back a mad desire to laugh with the conviction that it would\nbe fatal, and then earnestly set about saving Marilla's reputation.", "and look and move like Anne. Charlotta could never flatter herself\nthat she quite succeeded; but practice makes perfect, as Charlotta had\nlearned at school, and she fondly hoped that in time she might catch the" ], [ "\"Teaching is really very interesting work,\" wrote Anne to a Queen's\nAcademy chum. \"Jane says she thinks it is monotonous but I don't find it", "The day went by like a dream. Anne could never clearly recall it\nafterwards. It almost seemed as if it were not she who was teaching", "School opened and Anne returned to her work, with fewer theories but\nconsiderably more experience. She had several new pupils, six- and", "\"I like teaching, too,\" said Gilbert. \"It's good training, for one\nthing. Why, Anne, I've learned more in the weeks I've been teaching the", "was no real reason for discouragement, since nothing very dreadful had\noccurred; but Anne was very tired and inclined to believe that she would\nnever learn to like teaching. And how terrible it would be to be doing", "\"Yes, indeed. Priscilla to teach at Carmody! How perfectly lovely!\"\nexclaimed Anne, her gray eyes lighting up until they looked like evening", "Anne had always a weather eye open for kindred spirits.\n\nMarilla Cuthbert was driving into the yard as Anne returned from the\nhouse, and the latter flew to get tea ready. They discussed the matter\nat the tea table.", "Anne, by what somebody has called \"a Herculaneum effort,\" kept back her\ntears until she got home that night. Then she shut herself in the east", "\"You both have the advantage of me,\" sighed Anne. \"You're going to teach\nchildren who don't know you, but I have to teach my own old schoolmates,", "The last day of school came and went. A triumphant \"semi-annual\nexamination\" was held and Anne's pupils acquitted themselves splendidly.", "Anne had her own opinion about that as she hastened into the house to\nwrite a note at Miss Lavendar's desk.", "and Mrs. Hiram Sloane called at the school one day and beckoned Anne\nmysteriously out into the porch to tell her that if the \"Sassiety\"", "The last week in August came. Miss Lavendar was to be married in it.\nTwo weeks later Anne and Gilbert would leave for Redmond College. In a", "When school was dismissed and the children had gone Anne dropped wearily\ninto her chair. Her head ached and she felt woefully discouraged. There", "that there was much promising material for celebrities in Avonlea\nschool; but you could never tell what might happen if a teacher used\nher influence for good. Anne had certain rose-tinted ideals of what a", "Tuesday afternoon the Aid Society met at Green Gables. Anne hurried home\nfrom school, for she knew that Marilla would need all the assistance she", "When Anne reached the school that morning . . . for the first time in her\nlife she had traversed the Birch Path deaf and blind to its beauties . . .", "all was quiet and still. The preceding teacher had trained the\nchildren to be in their places at her arrival, and when Anne entered the\nschoolroom she was confronted by prim rows of \"shining morning faces\"", "Anne hastened to the sitting room closet to get the platter. She had,\nin accordance with her promise to Mrs. Lynde, written to Miss Barry of", "He had fallen asleep then, and the next morning, just as the white dawn\nwas creeping up over the pointed firs in the hollow, Marilla went softly\ninto the east gable and wakened Anne." ], [ "School opened and Anne returned to her work, with fewer theories but\nconsiderably more experience. She had several new pupils, six- and", "Anne, by what somebody has called \"a Herculaneum effort,\" kept back her\ntears until she got home that night. Then she shut herself in the east", "\"Teaching is really very interesting work,\" wrote Anne to a Queen's\nAcademy chum. \"Jane says she thinks it is monotonous but I don't find it", "\"I like teaching, too,\" said Gilbert. \"It's good training, for one\nthing. Why, Anne, I've learned more in the weeks I've been teaching the", "own too. With a whole week in which to study Anne constantly she would\nsurely be able to learn how to move and behave like her.", "The day went by like a dream. Anne could never clearly recall it\nafterwards. It almost seemed as if it were not she who was teaching", "Anne kept her own counsel and Mrs. Harrison never knew that her\ngratitude found its way to its object. Anne felt rather bewildered", "and look and move like Anne. Charlotta could never flatter herself\nthat she quite succeeded; but practice makes perfect, as Charlotta had\nlearned at school, and she fondly hoped that in time she might catch the", "and interests easy. And, Anne, as she talked about it the thought came\nto me that I would ask her to come and live with me, but I thought I", "youth in her heart and soul, and a girl whose imagination and intuition\nsupplied the place of experience. Anne had at last discovered a real\n\"kindred spirit,\" while into the little lady's lonely, sequestered life", "Anne had always a weather eye open for kindred spirits.\n\nMarilla Cuthbert was driving into the yard as Anne returned from the\nhouse, and the latter flew to get tea ready. They discussed the matter\nat the tea table.", "through the woods. When Diana could not go Anne went alone. Between\nher and Miss Lavendar had sprung up one of those fervent, helpful\nfriendships possible only between a woman who has kept the freshness of", "Anne did the honors of the table alone for the rest of the meal while\nMarilla went upstairs and redressed Dora in her old clothes. Davy was", "\"When I've finished these exercises I'll run down and chat awhile with\nMrs. Lynde,\" said Anne. \"I had intended to study some Latin composition\ntonight but it can wait.\"", "\"I know all about it,\" replied Anne promptly. \"You see,\" she explained\nhastily, \"Miss Lavendar and I are very intimate. She wouldn't tell\nthings of such a sacred nature to everybody. We are kindred spirits.\"", "The last day of school came and went. A triumphant \"semi-annual\nexamination\" was held and Anne's pupils acquitted themselves splendidly.", "Anne leaned back in her chair one mild October evening and sighed. She\nwas sitting at a table covered with text books and exercises, but the\nclosely written sheets of paper before her had no apparent connection\nwith studies or school work.", "The last week in August came. Miss Lavendar was to be married in it.\nTwo weeks later Anne and Gilbert would leave for Redmond College. In a", "Accordingly, a month later Anne and Paul walked through the woods to\nthe stone house, and met Miss Lavendar in the lane. She had not been\nexpecting them just then and she turned very pale.", "\"He was much pleased,\" said Anne brightly. \"He says there is a great\nimprovement in them and he thinks the danger of her losing her sight" ], [ "School opened and Anne returned to her work, with fewer theories but\nconsiderably more experience. She had several new pupils, six- and", "\"I suppose Gilbert Blythe is going to college in the fall,\" said Marilla\njerkily. \"How would you like to go too, Anne?\"\n\nAnne looked up in astonishment.", "Anne, by what somebody has called \"a Herculaneum effort,\" kept back her\ntears until she got home that night. Then she shut herself in the east", "The last week in August came. Miss Lavendar was to be married in it.\nTwo weeks later Anne and Gilbert would leave for Redmond College. In a", "\"Teaching is really very interesting work,\" wrote Anne to a Queen's\nAcademy chum. \"Jane says she thinks it is monotonous but I don't find it", "and look and move like Anne. Charlotta could never flatter herself\nthat she quite succeeded; but practice makes perfect, as Charlotta had\nlearned at school, and she fondly hoped that in time she might catch the", "Anne kept her own counsel and Mrs. Harrison never knew that her\ngratitude found its way to its object. Anne felt rather bewildered", "Back in the schoolroom Anne was sitting alone at her desk, as she had\nsat on the first day of school two years before, her face leaning on her", "The day went by like a dream. Anne could never clearly recall it\nafterwards. It almost seemed as if it were not she who was teaching", "The last day of school came and went. A triumphant \"semi-annual\nexamination\" was held and Anne's pupils acquitted themselves splendidly.", "Anne did the honors of the table alone for the rest of the meal while\nMarilla went upstairs and redressed Dora in her old clothes. Davy was", "\"You'll laugh when you hear this,\" assured Anne. And Marilla did laugh,\nwhich showed how much her education had advanced since the adoption of\nAnne. But she sighed immediately afterwards.", "He had fallen asleep then, and the next morning, just as the white dawn\nwas creeping up over the pointed firs in the hollow, Marilla went softly\ninto the east gable and wakened Anne.", "\"When I've finished these exercises I'll run down and chat awhile with\nMrs. Lynde,\" said Anne. \"I had intended to study some Latin composition\ntonight but it can wait.\"", "Anne had her own opinion about that as she hastened into the house to\nwrite a note at Miss Lavendar's desk.", "When Anne reached the school that morning . . . for the first time in her\nlife she had traversed the Birch Path deaf and blind to its beauties . . .", "\"I like teaching, too,\" said Gilbert. \"It's good training, for one\nthing. Why, Anne, I've learned more in the weeks I've been teaching the", "through the woods. When Diana could not go Anne went alone. Between\nher and Miss Lavendar had sprung up one of those fervent, helpful\nfriendships possible only between a woman who has kept the freshness of", "own too. With a whole week in which to study Anne constantly she would\nsurely be able to learn how to move and behave like her.", "Two hours later Anne and Charlotta the Fourth came down the lane again.\nGilbert had gone to West Grafton on an errand and Diana had to keep an" ], [ "\"I like teaching, too,\" said Gilbert. \"It's good training, for one\nthing. Why, Anne, I've learned more in the weeks I've been teaching the", "Gilbert had finally made up his mind that he was going to be a doctor.", "sudden realization that Gilbert was a schoolboy no longer. And how manly\nhe looked--the tall, frank-faced fellow, with the clear, straightforward\neyes and the broad shoulders. Anne thought Gilbert was a very handsome", "Gilbert and Anne looked at each other and smiled rather foolishly. Once\nupon a time, Anne had been made to sit with Gilbert for punishment and\nsad and bitter had been the consequences thereof.", "the Improvement Society. Gilbert Blythe, who was to teach in White\nSands but would always be home from Friday night to Monday morning, was", "Gilbert stretched himself out on the ferns beside the Bubble and looked\napprovingly at Anne. If Gilbert had been asked to describe his ideal", "home with her; at the fence they met Gilbert, and all three were now\ntalking about the fateful morrow; for that morrow was the first of\nSeptember and the schools would open. Jane would go to Newbridge and", "\"Because,\" explained Gilbert to Anne, as they walked home together\nthrough the Haunted Wood, \"the Pyes all live along that road and they\nwon't give a cent unless one of themselves canvasses them.\"", "\"What is the matter?\" asked Gilbert, who had arrived at the open kitchen\ndoor just in time to hear the sigh.\n\nAnne colored, and thrust her writing out of sight under some school\ncompositions.", "Gilbert Blythe was probably the only person to whom the news of Anne's\nresignation brought unmixed pleasure. Her pupils looked upon it as", "Gilbert, having tried to please both sides, succeeded, as is usual and\neminently right, in pleasing neither. Jane tossed her head.", "\"Well,\" said Gilbert slowly, torn between his real convictions and his\nwish to measure up to Anne's ideal, \"there's something to be said on", "The mention of college gave a new direction to Gilbert's thoughts, and\nthey talked for a time of their plans and wishes . . . gravely, earnestly,", "Gilbert wisely said nothing more; but in his silence he read the history\nof the next four years in the light of Anne's remembered blush. Four", "\"I think you're fulfilling that ambition every day,\" said Gilbert\nadmiringly.", "\"I suppose Gilbert Blythe is going to college in the fall,\" said Marilla\njerkily. \"How would you like to go too, Anne?\"\n\nAnne looked up in astonishment.", "Finally Gilbert rose regretfully.", "Two hours later Anne and Charlotta the Fourth came down the lane again.\nGilbert had gone to West Grafton on an errand and Diana had to keep an", "The last week in August came. Miss Lavendar was to be married in it.\nTwo weeks later Anne and Gilbert would leave for Redmond College. In a", "Mrs. Lynde drove home, meeting several people on the road and stopping\nto tell them about the hall. The news flew like wildfire. Gilbert" ], [ "Accordingly, a month later Anne and Paul walked through the woods to\nthe stone house, and met Miss Lavendar in the lane. She had not been\nexpecting them just then and she turned very pale.", "Anne had been down to old Mrs. Irving's on the shore road the preceding\nevening and had come home by a short cut which led her first over the", "till she was safely in her own white room at home. Before she could\ndecide there was a click of heels and a silken swish on the porch floor,\nand Anne found herself confronted by a lady whose appearance made her", "Anne, however, was beginning to like the queer, fussy, fidgety little\nman, and before the meal was over they were quite good friends. Mr.", "\"Is this where Mr. James A. Harrison lives?\" she inquired briskly.\n\n\"No, Mr. Harrison lives over there,\" said Anne, quite lost in\nastonishment.", "with all my new neighbors just as soon as possible. Mrs. Lynde is a\nlovely woman, isn't she? So friendly.\"", "Anne was sitting on the porch steps when Stephen Irving came down the\nlane and across the garden.", "Anne, who was perched on the edge of the veranda, enjoying the charm\nof a mild west wind blowing across a newly ploughed field on a gray", "When Anne and Paul reached the stone house that afternoon they found\nMiss Lavendar and Charlotta the Fourth in the garden, weeding, raking,", "at him in some bewilderment. Mr. Harrison was their new righthand\nneighbor and she had never met him before, although she had seen him\nonce or twice.", "In early April, before Anne had come home from Queen's, Mr. Robert Bell,\nwhose farm adjoined the Cuthbert place on the west, had sold out and", "Anne had always a weather eye open for kindred spirits.\n\nMarilla Cuthbert was driving into the yard as Anne returned from the\nhouse, and the latter flew to get tea ready. They discussed the matter\nat the tea table.", "Mrs. Lynde rushed in where Anne had feared to tread. Nothing would have\ninduced the latter to go over to the Harrison place; but she had her", "He had fallen asleep then, and the next morning, just as the white dawn\nwas creeping up over the pointed firs in the hollow, Marilla went softly\ninto the east gable and wakened Anne.", "Anne, by what somebody has called \"a Herculaneum effort,\" kept back her\ntears until she got home that night. Then she shut herself in the east", "Two hours later Anne and Charlotta the Fourth came down the lane again.\nGilbert had gone to West Grafton on an errand and Diana had to keep an", "Anne went upstairs with Dora and sat by her until she fell asleep. The\nnext day Mirabel Cotton was kept in at recess and \"gently but firmly\"", "Then the veil dropped again; but the Anne who walked up the dark lane\nwas not quite the same Anne who had driven gaily down it the evening", "up,\" laughed Diana. \"I begin to see what you mean by educating public\nsentiment, Anne. There's the old Boulter house now. Did you ever see", "\"We'd like to stay,\" said Anne promptly, for she had made up her mind\nthat she wanted to know more of this surprising Miss Lavendar, \"if it" ], [ "\"Davy?\" But Anne could say no more. She carried Dora home with a heavy\nheart. Her joy at finding the child safe and sound was drowned out in", "Davy's method of \"livening up\" was to grasp Dora's curls in his fingers\nand give them a tug. Dora shrieked and then cried.", "The twins were not noticeably alike, although both were fair. Dora had\nlong sleek curls that never got out of order. Davy had a crop of fuzzy", "\"Davy and I came over to see Ginger,\" sobbed Dora, \"but we couldn't see\nhim after all, only Davy made him swear by kicking the door. And then", "Davy and Dora were delighted when they heard that they were to live at\nGreen Gables, \"for good.\" The death of an uncle whom they had never seen\ncould not weigh a moment in the balance against that. But Dora had one\nmisgiving.", "and no Dora to be seen. Davy declares he never saw her since I left.\"", "Mary said Dora was really a very good child but that Davy was full of\nmischief. He has never had any bringing up you might say. His father", "the pain caused by Davy's behavior. The freak of shutting Dora up might\neasily have been pardoned. But Davy had told falsehoods . . . downright", "\"Anne, Dora is lost!\"\n\n\"Dora! Lost!\" Anne looked at Davy, who was swinging on the yard gate,\nand detected merriment in his eyes. \"Davy, do you know where she is?\"", "\"But maybe you never asked anybody to have you,\" protested Davy.\n\n\"Oh, Davy,\" said Dora primly, shocked into speaking without being spoken\nto, \"it's the MEN that have to do the asking.\"", "Davy winked at Anne, and then, leaning over the table, snatched Dora's\nfirst piece of cake, from which she had just taken one dainty little", "Lauretta White was sitting in front of Davy, her head slightly bent\nand her fair hair hanging in two long braids, between which a tempting", "seven-year-olds just venturing, round-eyed, into a world of wonder.\nAmong them were Davy and Dora. Davy sat with Milty Boulter, who had been", "Davy was aghast. Anne crying . . . he had made Anne cry! A flood of real\nremorse rolled like a wave over his warm little heart and engulfed it.", "\"You do spoil that boy dreadfully,\" said Marilla, when Davy, with a\nradiant face, had followed prim Dora out. Marilla's education had made", "\"Why, Davy Keith,\" she said solemnly, \"something dreadful HAS happened\nto you this very day.\"\n\nDavy looked sceptical.", "\"They'd better go to bed,\" said Marilla, who thought it was the easiest\nway to dispose of them. \"Dora will sleep with me and you can put Davy in", "\"How could you behave so, Davy?\" she asked sorrowfully.\n\nDavy squirmed uncomfortably.", "Davy screwed his eyes tight shut and seemed to meditate on this for a\ntime. Then he crawled up and put his arms about Anne's neck, snuggling\nhis flushed little face down on her shoulder.", "carried Davy away, her oval girlish cheek pressed against his curly\nyellow head. As they went up the stairs Davy flung a tired arm about" ], [ "At this point Mr. Harrison arose and, with an expression that would have\nstruck terror into any bird but a parrot, carried Ginger's cage into an", "\"Don't you mind that parrot,\" said Mr. Harrison, casting a furious\nglance at Ginger. \"He's . . . he's always talking nonsense. I got him", "Finally, Mr. Harrison kept a parrot called Ginger. Nobody in Avonlea had\never kept a parrot before; consequently that proceeding was considered", "Harrison's? She has always been talking about his parrot ever since that\ntime you took her over.\"", "care about except a parrot, don't you think? But I notice Mr. Harrison\ndoesn't like to be pitied. Nobody does, I imagine.\"", "\"He's a limb,\" declared Mr. Harrison. \"He came over here yesterday and\npulled six feathers out of Ginger's tail before I could get in from the", "animal was kept within safe bounds. Even Mr. Harrison chuckled, if he\nchuckled at all, in private, and was all sympathy outwardly.", "Mr. Harrison's house was an old-fashioned, low-eaved, whitewashed\nstructure, set against a thick spruce grove.", "\"Excuse me and go on,\" said Mr. Harrison, sitting down again. \"My\nbrother the sailor never taught that bird any manners.\"", "Mr. Harrison himself was sitting on his vineshaded veranda, in his shirt\nsleeves, enjoying his evening pipe. When he realized who was coming up", "\"He's peculiar enough all right then,\" said Mr. Harrison drily. \"Or at\nleast, folks here will call him so. I never was much of a talker till", "Mr. Harrison was smoking on his veranda. His wife had self-sacrificingly\ntold that he might smoke in the house if he took care to sit by an", "Mr. Harrison did his best to speak dolefully, but an irrepressible\ntwinkle in his eye betrayed him.", "Mr. Harrison had brought Ginger back, averring that the poor bird would\nbe lonesome; and Anne, feeling that she could forgive everybody and", "As soon as they were comfortably seated on the veranda Mr. Harrison\nbegan his tale of woe.", "Mr. Harrison said, \"Thought you'd come to it,\" when he heard it, and\nJane rubbed it in rather unmercifully.\n\n\n\n\nXIII", "All at once Mr. Harrison found his voice.", "\"Bless my soul,\" exclaimed Mr. Harrison, in blank amazement at this\nunlooked-for conclusion. \"What a VERY extraordinary thing!\"", "in the sunlight. By the table sat Mr. Harrison in his working clothes,\nwhich on Friday had been noted for sundry rents and tatters but which", "growled Mr. Harrison. \"And as for understanding her, I understand that\nshe is a confirmed busybody and I told her so.\"" ], [ "\"Hasn't that Paul Irving grown to be a big boy?\" said Mrs. Andrews. \"He\nwas such a mite for his age when he came here. I declare I hardly knew", "Paul Irving would have known the meaning of this, or made a meaning out\nof it for himself, if he didn't; but practical Davy, who, as Anne", "When Paul had scampered away to do his \"daily duty\" Mr. Irving talked to\nAnne of various matters. But Anne felt that he was thinking of something\nelse underneath all the time. Presently it came to the surface.", "\"Paul Irving washes his face every day of his own accord,\" said Anne\nastutely.", "tear ourselves away,' as Paul Irving says every time he comes to Green\nGables.\"", "the evening she went down to the shore road to see Paul Irving. As she\npassed by the low, square window of the Irving sitting room she caught", "Boston and live with them . . . and me only fifteen, and the other girls\nnever went till they were sixteen. Ain't Mr. Irving splendid? He", "\"With a hug like a bear's,\" said Mr. Irving, putting his arms around\nPaul's shoulder smilingly. \"I hardly knew my boy, he had grown so big\nand brown and sturdy.\"", "\"'Your loving pupil Paul Irving.'\n\n\"'P. S. of course, this letter isn't really true, teacher. P.I.'\"\n\n\n\n\nXII", "In the afternoon Anne walked down to the old Irving place to see Paul.\nShe found him stretched out on the grassy bank beside the thick fir", "Stephen Irving came forward to meet Anne with a smile. He was a tall,\nhandsome man of middle age, with iron-gray hair, deep-set, dark blue", "\"He is a little pupil of mine,\" she explained slowly. \"He came from\nBoston last year to live with his grandmother, Mrs. Irving of the shore\nroad.\"", "\"I don't like Paul Irving BETTER,\" said Anne seriously. \"I like you just\nas well, only in a different way.\"\n\n\"But I want you to like me the same way,\" pouted Davy.", "Paul Irving. The first two hymns and the Scripture reading passed off\nuneventfully. Mr. Allan was praying when the sensation came.", "expect trouble, that's what. And you'll have another strange pupil, too.\nPaul Irving is coming from the States to live with his grandmother.", "\"I s'pose,\" he said reflectively, \"that Paul Irving wouldn't have\ndropped a caterpillar down a girl's neck in church, would he?\"\n\n\"Indeed he wouldn't,\" said Anne sadly.", "matter how good I am you'd like Paul Irving better. So I might as well\nbe bad and have the fun of it.\"", "Everybody concerned in Miss Lavendar's story was very happy. Paul Irving\nrushed to Green Gables to talk the news over with Anne as soon as his\nfather had told him.", "\"So this is my little son's 'beautiful teacher,' of whom I have heard\nso much,\" said Mr. Irving with a hearty handshake. \"Paul's letters have", "\"I'm afraid he came long ago and went away again,\" said Diana. \"They say\nshe used to be engaged to Stephan Irving . . . Paul's father . . . when\nthey were young. But they quarreled and parted.\"" ], [ "\"Mary? None in the world. It was her husband . . . he was our third\ncousin. There's Mrs. Lynde coming through the yard. I thought she'd be\nup to hear about Mary.\"", "\"There's Marilla getting home from the funeral,\" she said to her\nhusband, who was lying on the kitchen lounge. Thomas Lynde lay more on", "Friday afternoon he finished his job and went home to Carmody. Soon\nafter his departure Mrs. Rachel Lynde drove by, having braved the mud of", "Mrs. Lynde rushed in where Anne had feared to tread. Nothing would have\ninduced the latter to go over to the Harrison place; but she had her", "with all my new neighbors just as soon as possible. Mrs. Lynde is a\nlovely woman, isn't she? So friendly.\"", "\"Well, we soon will. I'm going straight over there,\" said Mrs. Lynde,\nwho had never learned that there was such a word as delicacy in the", "anything about her. And now everything has come right. And I had a\nhand in bringing it about. Perhaps, as Mrs. Lynde says, everything is", "Emily and me. To be sure, Mrs. Lynde'll be over there in your place.\nThere ain't nobody but a substitute can be found for them.\"", "\"So is Mrs. Lynde,\" said Anne, before she could prevent herself.", "Mrs. Lynde drove home, meeting several people on the road and stopping\nto tell them about the hall. The news flew like wildfire. Gilbert", "Thomas Lynde faded out of life as quietly and unobtrusively as he had\nlived it. His wife was a tender, patient, unwearied nurse. Sometimes", "\"Anne, Thomas Lynde is gone . . . their hired boy just brought the word.\nI'm going right down to Rachel.\"", "week's time Mrs. Rachel Lynde would move to Green Gables and set up\nher lares and penates in the erstwhile spare room, which was already", "\"I met Mrs. Lynde and some strange woman in the Hollow,\" he said, \"and\ngracious, how they were talking both at once! Mrs. Lynde said to tell", "They found out what Mrs. Lynde had to say when she came up that evening.\nMrs. Lynde wasn't surprised! Mrs. Lynde had always expected something", "Anne, walking home from the post office one Friday evening, was joined\nby Mrs. Lynde, who was as usual cumbered with all the cares of church\nand state.", "Mrs. Lynde was in the Green Gables kitchen. She had been telling the\nwhole story to Marilla.\n\n\"Well, and how do you like Mrs. Harrison?\" she asked Anne.", "Mrs. Rachel Lynde was sitting at her kitchen window, knitting a quilt,\njust as she had been sitting one evening several years previously when", "Marilla had gone down to Mrs. Lynde's, and when she returned knew all\nabout Dolly's sale and transfer, for Mrs. Lynde had seen most of the\ntransaction from her window and guessed the rest.", "lived in it for four years. She never went out much and hardly anybody\nwent to see her except mother and Mrs. Lynde. Jordan made her this" ] ]

[ "What is Anne's job?", "Whose cow did Anne sell?", "What can Anne do once Mrs. Lynde moves in with Marilla?", "What type of pet does Mr. Harrison have?", "What is the name of the school where Anne teaches?", "With whom does Paul live?", "What color was the town hall painted?", "Who does Mr. Irving marry?", "What are the twins' names?", "What profession does Anne have as a teenager?", "Where does Anne teach?", "Why does Anne agree to take care of the twins Davy and Dora?", "Why is Anne relieved when the twins uncle dies?", "Who is Paul Irving?", "What do Anne and her friends create?", "What happens to the Old Town Hall?", "Why does Anne sell her neighbors cow?", "Where does Anne plan on attending college?", "Who moves in with Marilla at Green Gables?", "What does Anne do?", "Where does Anne teach?", "Who does Anne continue her studies with?", "Where does Anne continue her studies?", "Where is Gilbert teaching?", "Who is Anne's new neighbor?", "How are Davy and Dora related?", "How is Mr. Harrison's parrot described?", "Who is Paul Irving living with?", "Who does Mrs. Lynde move in with after her husband dies?" ]

[ [ "Teacher", "a teacher" ], [ "Her neighbor's", "her neighbor" ], [ "Go to college", "go to college" ], [ "parrot", "A parrot" ], [ "Avonlea", "Avonlea" ], [ "His grandmother", "his grandmother" ], [ "Blue", "Bright Blue" ], [ "Miss Lavendar", "Miss Lavendar" ], [ "Davy and Dora", "Davy and Dora" ], [ "A teacher.", "teacher" ], [ "The Avonlea school.", "avonlea school" ], [ "Their mother died and their uncle is out of town.", "their mother died" ], [ "She will get to continue to take care of Davy and Dora.", "So the twins could stay" ], [ "one of Anne's students.", "Annes's student" ], [ "A.V.I.S. (Avonlea Village Improvement Society)", "The Avonlea Village Improvement Society" ], [ "It is painted the wrong color.", "gets painted wrong color now a bright blue eyesore" ], [ "Anne believed it was her cow.", "she thought it was her own" ], [ "Redmond College", "Redmond College" ], [ "Mrs. Lynde", "The children of Marilla's third cousin." ], [ "teaches", "She teaches at Avonlea School" ], [ "Avonlea school", "Avonlea School" ], [ "Gilbert", "Gilbert" ], [ "home", "Redmond College" ], [ "White Sands School", "White Sands School" ], [ "Mr. Harrison", "Mr Harrison" ], [ "they are twins", "siblings" ], [ "foul-mouthed", "Foul-mouthed" ], [ "his grandmother", "his grandmother" ], [ "Marilla", "marilla" ] ]

[ [ "towers above Dennis, wearing dark glasses and a leather longcoat -- a\n\tsneer of cruel contempt etched upon a face tempered by a lifetime of\n\thorror. His name is BLADE.", "EXT. CITY STREETS - NIGHT\n\n\tBlade pilots the Olds down the streets, moving through a series of\n\tincreasingly degenerating neighborhoods, coming at last to the\n\tsprawling warehouse district.", "Blade's Olds cruises to a stop. We're in a low-end commercial\n\tdistrict -- junky heaven. Blade climbs out, pulling an automatic\n\trifle from the back seat, then heading into an alleyway.", "Blade scans the room -- just in time to see Tanaka ducking into a\n\tback hallway. Blade pushes towards the rear of the club. Karen\n\tfollows. \n\n\tON THE STRIPPER", "Blade is winding his way through the maze of makeshift homes and\n\tashcan fires. A CROWD quickly closes in around him, suspicious. A\n\tBRUTISH MAN steps forward, challenging him --", "as she catches sight of Blade and freezes in mid-routine. The\n\tstripper pulls off her hood. Long black hair with a streak of white\n\ttumbles down her back -- it's Mercury.", "Blade opens FIRE, sweeping his rifle around the room, shooting\n\teverything in sight. Glass cabinetry shatters, ampoules and\n\tvacutainers go flying. Tanaka cowers, arms wrapped about his head.", "Blade feebly struggles to rise. Frost clubs him on the back of the\n\tneck with the sword pommel. Blade crumples. Karen tries to pull free,\n\tbut Quinn holds her tight.", "As the mist clears, revealing the occupant within, Blade raises his\n\tsword, ready to plunge it downward -- only it's not Deacon Frost who\n\trests beneath him, it's --", "SOMEONE sitting astride a motorcycle, watching Blade from the roof of\n\tan elevated parking garage. The rider is clad from head to toe in a\n\thelmet and black leather -- Mercury.", "We follow the Olds as it cruises around the back of the building,\n\theading down a concrete loading ramp. At the bottom of the ramp, a\n\theavy iron door rises. Blade's Olds disappears into the darkness.", "Karen helps Blade inside. He sinks to the floor of the otherwise\n\tdeserted car, exhausted. He's looking ashen now. The whites of his\n\teyes are shot through with red.", "A bloodbath ensues. Blade moves like speed-personified, FIRING off\n\tone, two, THREE HEADSHOTS with brain-numbing accuracy, cutting down\n\tthe vampires where they stand.", "CLOSE ON BLADE\n\n\tA gaze as cold and pitiless as a midnight sun. The vampire club-goers\n\tstare back. Nuclear silence. And then --", "-- then Blade's CAR-15 jams. The remaining club-goers see their\n\topening, surge forward en masse --", "Blade fights back tears. With a wretched moan, he turns his head and\n\tdrives the stake into Whistler's chest. Whistler GASPS. Blade wraps", "FADE IN as Blade opens his eyes, still groggy, his face beaded with\n\tsweat. Feverish. His hands have been bound tightly behind his back\n\twith manacles and chains.", "Blade and Karen are dragged from the back of the truck, which is\n\trevealed now to be an armored car. \n\n\tTHE BANK OF EREBUS", "Blade and Karen head past the bathrooms. At the end of the hall is a\n\tdoor marked \"OFFICE\". Just then, the Men's door opens, a DRUNK\n\tCOLLEGE KID steps out, SEES Blade --", "Blade reaches into the back seat, retrieves his sword and a satchel.\n\tHe snaps open his shotgun, loads it. Karen continues to study the\n\tvampires Blade identified." ], [ "KAREN JANSEN (20s), a fine-featured hematologist with a social life\n\tin suspended animation, sits back from the microscope, stumped. Next", "Blade turns now, his eyes falling on the medical equipment Karen\n\tbrought from the hospital. He moves to the refrigerator, removing a", "Whistler snaps on a pair of surgical gloves, probes the wound in\n\tKaren's neck with an antiseptic swab -- there's capillary damage", "KAREN\n\t\tIs he sick?\n\n\t\t\t\tBLADE\n\t\tCancer.", "Blade nods, lays Karen down on the operating table. Whistler turns on\n\tan overhead light. Karen is sheathed in sweat, ashen. She's lost a\n\tlot of blood.", "She's not Karen anymore -- she's a red blood cell, an erythrocyte,\n\tspinning in a river of plasma, roaring up Blade's femoral artery,", "Karen stands at a lab table with Whistler, preparing a number of\n\tblood sample vials. They are surrounded by host of new medical\n\tequipment -- from centrifuges to genetic sequencers and beyond.", "KAREN\n\t\tHello? My name is Karen Jansen, I was \n\t\twith Curtis Webb at Mid-Town Hospital", "WHISTLER\n\t\t\t(reading her name tag)\n\t\t\"Dr. Karen Jansen\". Listen close, I'm", "A SHOCK-TRAUMA TEAM swarms over her, inserting a vacutainer into an\n\tartery to draw blood, wrapping a blood pressure cuff around her\n\tarm --", "Blade hand it to her again, then starts across the street towards the\n\tclinic. Karen follows --\n\n\tINT. HOLLISTON CLINIC, LOBBY - NIGHT", "Karen helps Blade inside. He sinks to the floor of the otherwise\n\tdeserted car, exhausted. He's looking ashen now. The whites of his\n\teyes are shot through with red.", "ON KAREN as she comes to. Her wounds have been bandaged. She rises, a\n\tlittle shaky, takes in her surroundings -- She's in a spartan room,", "KAREN\n\t\tI don't know --\n\t\t\t(re: microscope)\n\t\tLook at this blood smear -- \n\n\tCurtis takes a look for himself.", "Gideon smiles, takes a quick glance around the room, then studies\n\tKaren's face, the bandages on her neck.", "KAREN\n\t\t\t(recognizing it)\n\t\tI know this place -- it's a blood \n\t\tbank.", "When it's over, he slumps forward, spent, vulnerable, flushed with\n\tsweat. Karen stares at him --", "-- and then he goes into a death-spasm, vomiting up a spray of\n\tcaustic vampire blood-bile, spattering Karen. She sinks to her knees,", "Whistler and Karen sit at a work table. Karen is looking at a blood\n\tsmear slide through a microscope.", "WHISTLER\n\t\t\t(appraising her)\n\t\tMaybe not. I did some checking, she's \n\t\ta hematologist. Knowledge like that \n\t\tmight come in handy." ], [ "Blade fights back tears. With a wretched moan, he turns his head and\n\tdrives the stake into Whistler's chest. Whistler GASPS. Blade wraps", "Blade enumerates the following on his fingers:\n\n\t\t\t\tBLADE\n\t\tYou use the stake, silver, or \n\t\tsunlight, got it?", "As much as he'd like to deny it, Blade knows that Whistler is right.\n\tHe pulls a stake from his bandoleer, hesitates.", "Quinn charges. Blade meets the vampire head-on, dropping into a low\n\tkick and sweeping the vampire's legs out from under him. He spins\n\tbehind Quinn --", "Blade enters through the loading elevator, finding Karen and Whistler\n\thard at work. She turns as he approaches -- SEES him back-lit by the\n\tsun. She looks pale, the whites of her eyes are streaked with red.", "BLADE\n\t\tThen I have to take you out, just \n\t\tlike any other bloodsucker.\n\n\tBlade turns and exits. Whistler and Karen follow.", "Quinn responds with a slew of rapid-fire vampire invectives. Blade\n\tsees he's getting nowhere fast, calmly sheathes his sword. He unclips", "An ALARM is ringing. Sunlight streams in through the broken window.\n\tTWO VAMPIRE GUARDS who have been caught in the sudden swath of light\n\tare burning up before our eyes. Blade climbs to his feet --", "Blade reaches into the back seat, retrieves his sword and a satchel.\n\tHe snaps open his shotgun, loads it. Karen continues to study the\n\tvampires Blade identified.", "Blade reaches into his jacket and pulls out the small, gas-powered\n\tpistol-injector we saw Whistler inject him with earlier. He tries to", "BLADE\n\t\tAll right, then, listen up, Vampire \n\t\tAnatomy 101. Crosses and running water", "Blade nods, lays Karen down on the operating table. Whistler turns on\n\tan overhead light. Karen is sheathed in sweat, ashen. She's lost a\n\tlot of blood.", "A bloodbath ensues. Blade moves like speed-personified, FIRING off\n\tone, two, THREE HEADSHOTS with brain-numbing accuracy, cutting down\n\tthe vampires where they stand.", "BLADE\n\t\tGot something in your throat.\n\n\tBlade yanks the stake free. The vampire laughs, air whistling through\n\this ruined larynx.", "Blade grudgingly rolls up his sleeve. As Karen takes her sample,\n\tBlade looks to Whistler. The older man brings a handkerchief to his\n\tlips, coughing into it.", "BLADE\n\t\tWe've got a good arrangement, that's \n\t\tall. Whistler makes the weapons, I use \n\t\tthem, the vampires die -- end of \n\t\tstory.", "isolating Blade amidst the ghostly squalor. From our vantage point,\n\the looks like any other homeless phantom.\n\n\tINT. WHISTLER'S WORKSHOP - DAWN", "rising up behind him. In a flash, Blade swings his sword downward,\n\tcutting off the vampire's right hand at the elbow. The severed limb\n\tfalls to the floor --", "BLADE\n\t\tWhistler, I can't.\n\n\tWhistler clutches at Blade's arm, his eyes burning with conviction.", "Blade moves like lightning, hacking his way into TWO CHARGING\n\tVAMPIRES. Blade spins again, cuts ANOTHER VAMPIRE clean in half --" ], [ "a mere \"Underlord\" in the vampire hierarchy, steps forward.\n\tStrikingly handsome, younger, less conservative than his superiors,", "A beat as the young turk stares his elder down. Dragonetti is the\n\tfirst to lose his nerve. Frost smiles and exits, leaving the old\n\tvampire to lick his wounds.", "At the head of the table is GAETANO DRAGONETTI, current vampire\n\t\"Overlord\". Blood-red eyes, parchment skin stretched over skull-like", "fueled with a passionate intensity. Amongst the vampire community\n\the's known as an agitator. He's also the vampire equivalent of a\n\tracial supremacist.", "Just then, the TWELVE VAMPIRE ELDERS emerge behind Frost, forming a\n\tcircle around Dragonetti. All wear business suits, gloves, along with", "Having finished suiting up, he turns to face the vampires who have\n\tbeen faithful to his cause -- Mercury, Quinn, a host of others. A", "Dragonetti looks apoplectic. ELDER PALLINTINE, a five-hundred year-\n\told vampire inhabiting the body of a prepubescent boy, interjects.", "Frost leads his vampires into a high-ceilinged atrium, moving towards\n\ta bank of elevators -- one of the doors of which is outfitted with a\n\thigh-tech hand-key ID system.", "This causes quite a stir amongst the other vampires. Frost might as\n\twell have slapped Dragonetti in the face.", "Gathered around a massive table are the TWELVE VAMPIRE ELDERS,\n\trepresenting a \"rainbow\" of racial colors -- names like PALLINTINE,", "Dragonetti's cries are cut short as Frost forces the aging vampire's\n\tmouth open, ripping out his fangs with his bare hands. Dragonetti\n\tGURGLES and SHRIEKS, sounding like a dying animal.", "towers above Dennis, wearing dark glasses and a leather longcoat -- a\n\tsneer of cruel contempt etched upon a face tempered by a lifetime of\n\thorror. His name is BLADE.", "A TRIO OF BLACK-CLAD VAMPIRES\n\n\tled by Mercury step from the shadows where they'd been waiting all\n\talong. They're armed with tasers which they fire en masse --", "(pointing)\n\t\tSee the valets over there? They're \n\t\tvampires. So is the doorman.", "vampire who fathered you. Well you can \n\t\trest easy now, you've found him.\n\t\t\t(gripping Blade's chin)", "The other vampires laugh. Quinn stares them into silence. \n\n\t\t\t\tQUINN\n\t\tWe need to find him, tonight.", "A bloodbath ensues. Blade moves like speed-personified, FIRING off\n\tone, two, THREE HEADSHOTS with brain-numbing accuracy, cutting down\n\tthe vampires where they stand.", "Vanessa hands Frost the chalice containing Blade's blood. He lifts it\n\tup for all to see. The vampires begin to chant en masse, some long-\n\tforgotten invocation in the vampire tongue.", "Dragonetti speaks. He uses the \"secret tongue\" -- the ancient vampire\n\tlanguage which utilizes consonants human vocal chords are incapable\n\tof reproducing.", "Friendly here is someone's property. \n\t\tAny of the other vampire's try to \n\t\tbleed him, they'll have to answer to" ], [ "Blade hangs from his chains, head slack, eyes half-lidded and\n\tlusterless. His skin has grown ashen as his life's blood has been\n\tbled away.", "Dragonetti speaks. He uses the \"secret tongue\" -- the ancient vampire\n\tlanguage which utilizes consonants human vocal chords are incapable\n\tof reproducing.", "FROST\n\t\tWe call this the Bone Pit. It's where \n\t\twe keep our mistakes, the ones who \n\t\tcouldn't successfully make the \n\t\ttransition from human to vampire.", "fueled with a passionate intensity. Amongst the vampire community\n\the's known as an agitator. He's also the vampire equivalent of a\n\tracial supremacist.", "FADE IN as Blade opens his eyes, still groggy, his face beaded with\n\tsweat. Feverish. His hands have been bound tightly behind his back\n\twith manacles and chains.", "FROST\n\t\tShe can't. She's one of my thralls \n\t\tnow. She has about as much free will", "Friendly here is someone's property. \n\t\tAny of the other vampire's try to \n\t\tbleed him, they'll have to answer to", "A bloodbath ensues. Blade moves like speed-personified, FIRING off\n\tone, two, THREE HEADSHOTS with brain-numbing accuracy, cutting down\n\tthe vampires where they stand.", "Karen turns her head to the side, baring her neck, offering herself\n\tto Blade. Blade opens his mouth. His canines elongate. He lowers his\n\thead --", "BLADE\n\t\tHe's a familiar. A human who works for \n\t\tthe vampires. See this mark?", "a mere \"Underlord\" in the vampire hierarchy, steps forward.\n\tStrikingly handsome, younger, less conservative than his superiors,", "Vanessa hands Frost the chalice containing Blade's blood. He lifts it\n\tup for all to see. The vampires begin to chant en masse, some long-\n\tforgotten invocation in the vampire tongue.", "Dragonetti's cries are cut short as Frost forces the aging vampire's\n\tmouth open, ripping out his fangs with his bare hands. Dragonetti\n\tGURGLES and SHRIEKS, sounding like a dying animal.", "BLADE\n\t\tBecause they're vampire wanna-bes. If \n\t\tthey're loyal, if they prove \n\t\tthemselves, then their masters will \n\t\tturn them.", "-- and then he goes into a death-spasm, vomiting up a spray of\n\tcaustic vampire blood-bile, spattering Karen. She sinks to her knees,", "private in their horror, are the glue which binds the two vampire\n\thunters together. Finally, Blade slumps forward in his restraints,\n\texhausted.", "Blade moans, sinking his teeth deeper. Karen's head rolls back. Her\n\teyes open -- glassy, unseeing -- as a wave of ecstasy overtakes her.", "containing the vampire child has been smashed open. It's empty now,\n\twith just the steadily draining blood seeping across the floor in a", "Karen SHRIEKS, her body going into uncontrolled paroxysms. The wound\n\ton her neck begins to smoke as the antidote attacks the poisonous\n\tvampire venom.", "vampire who fathered you. Well you can \n\t\trest easy now, you've found him.\n\t\t\t(gripping Blade's chin)" ], [ "Karen injects the contents of the syringe onto the slide of cells --\n\tthe reaction is immediate. The vampire blood turns black, then begins\n\tviolently bubbling.", "-- and then he goes into a death-spasm, vomiting up a spray of\n\tcaustic vampire blood-bile, spattering Karen. She sinks to her knees,", "Blade lifts his head away from the microscope just in time -- the\n\tblood on the slide atomizes, exploding outward in a fine mist which\n\tbursts apart the glass lens of the scope.", "Karen GASPS. She has a half-second to act -- in which she triggers a\n\tspray of vampire mace into Gideon's face. Gideon stumbles back,", "Frost and Vanessa HOWL AS ONE, their SCREAMS rising to an unendurable\n\tintensity as the two vampires go nova, exploding into an expanding\n\tball of light and ATOMIZING BLOOD.", "Karen SHRIEKS, her body going into uncontrolled paroxysms. The wound\n\ton her neck begins to smoke as the antidote attacks the poisonous\n\tvampire venom.", "Vanessa hands Frost the chalice containing Blade's blood. He lifts it\n\tup for all to see. The vampires begin to chant en masse, some long-\n\tforgotten invocation in the vampire tongue.", "CLICK, the line goes dead. Blade tosses his satchel on the bed, opens\n\tit. Inside is a hand-held UV lamp hooked up to a nine-volt battery.\n\tPearl eyes the device, fearful --", "sunlight, garlic, even silver. But he \n\t\tstill has the Thirst.", "blood-clots sometimes. Vampire blood \n\t\tis thinner than humans, though. Watch \n\t\twhat happens when I introduce some \n\t\tinto a sample --", "Vanessa recoils, HOWLING, her head smoking as if it were doused with\n\tformic acid, skin sloughing off from her skull. Karen lunges for\n\tBlade's sword --", "WHAM! The round punches a fist-sized hole through Raquel's chest,\n\tcontinuing on into the vamp behind her! Vampire blood fountains. Both", "Kam hands Blade a leather valise. He opens it -- its lined with tiny\n\tampoules of scarlet-colored serum. Blade pulls one out, holds it up\n\tto the light.", "Dragonetti speaks. He uses the \"secret tongue\" -- the ancient vampire\n\tlanguage which utilizes consonants human vocal chords are incapable\n\tof reproducing.", "WHISTLER\n\t\tConsider it a parting gift. Vampire \n\t\tmace -- silver nitrate, essence of \n\t\tgarlic.", "Dragonetti's cries are cut short as Frost forces the aging vampire's\n\tmouth open, ripping out his fangs with his bare hands. Dragonetti\n\tGURGLES and SHRIEKS, sounding like a dying animal.", "A bloodbath ensues. Blade moves like speed-personified, FIRING off\n\tone, two, THREE HEADSHOTS with brain-numbing accuracy, cutting down\n\tthe vampires where they stand.", "An ALARM is ringing. Sunlight streams in through the broken window.\n\tTWO VAMPIRE GUARDS who have been caught in the sudden swath of light\n\tare burning up before our eyes. Blade climbs to his feet --", "Blade opens FIRE, sweeping his rifle around the room, shooting\n\teverything in sight. Glass cabinetry shatters, ampoules and\n\tvacutainers go flying. Tanaka cowers, arms wrapped about his head.", "containing the vampire child has been smashed open. It's empty now,\n\twith just the steadily draining blood seeping across the floor in a" ], [ "Vanessa hands Frost the chalice containing Blade's blood. He lifts it\n\tup for all to see. The vampires begin to chant en masse, some long-\n\tforgotten invocation in the vampire tongue.", "MIRACIA\n\t\tThe vampire God. This speaks of His \n\t\treturn.\n\n\tMiracia's fingers search the parchment again.", "Frost continues drinking down the blood, when suddenly, a force\n\tseizes his body. He throws his head back, eyes rolling to white,\n\tflinging the chalice aside.", "Frost lifts a silver flask to his mouth, taking a swig of blood. He\n\tsmacks his lips, sighs contentedly --", "-- emerges from the ceiling of the sanctuary below. The stream of\n\tblood is directed down the channels of a spiral column, where it\n\tfinally pools into a waiting chalice.", "Chilled carafes filled with blood are situated along the table. From\n\ttime to time, a member will pour themselves a glass, or perhaps, help\n\tthemselves to the bowls of human finger bones which serve as snacks.", "Blade stares at Miracia, shaken.\n\n\t\t\t\tBLADE\n\t\tHis blood -- ?\n\n\tThe old woman nods, reaching for a smoldering cigarette.", "-- and then he goes into a death-spasm, vomiting up a spray of\n\tcaustic vampire blood-bile, spattering Karen. She sinks to her knees,", "Blade is drowning in Frost's blood. His eyes bulge. Oxygen bubbles\n\tstream from his mouth. Frost leans in close, his face a twisted mask\n\tof insanity.", "A bloodbath ensues. Blade moves like speed-personified, FIRING off\n\tone, two, THREE HEADSHOTS with brain-numbing accuracy, cutting down\n\tthe vampires where they stand.", "At the head of the table is GAETANO DRAGONETTI, current vampire\n\t\"Overlord\". Blood-red eyes, parchment skin stretched over skull-like", "Dragonetti speaks. He uses the \"secret tongue\" -- the ancient vampire\n\tlanguage which utilizes consonants human vocal chords are incapable\n\tof reproducing.", "Once again, Frost morphs into blood-form. He races around Blade in a\n\tseries of spouting arcs, turning from blood-form to solid and back\n\tagain in a series of split-second transformations.", "containing the vampire child has been smashed open. It's empty now,\n\twith just the steadily draining blood seeping across the floor in a", "The vampires bellow out a CHORUS OF CHEERS, their voices resonating\n\toff the stone walls like thunder. \n\n\tCUT TO:", "Blade hangs from his chains, head slack, eyes half-lidded and\n\tlusterless. His skin has grown ashen as his life's blood has been\n\tbled away.", "Dragonetti's cries are cut short as Frost forces the aging vampire's\n\tmouth open, ripping out his fangs with his bare hands. Dragonetti\n\tGURGLES and SHRIEKS, sounding like a dying animal.", "fueled with a passionate intensity. Amongst the vampire community\n\the's known as an agitator. He's also the vampire equivalent of a\n\tracial supremacist.", "vampire who fathered you. Well you can \n\t\trest easy now, you've found him.\n\t\t\t(gripping Blade's chin)", "-- but there's no time to rest. Even now she can hear the VAMPIRES\n\tCHEERING. She drags herself to her feet, letting the voices guide\n\ther.\n\n\tCUT TO:" ], [ "Frost's penthouse. Blade secures his end of the rope. He slips a\n\tpulley over the rope, grabs hold of two handles, and leaps off the\n\troof ledge!", "WHOOSH! Blade slides towards Frost's penthouse, a good twenty stories\n\tabove street level. A second before he reaches the windows, Blade\n\tlets go. Momentum sends him CRASHING through in a shower of glass.", "Blade has a split-second to act. It's Frost or the girl -- and for a\n\tmoment we actually think he's going to go for Frost --", "Frost swings his fist into Blade's skull. Everything goes black. \n\n\tCUT TO:\n\n\tINT. ARMORED TRUCK - NIGHT", "Blade is drowning in Frost's blood. His eyes bulge. Oxygen bubbles\n\tstream from his mouth. Frost leans in close, his face a twisted mask\n\tof insanity.", "INT. FROST'S PENTHOUSE - DAY\n\n\tBlade unsheathes his sword and heads out into the hall --", "It takes every ounce of Blade's self-control to keep from attacking\n\tFrost -- and Frost senses this, pressing his sharp thumbnail against\n\tthe child's jugular.", "Frost eyes Blade warily, then lunges towards Vanessa, sweeping behind\n\ther. Blade follows, but even as he raises his sword to strike, Frost\n\tspins Vanessa around, using her body as a shield!", "Frost looks up -- Karen is wielding Blade's sword. She brings it down\n\ton Frost, severing the blood-tendrils which envelope Blade. The", "Blade feebly struggles to rise. Frost clubs him on the back of the\n\tneck with the sword pommel. Blade crumples. Karen tries to pull free,\n\tbut Quinn holds her tight.", "Blade's eyes widen in shock. Frost simply laughs.", "For a moment, both men are eye to eye, their weapons locked together,\n\tthen, Frost forces Blade backwards --", "Frost reaches down, dragging Blade's head up by his hair. Karen\n\twatches on as Frost continues to taunt him.", "Frost lands a powerful blow on Blade's shoulder, the sword-edge\n\tbiting deep into the flesh. Blade SCREAMS. Frost withdraws the sword\n\tfor another strike --", "Once again, Frost morphs into blood-form. He races around Blade in a\n\tseries of spouting arcs, turning from blood-form to solid and back\n\tagain in a series of split-second transformations.", "Blade hesitates now, uncertain -- and Frost laughs, understanding\n\twhat has happened.", "Blade reluctantly lowers his hand. Frost smiles. He takes in a deep\n\tbreath of air, savoring it.", "Blade struggles to lift his head, forcing himself to match Frost's\n\tgaze, shaking with hatred.", "Frost starts up the marble steps towards a grand, triple-arched\n\tentrance flanked by Corinthian columns. Karen and Blade are dragged\n\talong after him.", "The other vampires retreat, dragging Blade along with them. Karen is\n\tleft alone with Frost and Quinn." ], [ "Blade is drowning in Frost's blood. His eyes bulge. Oxygen bubbles\n\tstream from his mouth. Frost leans in close, his face a twisted mask\n\tof insanity.", "Frost looks up -- Karen is wielding Blade's sword. She brings it down\n\ton Frost, severing the blood-tendrils which envelope Blade. The", "Blade's eyes widen in shock. Frost simply laughs.", "Frost swings his fist into Blade's skull. Everything goes black. \n\n\tCUT TO:\n\n\tINT. ARMORED TRUCK - NIGHT", "Frost lands a powerful blow on Blade's shoulder, the sword-edge\n\tbiting deep into the flesh. Blade SCREAMS. Frost withdraws the sword\n\tfor another strike --", "Frost lifts up Blade's sword, methodically slitting Blade's wrists\n\tone by one. He makes the cuts lengthwise, opening up the cephalic and\n\tbasilic veins with surgical precision.", "Blade has a split-second to act. It's Frost or the girl -- and for a\n\tmoment we actually think he's going to go for Frost --", "Blade reluctantly lowers his hand. Frost smiles. He takes in a deep\n\tbreath of air, savoring it.", "It takes every ounce of Blade's self-control to keep from attacking\n\tFrost -- and Frost senses this, pressing his sharp thumbnail against\n\tthe child's jugular.", "Blade feebly struggles to rise. Frost clubs him on the back of the\n\tneck with the sword pommel. Blade crumples. Karen tries to pull free,\n\tbut Quinn holds her tight.", "For a moment, both men are eye to eye, their weapons locked together,\n\tthen, Frost forces Blade backwards --", "Once again, Frost morphs into blood-form. He races around Blade in a\n\tseries of spouting arcs, turning from blood-form to solid and back\n\tagain in a series of split-second transformations.", "Frost eyes Blade warily, then lunges towards Vanessa, sweeping behind\n\ther. Blade follows, but even as he raises his sword to strike, Frost\n\tspins Vanessa around, using her body as a shield!", "Undaunted, Blade slices the punching dagger into Frost's mid-section,\n\tmeeting only liquid-like resistance. The moment Blade withdraws his\n\tdagger, Frost's flesh seals itself up again.", "Frost smiles, for he's found a final weakness of Blade's to exploit.", "Blade is already LUNGING forward, driving the sword-point through\n\tVanessa's chest, on into Frost's heart! It strikes the stone behind\n\tthem, SHATTERING and --", "Frost kisses Vanessa hungrily. Then he kneels and reaches into\n\tBlade's jacket, retrieving a vial of Blade's serum.", "FROST\n\t\tNo you wouldn't. I'm going to bleed \n\t\tyou dry, Blade. All the poison that", "Blade hesitates now, uncertain -- and Frost laughs, understanding\n\twhat has happened.", "Mercury draws the sword, handing it to Frost. He sights down the\n\tlength of it, testing its weight. With a flick of his wrist, he\n\tlashes out, slashing Blade's cheek open." ], [ "WHISTLER\n\t\t\t(reading her name tag)\n\t\t\"Dr. Karen Jansen\". Listen close, I'm", "KAREN\n\t\tHello? My name is Karen Jansen, I was \n\t\twith Curtis Webb at Mid-Town Hospital", "Karen is escorted into the room by Mercury. She gestures to a chair\n\tat the end of a long table. Karen sits. \n\n\tFROST", "Karen crosses the lobby, stepping into an elevator. Just as the doors\n\tare closing, a WOMAN and TWO MEN duck in alongside her. \n\n\tINT. ELEVATOR - DAY", "Karen visibly relaxes. She opens the door and steps aside, allowing\n\tGideon to enter.\n\n\t\t\t\tKAREN\n\t\tYes, that was me, I'm Karen Jansen --", "As Karen waits to be connected, she moves to the back entrance and\n\tchecks the locks -- then the windows, then the fire escape --\n\tfinally, a VOICE comes on the other end.", "Karen doesn't respond. Instead she looks away. How in the world is\n\tshe supposed to tell him this?", "Whistler and Karen sit at a work table. Karen is looking at a blood\n\tsmear slide through a microscope.", "Karen pauses -- we can see in her expression that there's something\n\tshe's been holding back.", "KAREN\n\n\tsits nearby, watching him. From the steady rocking motion and the\n\tSOUNDS of traffic outside, it's evident that they are in the back of\n\ta moving truck.", "KAREN JANSEN (20s), a fine-featured hematologist with a social life\n\tin suspended animation, sits back from the microscope, stumped. Next", "ON KAREN as she comes to. Her wounds have been bandaged. She rises, a\n\tlittle shaky, takes in her surroundings -- She's in a spartan room,", "Frost stares at Karen with an intense, uncompromising gaze.", "A \"real\" voice comes on the line:\n\n\t\t\t\tVOICE\n\t\t\t(filtered, on scanner)\n\t\tYes?\n\n\tKaren looks to Blade, impressed.", "Silence, the uncomfortableness of an elevator ride magnified tenfold.\n\tKaren can FEEL the eyes of her fellow passengers upon her. Finally", "Karen enters quickly, bolting the door behind her. She picks up the\n\tphone, dials 911 --", "INT. WHISTLER'S WORKSHOP - NIGHT\n\n\tKaren scans the shadows, eyes alert. We hear a WHISPER, then a\n\tteasing, childish, GIGGLE.", "INT. WHISTLER'S WORKSHOP - DAY\n\n\tWe hear VOICES now, coming from beyond a series of black-out\n\tcurtains. Karen pushes one aside and SEES --", "Karen turns, heading for the back of the workshop.\n\n\tINT. WORKSHOP - BATHROOM - NIGHT", "CUT TO:\n\n\tINT. WHISTLER'S WORKSHOP - NIGHT\n\n\tWhistler studies Karen, exhaling another lungful of smoke." ], [ "Blade is drowning in Frost's blood. His eyes bulge. Oxygen bubbles\n\tstream from his mouth. Frost leans in close, his face a twisted mask\n\tof insanity.", "Frost kisses Vanessa hungrily. Then he kneels and reaches into\n\tBlade's jacket, retrieving a vial of Blade's serum.", "Frost lifts up Blade's sword, methodically slitting Blade's wrists\n\tone by one. He makes the cuts lengthwise, opening up the cephalic and\n\tbasilic veins with surgical precision.", "FROST\n\t\tNo you wouldn't. I'm going to bleed \n\t\tyou dry, Blade. All the poison that", "Frost swings his fist into Blade's skull. Everything goes black. \n\n\tCUT TO:\n\n\tINT. ARMORED TRUCK - NIGHT", "Frost lands a powerful blow on Blade's shoulder, the sword-edge\n\tbiting deep into the flesh. Blade SCREAMS. Frost withdraws the sword\n\tfor another strike --", "Blade's eyes widen in shock. Frost simply laughs.", "Frost looks up -- Karen is wielding Blade's sword. She brings it down\n\ton Frost, severing the blood-tendrils which envelope Blade. The", "Vanessa hands Frost the chalice containing Blade's blood. He lifts it\n\tup for all to see. The vampires begin to chant en masse, some long-\n\tforgotten invocation in the vampire tongue.", "It takes every ounce of Blade's self-control to keep from attacking\n\tFrost -- and Frost senses this, pressing his sharp thumbnail against\n\tthe child's jugular.", "Frost crushes the vial in his fist. Blade struggles to reach Frost,\n\tstretching a palsied hand upwards --\n\n\t\t\t\tBLADE\n\t\tPlease --", "Undaunted, Blade slices the punching dagger into Frost's mid-section,\n\tmeeting only liquid-like resistance. The moment Blade withdraws his\n\tdagger, Frost's flesh seals itself up again.", "Once again, Frost morphs into blood-form. He races around Blade in a\n\tseries of spouting arcs, turning from blood-form to solid and back\n\tagain in a series of split-second transformations.", "Blade feebly struggles to rise. Frost clubs him on the back of the\n\tneck with the sword pommel. Blade crumples. Karen tries to pull free,\n\tbut Quinn holds her tight.", "Blade has a split-second to act. It's Frost or the girl -- and for a\n\tmoment we actually think he's going to go for Frost --", "Blade reluctantly lowers his hand. Frost smiles. He takes in a deep\n\tbreath of air, savoring it.", "Frost eyes Blade warily, then lunges towards Vanessa, sweeping behind\n\ther. Blade follows, but even as he raises his sword to strike, Frost\n\tspins Vanessa around, using her body as a shield!", "For a moment, both men are eye to eye, their weapons locked together,\n\tthen, Frost forces Blade backwards --", "Frost smiles, for he's found a final weakness of Blade's to exploit.", "Blade is already LUNGING forward, driving the sword-point through\n\tVanessa's chest, on into Frost's heart! It strikes the stone behind\n\tthem, SHATTERING and --" ], [ "Blade and Karen enter the narrow, maze-like \"stacks\" of the vampire\n\tarchives, weaving their way through shelves of climate-controlled,\n\tdigitized records.", "Blade pulls a CD-ROM from the shelves, its spine labeled in\n\tindecipherable vampire glyphs.\n\n\t\t\t\tBLADE\n\t\tThis must be where they keep their \n\t\trecords --", "Blade reaches into the back seat, retrieves his sword and a satchel.\n\tHe snaps open his shotgun, loads it. Karen continues to study the\n\tvampires Blade identified.", "KAREN\n\t\tWhat is this place?\n\n\t\t\t\tBLADE\n\t\tSome kind of archive --", "Blade drops Tanaka, moves to the bookcase. He searches the wall a\n\tmoment, then finds a trigger. Hits it -- the bookcase slides aside,", "Karen helps Blade inside. He sinks to the floor of the otherwise\n\tdeserted car, exhausted. He's looking ashen now. The whites of his\n\teyes are shot through with red.", "Blade rolls, snatching up a fragment of the parchment which has blown\n\tfree from the vault. Seconds later, he and Karen are fleeing after\n\tWhistler, retreating back through his newly created exit.", "Vanessa hands Frost the chalice containing Blade's blood. He lifts it\n\tup for all to see. The vampires begin to chant en masse, some long-\n\tforgotten invocation in the vampire tongue.", "As the mist clears, revealing the occupant within, Blade raises his\n\tsword, ready to plunge it downward -- only it's not Deacon Frost who\n\trests beneath him, it's --", "Blade approaches the vault door, sizing up its locking mechanism. He\n\tpulls an explosive charge from his combat belt and secures it to the\n\tdoor, arming it with a BEEP!", "Blade enters through the loading elevator, finding Karen and Whistler\n\thard at work. She turns as he approaches -- SEES him back-lit by the\n\tsun. She looks pale, the whites of her eyes are streaked with red.", "He pauses, hearing a DISTANT WHISPER. Blade signals quiet, silently\n\tleading Karen through the stacks towards -- \n\n\tPEARL'S LAIR", "FADE IN as Blade opens his eyes, still groggy, his face beaded with\n\tsweat. Feverish. His hands have been bound tightly behind his back\n\twith manacles and chains.", "Quinn responds with a slew of rapid-fire vampire invectives. Blade\n\tsees he's getting nowhere fast, calmly sheathes his sword. He unclips", "Kam hands Blade a leather valise. He opens it -- its lined with tiny\n\tampoules of scarlet-colored serum. Blade pulls one out, holds it up\n\tto the light.", "We are in a small, elevated antechamber which is situated above the\n\tmain vampire sanctuary.\n\n\tBLADE,", "BLADE\n\t\t-- he's a vampire.\n\n\t\t\t\tKAREN\n\t\tYou're joking --", "BLADE\n\t\tI found this in there archives. I need \n\t\tto find someone who can read their \n\t\tlanguage. \n\n\tKam studies the parchment.", "Blade turns back to the vault, setting off the charge. BOOM! Blade\n\tkicks the damaged door in, knocking it clear off its hinges --\n\n\tINSIDE THE VAULT,", "Blade's head hangs down. He gasps, wincing, every breath sending a\n\tred hot poker to his gut. Quinn grabs a hold of Blade's jaw, forcing\n\this head up." ], [ "Blade and Whistler stare each other down. Finally, Whistler turns and\n\theads over to the operating theater.", "Blade fights back tears. With a wretched moan, he turns his head and\n\tdrives the stake into Whistler's chest. Whistler GASPS. Blade wraps", "WHISTLER\n\t\tI found Blade when he was thirteen. \n\t\tHe'd been living on the streets,", "Blade scowls, his gaze flickering to Whistler.\n\n\t\t\t\tBLADE\n\t\tStupidity.", "BLADE\n\t\tJesus, Whistler, what did they do to \n\t\tyou?\n\n\tWhistler opens his eyes, struggling to speak --", "Whistler has entered the room from a second doorway. Karen looks from\n\tWhistler to Blade, trapped between them --\n\n\t\t\t\tKAREN\n\t\tWho are you people?", "WHISTLER\n\t\tMy name is Abraham Whistler.\n\t\t\t(re: Blade)\n\t\tThis is Blade. As for our little \n\t\thomunculus here --", "Whistler nods, fitting Blade with a bite guard. Then he presses the\n\tpistol-injector against Blade's carotid artery.", "A beat passes between them and Karen knows where she stands now. In\n\tfor a penny, in for a pound. Whistler reaches for Blade's sword.", "WHISTLER\n\t\tBlade's unique, you know. A one in a \n\t\tbillion anomaly. He can withstand", "BLADE\n\t\tWhistler, I can't.\n\n\tWhistler clutches at Blade's arm, his eyes burning with conviction.", "Whistler finishes arming the explosive device. It BEEPS. He turns\n\tback to Blade and Karen, referring to a handheld navigation device.", "Karen stares at Blade. Whistler gestures to the windows --", "Whistler claps his hand on Karen's shoulder in approval, then limps\n\taway, quickly busying himself with another project. Blade moves to\n\tfollow, but Karen stops him --", "BLADE\n\t\tWHISTLER?!\n\n\t-- and then he stops dead in his tracks.\n\n\tWHISTLER", "isolating Blade amidst the ghostly squalor. From our vantage point,\n\the looks like any other homeless phantom.\n\n\tINT. WHISTLER'S WORKSHOP - DAWN", "Blade just stares at her. Finally, she pulls away.\n\n\tEXT. WHISTLER'S WORKSHOP - DUSK", "Blade rushes to the wall, cutting Whistler down with his sword,\n\tgently lowering him to the floor. As he cradles the old man in his", "Whistler extends the sword, sighting down the length of it. He takes\n\ta few practice parries -- it's obvious he used to be quite skilled in\n\tthe art of swordsmanship.", "FROST\n\t\tHello, Blade. By the time you watch \n\t\tthis, Whistler will no doubt be" ], [ "Vanessa hands Frost the chalice containing Blade's blood. He lifts it\n\tup for all to see. The vampires begin to chant en masse, some long-\n\tforgotten invocation in the vampire tongue.", "Blade is drowning in Frost's blood. His eyes bulge. Oxygen bubbles\n\tstream from his mouth. Frost leans in close, his face a twisted mask\n\tof insanity.", "Once again, Frost morphs into blood-form. He races around Blade in a\n\tseries of spouting arcs, turning from blood-form to solid and back\n\tagain in a series of split-second transformations.", "Frost lifts up Blade's sword, methodically slitting Blade's wrists\n\tone by one. He makes the cuts lengthwise, opening up the cephalic and\n\tbasilic veins with surgical precision.", "It takes every ounce of Blade's self-control to keep from attacking\n\tFrost -- and Frost senses this, pressing his sharp thumbnail against\n\tthe child's jugular.", "Frost starts up the marble steps towards a grand, triple-arched\n\tentrance flanked by Corinthian columns. Karen and Blade are dragged\n\talong after him.", "Frost swings his fist into Blade's skull. Everything goes black. \n\n\tCUT TO:\n\n\tINT. ARMORED TRUCK - NIGHT", "The other vampires retreat, dragging Blade along with them. Karen is\n\tleft alone with Frost and Quinn.", "Blade's eyes widen in shock. Frost simply laughs.", "Frost looks up -- Karen is wielding Blade's sword. She brings it down\n\ton Frost, severing the blood-tendrils which envelope Blade. The", "Frost lands a powerful blow on Blade's shoulder, the sword-edge\n\tbiting deep into the flesh. Blade SCREAMS. Frost withdraws the sword\n\tfor another strike --", "Frost kisses Vanessa hungrily. Then he kneels and reaches into\n\tBlade's jacket, retrieving a vial of Blade's serum.", "Frost reaches down, dragging Blade's head up by his hair. Karen\n\twatches on as Frost continues to taunt him.", "Blade and Karen are led to the middle of the room, where a stone\n\taltar rises up from a dais. Blade is roughly thrown to the ground. He", "Blade reluctantly lowers his hand. Frost smiles. He takes in a deep\n\tbreath of air, savoring it.", "Blade feebly struggles to rise. Frost clubs him on the back of the\n\tneck with the sword pommel. Blade crumples. Karen tries to pull free,\n\tbut Quinn holds her tight.", "Frost continues drinking down the blood, when suddenly, a force\n\tseizes his body. He throws his head back, eyes rolling to white,\n\tflinging the chalice aside.", "FROST\n\t\tNo you wouldn't. I'm going to bleed \n\t\tyou dry, Blade. All the poison that", "For a moment, both men are eye to eye, their weapons locked together,\n\tthen, Frost forces Blade backwards --", "Frost eyes Blade warily, then lunges towards Vanessa, sweeping behind\n\ther. Blade follows, but even as he raises his sword to strike, Frost\n\tspins Vanessa around, using her body as a shield!" ], [ "BLADE\n\t\tThen I have to take you out, just \n\t\tlike any other bloodsucker.\n\n\tBlade turns and exits. Whistler and Karen follow.", "BLADE\n\t\tYou've got another day or two at most.\n\n\tKaren nods, shaken. As she moves to leave, Blade reaches for her arm,\n\tstopping her.", "Blade forces Karen back. Whistler readies the syringe.", "Blade nods, not buying her explanation. He shoots a glance to\n\tWhistler, which doesn't go unnoticed by Karen.\n\n\t\t\t\tKAREN\n\t\tExcuse me.", "BLADE\n\t\tDon't even start, old man.\n\n\tBlade throws his sword aside, then moves off into the shadows,\n\tdisappearing beyond the curtains. Karen looks to Whistler --", "Blade nods, lays Karen down on the operating table. Whistler turns on\n\tan overhead light. Karen is sheathed in sweat, ashen. She's lost a\n\tlot of blood.", "Blade looks at Karen, his lambent eyes glowing in the moonlight.\n\n\t\t\t\tBLADE\n\t\tJust get out of here.", "The other vampires retreat, dragging Blade along with them. Karen is\n\tleft alone with Frost and Quinn.", "Karen stares at Blade. Whistler gestures to the windows --", "A flicker of doubt washes across Blade's face. He looks down at Karen\n\tonce more, wrestling with his conscience, finally making a decision.\n\tHe kneels, scoops Karen up into his arms. Just then,", "Blade enters through the loading elevator, finding Karen and Whistler\n\thard at work. She turns as he approaches -- SEES him back-lit by the\n\tsun. She looks pale, the whites of her eyes are streaked with red.", "Blade stares at Karen, disbelieving. Who could imagine a more\n\thorrifying irony? She's crying now. She can't help it.", "Whistler claps his hand on Karen's shoulder in approval, then limps\n\taway, quickly busying himself with another project. Blade moves to\n\tfollow, but Karen stops him --", "As Karen climbs out, Blade swings the door shut behind her. The Olds\n\tROARS off down the quiet residential street. \n\n\tINT. APARTMENT BUILDING, LOBBY - DAY", "Whistler finishes arming the explosive device. It BEEPS. He turns\n\tback to Blade and Karen, referring to a handheld navigation device.", "Blade and Karen are now standing by Gideon's police cruiser which is\n\tparked outside Karen's apartment. Blade shoves Gideon against the", "Blade rolls, snatching up a fragment of the parchment which has blown\n\tfree from the vault. Seconds later, he and Karen are fleeing after\n\tWhistler, retreating back through his newly created exit.", "Karen backs away, startled by Blade's vehemence. She exits, leaving\n\thim alone with his demons. He holds up one of his empty serum\n\tampoules, crushing it in his fist.", "Blade just stares at her. Finally, she pulls away.\n\n\tEXT. WHISTLER'S WORKSHOP - DUSK", "Blade pulls back his rifle, leaving a red indentation mark where the\n\tend of the rifle barrel pressed into Tanaka's skin. He starts towards\n\tthe exit. Karen follows.\n\n\tCUT TO:" ], [ "Blade falters, his mind reeling. What he's seeing is incomprehensible\n\t-- his mother is dead. Yet, here she is in the flesh, reaching out to\n\thim and --", "Blade's mother!!! Although some thirty years have passed since the\n\tevents of our prologue, Vanessa looks exactly the same -- vibrant,\n\tbeautiful, full of life. Her eyes open.", "WHISTLER\n\t\tBlade's mother was attacked by a \n\t\tvampire while she was pregnant.", "VANESSA, \n\n\twho has remained behind. Blade stares at her. As terrible as his\n\tphysical torment is, his mother's betrayal is infinitely worse.", "Blade hesitates, stopping the sword in mid-strike, catching his\n\tmother's gaze -- her face is monstrous now, scarred by Karen's\n\tpoisonous mace. Piteous, really.", "Blade stares at Miracia, shaken.\n\n\t\t\t\tBLADE\n\t\tHis blood -- ?\n\n\tThe old woman nods, reaching for a smoldering cigarette.", "Blade is drowning in Frost's blood. His eyes bulge. Oxygen bubbles\n\tstream from his mouth. Frost leans in close, his face a twisted mask\n\tof insanity.", "The problem is, Blade didn't contract \n\t\tthe vampire virus from a bite like I \n\t\tdid. He was born with it. The irony", "dismiss them as wives tales. But I \n\t\tknew better. \n\t\t\t(beat)\n\t\tImagine my surprise when Blade turned", "Blade fights back tears. With a wretched moan, he turns his head and\n\tdrives the stake into Whistler's chest. Whistler GASPS. Blade wraps", "Blade's head hangs down. He gasps, wincing, every breath sending a\n\tred hot poker to his gut. Quinn grabs a hold of Blade's jaw, forcing\n\this head up.", "Gideon tries to bring his pistol up -- but Blade grips the man's hand\n\tand squeezes. Gideon SCREAMS as his bones snap like kindling. The\n\tpistol falls from his grasp --", "Karen helps Blade inside. He sinks to the floor of the otherwise\n\tdeserted car, exhausted. He's looking ashen now. The whites of his\n\teyes are shot through with red.", "-- and starts to feed. Karen involuntarily stiffens as Blade's teeth\n\tpuncture her skin and we --\n\n\tCUT TO:", "Blade nods, lays Karen down on the operating table. Whistler turns on\n\tan overhead light. Karen is sheathed in sweat, ashen. She's lost a\n\tlot of blood.", "has been strung up by his arms against the far wall, tortured and\n\tleft for dead. In response to Blade's voice, a MOAN escapes the dying\n\tman's lips.", "A flicker of doubt washes across Blade's face. He looks down at Karen\n\tonce more, wrestling with his conscience, finally making a decision.\n\tHe kneels, scoops Karen up into his arms. Just then,", "FADE IN as Blade opens his eyes, still groggy, his face beaded with\n\tsweat. Feverish. His hands have been bound tightly behind his back\n\twith manacles and chains.", "Then she SEES the tears rimming Blade's eyes, the first he's shed in\n\ta lifetime. Human. \n\n\tThey embrace, holding each other that way for a long, long time. And\n\twe --", "Blade stares at Karen, disbelieving. Who could imagine a more\n\thorrifying irony? She's crying now. She can't help it." ], [ "The problem is, Blade didn't contract \n\t\tthe vampire virus from a bite like I \n\t\tdid. He was born with it. The irony", "Blade hangs from his chains, head slack, eyes half-lidded and\n\tlusterless. His skin has grown ashen as his life's blood has been\n\tbled away.", "Karen helps Blade inside. He sinks to the floor of the otherwise\n\tdeserted car, exhausted. He's looking ashen now. The whites of his\n\teyes are shot through with red.", "Blade suppresses a shudder. Simply keeping himself from attacking her\n\ttakes every ounce of his resolve.\n\n\t\t\t\tBLADE\n\t\tI can't -- I won't be able to stop --", "Blade grudgingly rolls up his sleeve. As Karen takes her sample,\n\tBlade looks to Whistler. The older man brings a handkerchief to his\n\tlips, coughing into it.", "Blade is drowning in Frost's blood. His eyes bulge. Oxygen bubbles\n\tstream from his mouth. Frost leans in close, his face a twisted mask\n\tof insanity.", "Blade shivers, grits his teeth, it's like he's going through heroin\n\twithdrawal. \n\n\t\t\t\tBLADE\n\t\t-- go to hell --", "Blade's head hangs down. He gasps, wincing, every breath sending a\n\tred hot poker to his gut. Quinn grabs a hold of Blade's jaw, forcing\n\this head up.", "Karen turns her head to the side, baring her neck, offering herself\n\tto Blade. Blade opens his mouth. His canines elongate. He lowers his\n\thead --", "FADE IN as Blade opens his eyes, still groggy, his face beaded with\n\tsweat. Feverish. His hands have been bound tightly behind his back\n\twith manacles and chains.", "BLADE\n\t\tWhistler says I'm building up a \n\t\tresistance to it.\n\n\t\t\t\tKAM\n\t\tI was afraid that might happen.", "Blade stares back at her. At this moment, he wants what Karen is\n\toffering more than anything he's ever desired. And so he rises --\n\n\tCUT TO:", "-- and starts to feed. Karen involuntarily stiffens as Blade's teeth\n\tpuncture her skin and we --\n\n\tCUT TO:", "Karen backs away, startled by Blade's vehemence. She exits, leaving\n\thim alone with his demons. He holds up one of his empty serum\n\tampoules, crushing it in his fist.", "Karen locates a vein, presses the injector against it -- Blade\n\ttenses, grits his teeth, fights to keep his body thrashing as the", "rising up behind him. In a flash, Blade swings his sword downward,\n\tcutting off the vampire's right hand at the elbow. The severed limb\n\tfalls to the floor --", "Blade rises to his full height. His strength has more than returned,\n\tit's been doubled by the infusion of real blood. And there's", "Blade reaches into his jacket and pulls out the small, gas-powered\n\tpistol-injector we saw Whistler inject him with earlier. He tries to", "Blade moans, sinking his teeth deeper. Karen's head rolls back. Her\n\teyes open -- glassy, unseeing -- as a wave of ecstasy overtakes her.", "Blade's eyes flicker open, fixing on her. Inhuman. He's shaking\n\tlike an alcoholic going into delirium tremens.\n\n\tINT. TEMPLE SANCTUARY - NIGHT" ], [ "As the mist clears, revealing the occupant within, Blade raises his\n\tsword, ready to plunge it downward -- only it's not Deacon Frost who\n\trests beneath him, it's --", "Blade scans the room -- just in time to see Tanaka ducking into a\n\tback hallway. Blade pushes towards the rear of the club. Karen\n\tfollows. \n\n\tON THE STRIPPER", "as she catches sight of Blade and freezes in mid-routine. The\n\tstripper pulls off her hood. Long black hair with a streak of white\n\ttumbles down her back -- it's Mercury.", "Karen helps Blade inside. He sinks to the floor of the otherwise\n\tdeserted car, exhausted. He's looking ashen now. The whites of his\n\teyes are shot through with red.", "towers above Dennis, wearing dark glasses and a leather longcoat -- a\n\tsneer of cruel contempt etched upon a face tempered by a lifetime of\n\thorror. His name is BLADE.", "Blade's Olds cruises to a stop. We're in a low-end commercial\n\tdistrict -- junky heaven. Blade climbs out, pulling an automatic\n\trifle from the back seat, then heading into an alleyway.", "Blade fights back tears. With a wretched moan, he turns his head and\n\tdrives the stake into Whistler's chest. Whistler GASPS. Blade wraps", "Blade and Karen head past the bathrooms. At the end of the hall is a\n\tdoor marked \"OFFICE\". Just then, the Men's door opens, a DRUNK\n\tCOLLEGE KID steps out, SEES Blade --", "Blade is winding his way through the maze of makeshift homes and\n\tashcan fires. A CROWD quickly closes in around him, suspicious. A\n\tBRUTISH MAN steps forward, challenging him --", "Blade opens FIRE, sweeping his rifle around the room, shooting\n\teverything in sight. Glass cabinetry shatters, ampoules and\n\tvacutainers go flying. Tanaka cowers, arms wrapped about his head.", "EXT. CITY STREETS - NIGHT\n\n\tBlade pilots the Olds down the streets, moving through a series of\n\tincreasingly degenerating neighborhoods, coming at last to the\n\tsprawling warehouse district.", "Blade's Olds stopping a few blocks down the street.\n\n\tINT. BLADE'S OLDS - NIGHT\n\n\tBlade kills the engine, studying The Black Pearl.", "Blade reaches into the back seat, retrieves his sword and a satchel.\n\tHe snaps open his shotgun, loads it. Karen continues to study the\n\tvampires Blade identified.", "Blade turns into a dark alley, ducking into the doorway of a hole-in-\n\tthe-wall herbalist shop.\n\n\tINT. HERBALIST SHOP - DAY", "Blade feebly struggles to rise. Frost clubs him on the back of the\n\tneck with the sword pommel. Blade crumples. Karen tries to pull free,\n\tbut Quinn holds her tight.", "Blade is drowning in Frost's blood. His eyes bulge. Oxygen bubbles\n\tstream from his mouth. Frost leans in close, his face a twisted mask\n\tof insanity.", "Blade nods, lays Karen down on the operating table. Whistler turns on\n\tan overhead light. Karen is sheathed in sweat, ashen. She's lost a\n\tlot of blood.", "Blade tightens the wire, decapitating Quinn. The headless body\n\tstaggers about, then drops to the cavern floor. Blade scoops up his\n\tpunching dagger --", "Blade's head hangs down. He gasps, wincing, every breath sending a\n\tred hot poker to his gut. Quinn grabs a hold of Blade's jaw, forcing\n\this head up.", "Gideon tries to bring his pistol up -- but Blade grips the man's hand\n\tand squeezes. Gideon SCREAMS as his bones snap like kindling. The\n\tpistol falls from his grasp --" ], [ "Karen triggers the UV light, but Mercury ducks under it, ripping it\n\tfrom her hands, crushing it. In a split-second, the she-demon has her\n\tclaws around Karen's throat.", "What used to be Curtis SNARLS, knocking Karen back into the drift-\n\tpile of bones. It pins her to the ground, kneeling above her,\n\tgurgling through its gutted trachea.", "The child knocks Karen back against the wall. It's at her throat,\n\tsinking its claws into her neck. Karen chokes, forcing Whistler's\n\tpistol under the monstrosity's chin --", "Karen tries to draw a bead on the creature. She FIRES, misses, FIRES\n\tagain -- she's getting more unnerved as the seconds tick by and the\n\tcreature is moving closer and --", "rushes at Karen in a near-blur. The SNARLING hellion is upon Karen in\n\tan eye-blink, SLAMMING her down against the temple floor, pinning\n\ther.", "A flicker of doubt washes across Blade's face. He looks down at Karen\n\tonce more, wrestling with his conscience, finally making a decision.\n\tHe kneels, scoops Karen up into his arms. Just then,", "No answer. Then Karen SEES him -- crouched in the corner of the room\n\tlike some kind of nocturnal animal.\n\n\t\t\t\tKAREN\n\t\tIt's dark in here.", "Frost reaches out, caressing Karen's neck, puncturing the soft flesh\n\tbeneath her chin with a razored fingernail.", "Karen becomes alarmed -- but then a massive ELECTRICAL JOLT shocks\n\tthe creature back into submission.", "Curtis charges at her, a blur of slashing claws. At the last moment,\n\tKaren ducks, thrusting the bone dagger up into Curtis' chest --", "CUT TO:\n\n\tINT. WHISTLER'S WORKSHOP - NIGHT\n\n\tWhistler studies Karen, exhaling another lungful of smoke.", "Karen backs into the corpse drawers, but Quinn is upon her in a half-\n\tsecond, wrapping a hand about her throat. His mouth opens/morphs", "Karen spins, startled. Blade stands behind her. He grips her jaw,\n\tturning her head so he can better view the wound.", "When it's over, he slumps forward, spent, vulnerable, flushed with\n\tsweat. Karen stares at him --", "KAREN,\n\n\twho's been backed up against the wall, her eyes wide with fright.\n\tBlade's sword vibrates from the tension in his forearm, having drawn\n\tjust the slightest taste of blood.", "Frost stares at Karen with an intense, uncompromising gaze.", "Blade turns now, his eyes falling on the medical equipment Karen\n\tbrought from the hospital. He moves to the refrigerator, removing a", "THUMP! The child SLAMS up against the glass. Karen backpedals,\n\tstartled. Its eyes are open now, pupils blown. It snarls, revealing a", "INT. WHISTLER'S WORKSHOP - NIGHT\n\n\tKaren scans the shadows, eyes alert. We hear a WHISPER, then a\n\tteasing, childish, GIGGLE.", "leaps from where it had been hiding overhead! Karen SCREAMS.\n\tWhistler is knocked to the floor, the flashlight spinning from his\n\thand --" ], [ "Blade enumerates the following on his fingers:\n\n\t\t\t\tBLADE\n\t\tYou use the stake, silver, or \n\t\tsunlight, got it?", "sunlight, garlic, even silver. But he \n\t\tstill has the Thirst.", "BLADE\n\t\tAll right, then, listen up, Vampire \n\t\tAnatomy 101. Crosses and running water", "Karen GASPS. She has a half-second to act -- in which she triggers a\n\tspray of vampire mace into Gideon's face. Gideon stumbles back,", "-- a shaft of blinding UV \"sunlight\" cuts across the vampires. They\n\trear back, skin smoking from the light's corrosive effects. Blade", "An ALARM is ringing. Sunlight streams in through the broken window.\n\tTWO VAMPIRE GUARDS who have been caught in the sudden swath of light\n\tare burning up before our eyes. Blade climbs to his feet --", "WHAM! The round punches a fist-sized hole through Raquel's chest,\n\tcontinuing on into the vamp behind her! Vampire blood fountains. Both", "A bloodbath ensues. Blade moves like speed-personified, FIRING off\n\tone, two, THREE HEADSHOTS with brain-numbing accuracy, cutting down\n\tthe vampires where they stand.", "-- they're severely allergic to \n\t\tsilver, various types of wood. Feed \n\t\tthem garlic and they'll go into", "WHISTLER\n\t\tConsider it a parting gift. Vampire \n\t\tmace -- silver nitrate, essence of \n\t\tgarlic.", "-- and then he goes into a death-spasm, vomiting up a spray of\n\tcaustic vampire blood-bile, spattering Karen. She sinks to her knees,", "Quinn charges. Blade meets the vampire head-on, dropping into a low\n\tkick and sweeping the vampire's legs out from under him. He spins\n\tbehind Quinn --", "All evidence of the vampires is gone -- with the exception of a few\n\toily-black puddles. Clothes, jewelry -- it's all been burned away by\n\tthe acidic process of the creatures' accelerated decomposition.", "Mercury, Vanessa, and the other vampires back away, apprehensive,\n\thumbled by what they're witnessing.\n\n\tCUT TO:", "rising up behind him. In a flash, Blade swings his sword downward,\n\tcutting off the vampire's right hand at the elbow. The severed limb\n\tfalls to the floor --", "Quinn responds with a slew of rapid-fire vampire invectives. Blade\n\tsees he's getting nowhere fast, calmly sheathes his sword. He unclips", "One by one, the vampire Elder's heads catch fire, skullflesh sizzling\n\taway -- burning down the line of them in successively building", "Blade reaches into the back seat, retrieves his sword and a satchel.\n\tHe snaps open his shotgun, loads it. Karen continues to study the\n\tvampires Blade identified.", "Just then, the TWELVE VAMPIRE ELDERS emerge behind Frost, forming a\n\tcircle around Dragonetti. All wear business suits, gloves, along with", "Dragonetti speaks. He uses the \"secret tongue\" -- the ancient vampire\n\tlanguage which utilizes consonants human vocal chords are incapable\n\tof reproducing." ], [ "a mere \"Underlord\" in the vampire hierarchy, steps forward.\n\tStrikingly handsome, younger, less conservative than his superiors,", "A beat as the young turk stares his elder down. Dragonetti is the\n\tfirst to lose his nerve. Frost smiles and exits, leaving the old\n\tvampire to lick his wounds.", "At the head of the table is GAETANO DRAGONETTI, current vampire\n\t\"Overlord\". Blood-red eyes, parchment skin stretched over skull-like", "Just then, the TWELVE VAMPIRE ELDERS emerge behind Frost, forming a\n\tcircle around Dragonetti. All wear business suits, gloves, along with", "fueled with a passionate intensity. Amongst the vampire community\n\the's known as an agitator. He's also the vampire equivalent of a\n\tracial supremacist.", "Dragonetti looks apoplectic. ELDER PALLINTINE, a five-hundred year-\n\told vampire inhabiting the body of a prepubescent boy, interjects.", "This causes quite a stir amongst the other vampires. Frost might as\n\twell have slapped Dragonetti in the face.", "Dragonetti's cries are cut short as Frost forces the aging vampire's\n\tmouth open, ripping out his fangs with his bare hands. Dragonetti\n\tGURGLES and SHRIEKS, sounding like a dying animal.", "A TRIO OF BLACK-CLAD VAMPIRES\n\n\tled by Mercury step from the shadows where they'd been waiting all\n\talong. They're armed with tasers which they fire en masse --", "One by one, the vampire Elder's heads catch fire, skullflesh sizzling\n\taway -- burning down the line of them in successively building", "of the Elders in a strangle hold, ripping their masks off.", "Having finished suiting up, he turns to face the vampires who have\n\tbeen faithful to his cause -- Mercury, Quinn, a host of others. A", "Gathered around a massive table are the TWELVE VAMPIRE ELDERS,\n\trepresenting a \"rainbow\" of racial colors -- names like PALLINTINE,", "Frost leads his vampires into a high-ceilinged atrium, moving towards\n\ta bank of elevators -- one of the doors of which is outfitted with a\n\thigh-tech hand-key ID system.", "Friendly here is someone's property. \n\t\tAny of the other vampire's try to \n\t\tbleed him, they'll have to answer to", "Vanessa hands Frost the chalice containing Blade's blood. He lifts it\n\tup for all to see. The vampires begin to chant en masse, some long-\n\tforgotten invocation in the vampire tongue.", "The vampires just smile and shake their heads.\n\n\t\t\t\tFROST\n\t\tThe wheel turns, old fang. Guess you \n\t\tjust got a little too long in the \n\t\ttooth.", "The strobe lights flicker as the mayhem mounts. Some of the vampires\n\ttry to flee, scurrying up the stairs, but the exit quickly becomes\n\tclogged with liquefying bodies --", "PULL BACK TO REVEAL a large, minimalist conference room -- the House\n\tof Erebus, seat of the vampire race's legislative assembly.", "A bloodbath ensues. Blade moves like speed-personified, FIRING off\n\tone, two, THREE HEADSHOTS with brain-numbing accuracy, cutting down\n\tthe vampires where they stand." ], [ "Frost watches the marketers stream past, sneering in contempt.", "Frost stabs an accusing finger at the Overlord.", "superior. They fear us because in \n\t\ttheir hearts they know their race has \n\t\tbecome obsolete.", "This causes quite a stir amongst the other vampires. Frost might as\n\twell have slapped Dragonetti in the face.", "Frost watches the steady, inexorable process, then nods, satisfied.\n\tHe looks to the others who are gathered behind him, watching on with\n\tsilent reverence.", "Blade's eyes widen in shock. Frost simply laughs.", "FROST\n\t\tWhy? Because we live at another \n\t\tspecies' expense? Your people farm", "Frost stands before him, grinning like the Cheshire Cat. He's dressed\n\tfrom head to toe in a black motorcycle suit -- boots, gloves, a", "FROST\n\t\tLook at them, just an endless stream \n\t\tof cattle in a mad race to the \n\t\tslaughterhouse.", "Frost sits forward now, impassioned.", "Blade hesitates now, uncertain -- and Frost laughs, understanding\n\twhat has happened.", "Even as Frost utters the words, his body begins to ripple and morph,\n\tbleeding red, taking on the characteristics of liquid. He doesn't", "Once again, Frost morphs into blood-form. He races around Blade in a\n\tseries of spouting arcs, turning from blood-form to solid and back\n\tagain in a series of split-second transformations.", "Frost starts up the marble steps towards a grand, triple-arched\n\tentrance flanked by Corinthian columns. Karen and Blade are dragged\n\talong after him.", "A beat as the young turk stares his elder down. Dragonetti is the\n\tfirst to lose his nerve. Frost smiles and exits, leaving the old\n\tvampire to lick his wounds.", "FROST\n\t\t\t(cutting him off)\n\t\tYou're history, Pearl. Have the good", "Blade reluctantly lowers his hand. Frost smiles. He takes in a deep\n\tbreath of air, savoring it.", "Frost's eyes widen in shock, but he has no time to react, for --", "As if on cue, Frost appears at Vanessa's side, wrapping a proprietary\n\tarm about her waist, kissing the nape of her neck. She leans into him\n\t-- an act of practiced intimacy.", "For a moment, both men are eye to eye, their weapons locked together,\n\tthen, Frost forces Blade backwards --" ], [ "Blade hangs from his chains, head slack, eyes half-lidded and\n\tlusterless. His skin has grown ashen as his life's blood has been\n\tbled away.", "Dragonetti speaks. He uses the \"secret tongue\" -- the ancient vampire\n\tlanguage which utilizes consonants human vocal chords are incapable\n\tof reproducing.", "fueled with a passionate intensity. Amongst the vampire community\n\the's known as an agitator. He's also the vampire equivalent of a\n\tracial supremacist.", "FROST\n\t\tWe call this the Bone Pit. It's where \n\t\twe keep our mistakes, the ones who \n\t\tcouldn't successfully make the \n\t\ttransition from human to vampire.", "Friendly here is someone's property. \n\t\tAny of the other vampire's try to \n\t\tbleed him, they'll have to answer to", "FROST\n\t\tShe can't. She's one of my thralls \n\t\tnow. She has about as much free will", "private in their horror, are the glue which binds the two vampire\n\thunters together. Finally, Blade slumps forward in his restraints,\n\texhausted.", "A bloodbath ensues. Blade moves like speed-personified, FIRING off\n\tone, two, THREE HEADSHOTS with brain-numbing accuracy, cutting down\n\tthe vampires where they stand.", "Karen turns her head to the side, baring her neck, offering herself\n\tto Blade. Blade opens his mouth. His canines elongate. He lowers his\n\thead --", "FADE IN as Blade opens his eyes, still groggy, his face beaded with\n\tsweat. Feverish. His hands have been bound tightly behind his back\n\twith manacles and chains.", "-- and then he goes into a death-spasm, vomiting up a spray of\n\tcaustic vampire blood-bile, spattering Karen. She sinks to her knees,", "a mere \"Underlord\" in the vampire hierarchy, steps forward.\n\tStrikingly handsome, younger, less conservative than his superiors,", "BLADE\n\t\tHe's a familiar. A human who works for \n\t\tthe vampires. See this mark?", "Dragonetti's cries are cut short as Frost forces the aging vampire's\n\tmouth open, ripping out his fangs with his bare hands. Dragonetti\n\tGURGLES and SHRIEKS, sounding like a dying animal.", "containing the vampire child has been smashed open. It's empty now,\n\twith just the steadily draining blood seeping across the floor in a", "BLADE\n\t\tBecause they're vampire wanna-bes. If \n\t\tthey're loyal, if they prove \n\t\tthemselves, then their masters will \n\t\tturn them.", "Vanessa hands Frost the chalice containing Blade's blood. He lifts it\n\tup for all to see. The vampires begin to chant en masse, some long-\n\tforgotten invocation in the vampire tongue.", "KAREN\n\t\tThen vampirism is a genetic defect, \n\t\tjust like Hemolytic anemia?\n\n\tWhistler nods.", "Blade moans, sinking his teeth deeper. Karen's head rolls back. Her\n\teyes open -- glassy, unseeing -- as a wave of ecstasy overtakes her.", "rising up behind him. In a flash, Blade swings his sword downward,\n\tcutting off the vampire's right hand at the elbow. The severed limb\n\tfalls to the floor --" ], [ "Vanessa hands Frost the chalice containing Blade's blood. He lifts it\n\tup for all to see. The vampires begin to chant en masse, some long-\n\tforgotten invocation in the vampire tongue.", "MIRACIA\n\t\tThe vampire God. This speaks of His \n\t\treturn.\n\n\tMiracia's fingers search the parchment again.", "Frost continues drinking down the blood, when suddenly, a force\n\tseizes his body. He throws his head back, eyes rolling to white,\n\tflinging the chalice aside.", "Frost lifts a silver flask to his mouth, taking a swig of blood. He\n\tsmacks his lips, sighs contentedly --", "Blade is drowning in Frost's blood. His eyes bulge. Oxygen bubbles\n\tstream from his mouth. Frost leans in close, his face a twisted mask\n\tof insanity.", "Blade stares at Miracia, shaken.\n\n\t\t\t\tBLADE\n\t\tHis blood -- ?\n\n\tThe old woman nods, reaching for a smoldering cigarette.", "A bloodbath ensues. Blade moves like speed-personified, FIRING off\n\tone, two, THREE HEADSHOTS with brain-numbing accuracy, cutting down\n\tthe vampires where they stand.", "Once again, Frost morphs into blood-form. He races around Blade in a\n\tseries of spouting arcs, turning from blood-form to solid and back\n\tagain in a series of split-second transformations.", "-- emerges from the ceiling of the sanctuary below. The stream of\n\tblood is directed down the channels of a spiral column, where it\n\tfinally pools into a waiting chalice.", "vampire who fathered you. Well you can \n\t\trest easy now, you've found him.\n\t\t\t(gripping Blade's chin)", "-- and then he goes into a death-spasm, vomiting up a spray of\n\tcaustic vampire blood-bile, spattering Karen. She sinks to her knees,", "At the head of the table is GAETANO DRAGONETTI, current vampire\n\t\"Overlord\". Blood-red eyes, parchment skin stretched over skull-like", "containing the vampire child has been smashed open. It's empty now,\n\twith just the steadily draining blood seeping across the floor in a", "Chilled carafes filled with blood are situated along the table. From\n\ttime to time, a member will pour themselves a glass, or perhaps, help\n\tthemselves to the bowls of human finger bones which serve as snacks.", "fueled with a passionate intensity. Amongst the vampire community\n\the's known as an agitator. He's also the vampire equivalent of a\n\tracial supremacist.", "Dragonetti speaks. He uses the \"secret tongue\" -- the ancient vampire\n\tlanguage which utilizes consonants human vocal chords are incapable\n\tof reproducing.", "walk so much now as flow. He's become a three-dimensional creature of\n\tanimated blood! A blood demon.", "Dragonetti's cries are cut short as Frost forces the aging vampire's\n\tmouth open, ripping out his fangs with his bare hands. Dragonetti\n\tGURGLES and SHRIEKS, sounding like a dying animal.", "The vampires bellow out a CHORUS OF CHEERS, their voices resonating\n\toff the stone walls like thunder. \n\n\tCUT TO:", "Blade hangs from his chains, head slack, eyes half-lidded and\n\tlusterless. His skin has grown ashen as his life's blood has been\n\tbled away." ], [ "Karen injects the contents of the syringe onto the slide of cells --\n\tthe reaction is immediate. The vampire blood turns black, then begins\n\tviolently bubbling.", "-- and then he goes into a death-spasm, vomiting up a spray of\n\tcaustic vampire blood-bile, spattering Karen. She sinks to her knees,", "Blade lifts his head away from the microscope just in time -- the\n\tblood on the slide atomizes, exploding outward in a fine mist which\n\tbursts apart the glass lens of the scope.", "Karen GASPS. She has a half-second to act -- in which she triggers a\n\tspray of vampire mace into Gideon's face. Gideon stumbles back,", "Karen SHRIEKS, her body going into uncontrolled paroxysms. The wound\n\ton her neck begins to smoke as the antidote attacks the poisonous\n\tvampire venom.", "CLICK, the line goes dead. Blade tosses his satchel on the bed, opens\n\tit. Inside is a hand-held UV lamp hooked up to a nine-volt battery.\n\tPearl eyes the device, fearful --", "Kam hands Blade a leather valise. He opens it -- its lined with tiny\n\tampoules of scarlet-colored serum. Blade pulls one out, holds it up\n\tto the light.", "Frost and Vanessa HOWL AS ONE, their SCREAMS rising to an unendurable\n\tintensity as the two vampires go nova, exploding into an expanding\n\tball of light and ATOMIZING BLOOD.", "Blade opens FIRE, sweeping his rifle around the room, shooting\n\teverything in sight. Glass cabinetry shatters, ampoules and\n\tvacutainers go flying. Tanaka cowers, arms wrapped about his head.", "Vanessa hands Frost the chalice containing Blade's blood. He lifts it\n\tup for all to see. The vampires begin to chant en masse, some long-\n\tforgotten invocation in the vampire tongue.", "Dragonetti speaks. He uses the \"secret tongue\" -- the ancient vampire\n\tlanguage which utilizes consonants human vocal chords are incapable\n\tof reproducing.", "Vanessa recoils, HOWLING, her head smoking as if it were doused with\n\tformic acid, skin sloughing off from her skull. Karen lunges for\n\tBlade's sword --", "Blade reaches into his jacket and pulls out the small, gas-powered\n\tpistol-injector we saw Whistler inject him with earlier. He tries to", "An ALARM is ringing. Sunlight streams in through the broken window.\n\tTWO VAMPIRE GUARDS who have been caught in the sudden swath of light\n\tare burning up before our eyes. Blade climbs to his feet --", "A bloodbath ensues. Blade moves like speed-personified, FIRING off\n\tone, two, THREE HEADSHOTS with brain-numbing accuracy, cutting down\n\tthe vampires where they stand.", "WHAM! The round punches a fist-sized hole through Raquel's chest,\n\tcontinuing on into the vamp behind her! Vampire blood fountains. Both", "Dragonetti's cries are cut short as Frost forces the aging vampire's\n\tmouth open, ripping out his fangs with his bare hands. Dragonetti\n\tGURGLES and SHRIEKS, sounding like a dying animal.", "WHISTLER\n\t\tConsider it a parting gift. Vampire \n\t\tmace -- silver nitrate, essence of \n\t\tgarlic.", "sunlight, garlic, even silver. But he \n\t\tstill has the Thirst.", "Blade reaches into the back seat, retrieves his sword and a satchel.\n\tHe snaps open his shotgun, loads it. Karen continues to study the\n\tvampires Blade identified." ], [ "Blade's mother!!! Although some thirty years have passed since the\n\tevents of our prologue, Vanessa looks exactly the same -- vibrant,\n\tbeautiful, full of life. Her eyes open.", "WHISTLER\n\t\tBlade's mother was attacked by a \n\t\tvampire while she was pregnant.", "Blade falters, his mind reeling. What he's seeing is incomprehensible\n\t-- his mother is dead. Yet, here she is in the flesh, reaching out to\n\thim and --", "VANESSA, \n\n\twho has remained behind. Blade stares at her. As terrible as his\n\tphysical torment is, his mother's betrayal is infinitely worse.", "Blade hesitates, stopping the sword in mid-strike, catching his\n\tmother's gaze -- her face is monstrous now, scarred by Karen's\n\tpoisonous mace. Piteous, really.", "Blade is winding his way through the maze of makeshift homes and\n\tashcan fires. A CROWD quickly closes in around him, suspicious. A\n\tBRUTISH MAN steps forward, challenging him --", "-- and starts to feed. Karen involuntarily stiffens as Blade's teeth\n\tpuncture her skin and we --\n\n\tCUT TO:", "Blade is drowning in Frost's blood. His eyes bulge. Oxygen bubbles\n\tstream from his mouth. Frost leans in close, his face a twisted mask\n\tof insanity.", "Blade and Karen are led to the middle of the room, where a stone\n\taltar rises up from a dais. Blade is roughly thrown to the ground. He", "It takes every ounce of Blade's self-control to keep from attacking\n\tFrost -- and Frost senses this, pressing his sharp thumbnail against\n\tthe child's jugular.", "But Blade grips her by her shoulders, shoving her back. Karen stares\n\tat Blade, wide-eyed, as if waking from a trance. She touches the raw\n\twounds on her neck, shaken --", "FADE IN as Blade opens his eyes, still groggy, his face beaded with\n\tsweat. Feverish. His hands have been bound tightly behind his back\n\twith manacles and chains.", "Blade enters through the loading elevator, finding Karen and Whistler\n\thard at work. She turns as he approaches -- SEES him back-lit by the\n\tsun. She looks pale, the whites of her eyes are streaked with red.", "BLADE\n\t\tYou've got another day or two at most.\n\n\tKaren nods, shaken. As she moves to leave, Blade reaches for her arm,\n\tstopping her.", "Blade and Karen are now standing by Gideon's police cruiser which is\n\tparked outside Karen's apartment. Blade shoves Gideon against the", "Blade fights back tears. With a wretched moan, he turns his head and\n\tdrives the stake into Whistler's chest. Whistler GASPS. Blade wraps", "Karen turns her head to the side, baring her neck, offering herself\n\tto Blade. Blade opens his mouth. His canines elongate. He lowers his\n\thead --", "Blade's head hangs down. He gasps, wincing, every breath sending a\n\tred hot poker to his gut. Quinn grabs a hold of Blade's jaw, forcing\n\this head up.", "Blade stares at Miracia, shaken.\n\n\t\t\t\tBLADE\n\t\tHis blood -- ?\n\n\tThe old woman nods, reaching for a smoldering cigarette.", "INT. ANTECHAMBER - NIGHT\n\n\t-- Karen clawing at Blade, tears streaming down her cheeks.\n\n\t\t\t\tKAREN\n\t\tDon't stop --" ], [ "Karen looks to Blade, who shrugs. She opens a refrigerator, removing\n\ta syringe filled with blue fluid.", "A flicker of doubt washes across Blade's face. He looks down at Karen\n\tonce more, wrestling with his conscience, finally making a decision.\n\tHe kneels, scoops Karen up into his arms. Just then,", "KAREN\n\t\tI can't cure you, Blade. I can cure \n\t\tmyself, but I can't cure you.\n\t\t\t(beat)\n\t\tI'm so sorry.", "BLADE\n\t\tThere is no cure. \n\n\t\t\t\tKAREN\n\t\t\t(defiant)\n\t\tYou don't know that.", "Blade stares at Karen, disbelieving. Who could imagine a more\n\thorrifying irony? She's crying now. She can't help it.", "KAREN\n\t\tI know. Take some of my blood.\n\n\t\t\t\tBLADE\n\t\tNo --", "Karen nods, inserting the ampoule into the gun. Blade shrugs off his\n\tjacket, holds out his arm. Karen pauses --", "Blade grudgingly rolls up his sleeve. As Karen takes her sample,\n\tBlade looks to Whistler. The older man brings a handkerchief to his\n\tlips, coughing into it.", "The problem is, Blade didn't contract \n\t\tthe vampire virus from a bite like I \n\t\tdid. He was born with it. The irony", "Blade nods, lays Karen down on the operating table. Whistler turns on\n\tan overhead light. Karen is sheathed in sweat, ashen. She's lost a\n\tlot of blood.", "Karen helps Blade inside. He sinks to the floor of the otherwise\n\tdeserted car, exhausted. He's looking ashen now. The whites of his\n\teyes are shot through with red.", "But Blade grips her by her shoulders, shoving her back. Karen stares\n\tat Blade, wide-eyed, as if waking from a trance. She touches the raw\n\twounds on her neck, shaken --", "BLADE\n\t\tYou've got another day or two at most.\n\n\tKaren nods, shaken. As she moves to leave, Blade reaches for her arm,\n\tstopping her.", "-- and starts to feed. Karen involuntarily stiffens as Blade's teeth\n\tpuncture her skin and we --\n\n\tCUT TO:", "Blade forces Karen back. Whistler readies the syringe.", "Karen injects the contents of the syringe onto the slide of cells --\n\tthe reaction is immediate. The vampire blood turns black, then begins\n\tviolently bubbling.", "KAREN\n\t\t\t(quietly)\n\t\tIt won't work on you.\n\n\t\t\t\tBLADE\n\t\tWhat are you talking about?", "KAREN\n\t\tIs he sick?\n\n\t\t\t\tBLADE\n\t\tCancer.", "Karen backs away, startled by Blade's vehemence. She exits, leaving\n\thim alone with his demons. He holds up one of his empty serum\n\tampoules, crushing it in his fist.", "Blade turns now, his eyes falling on the medical equipment Karen\n\tbrought from the hospital. He moves to the refrigerator, removing a" ], [ "He crouches down so he's eye to eye with Blade.", "BLADE\n\t\t\t(nodding)\n\t\tWe get out of this alive, maybe I'll \n\t\ttake that miracle cure of yours.", "Blade stares at Miracia, shaken.\n\n\t\t\t\tBLADE\n\t\tHis blood -- ?\n\n\tThe old woman nods, reaching for a smoldering cigarette.", "Blade's head hangs down. He gasps, wincing, every breath sending a\n\tred hot poker to his gut. Quinn grabs a hold of Blade's jaw, forcing\n\this head up.", "KAREN\n\t\tI can't cure you, Blade. I can cure \n\t\tmyself, but I can't cure you.\n\t\t\t(beat)\n\t\tI'm so sorry.", "A flicker of doubt washes across Blade's face. He looks down at Karen\n\tonce more, wrestling with his conscience, finally making a decision.\n\tHe kneels, scoops Karen up into his arms. Just then,", "Blade stares back at her. At this moment, he wants what Karen is\n\toffering more than anything he's ever desired. And so he rises --\n\n\tCUT TO:", "Quinn draws alongside her, hefting Blade's punching dagger. He places\n\tit against Blade's throat, slowly applying pressure. At this point,\n\tBlade's too weak to even resist.", "Blade grudgingly rolls up his sleeve. As Karen takes her sample,\n\tBlade looks to Whistler. The older man brings a handkerchief to his\n\tlips, coughing into it.", "Karen helps Blade inside. He sinks to the floor of the otherwise\n\tdeserted car, exhausted. He's looking ashen now. The whites of his\n\teyes are shot through with red.", "Blade is winding his way through the maze of makeshift homes and\n\tashcan fires. A CROWD quickly closes in around him, suspicious. A\n\tBRUTISH MAN steps forward, challenging him --", "Karen turns her head to the side, baring her neck, offering herself\n\tto Blade. Blade opens his mouth. His canines elongate. He lowers his\n\thead --", "Karen looks to Blade, who shrugs. She opens a refrigerator, removing\n\ta syringe filled with blue fluid.", "Blade nods, lays Karen down on the operating table. Whistler turns on\n\tan overhead light. Karen is sheathed in sweat, ashen. She's lost a\n\tlot of blood.", "Blade's eyes flicker open, fixing on her. Inhuman. He's shaking\n\tlike an alcoholic going into delirium tremens.\n\n\tINT. TEMPLE SANCTUARY - NIGHT", "Blade heaves himself up, crouching beside her.\n\n\t\t\t\tKAREN\n\t\t\t(gasping)\n\t\tMy shoulder -- dislocated --", "FADE IN as Blade opens his eyes, still groggy, his face beaded with\n\tsweat. Feverish. His hands have been bound tightly behind his back\n\twith manacles and chains.", "Blade nods. They both know what that \"alternative\" is. \n\n\t\t\t\tBLADE\n\t\tYeah. I know.", "Vanessa hands Frost the chalice containing Blade's blood. He lifts it\n\tup for all to see. The vampires begin to chant en masse, some long-\n\tforgotten invocation in the vampire tongue.", "BLADE\n\t\tThere is no cure. \n\n\t\t\t\tKAREN\n\t\t\t(defiant)\n\t\tYou don't know that." ], [ "Blade reaches into his jacket and pulls out the small, gas-powered\n\tpistol-injector we saw Whistler inject him with earlier. He tries to", "Kam hands Blade a leather valise. He opens it -- its lined with tiny\n\tampoules of scarlet-colored serum. Blade pulls one out, holds it up\n\tto the light.", "Frost kisses Vanessa hungrily. Then he kneels and reaches into\n\tBlade's jacket, retrieving a vial of Blade's serum.", "Whistler nods, fitting Blade with a bite guard. Then he presses the\n\tpistol-injector against Blade's carotid artery.", "Karen looks to Blade, who shrugs. She opens a refrigerator, removing\n\ta syringe filled with blue fluid.", "BLADE\n\t\t\t(weakly)\n\t\tSerum -- it's a human hemoglobin \n\t\tsubstitute.", "serum enters his bloodstream. He grips the wall behind him --\n\tactually digs his nails into the metal surface -- the agony he's", "The problem is, Blade didn't contract \n\t\tthe vampire virus from a bite like I \n\t\tdid. He was born with it. The irony", "Karen backs away, startled by Blade's vehemence. She exits, leaving\n\thim alone with his demons. He holds up one of his empty serum\n\tampoules, crushing it in his fist.", "Blade rises to his full height. His strength has more than returned,\n\tit's been doubled by the infusion of real blood. And there's", "Karen locates a vein, presses the injector against it -- Blade\n\ttenses, grits his teeth, fights to keep his body thrashing as the", "Blade grudgingly rolls up his sleeve. As Karen takes her sample,\n\tBlade looks to Whistler. The older man brings a handkerchief to his\n\tlips, coughing into it.", "Blade is drowning in Frost's blood. His eyes bulge. Oxygen bubbles\n\tstream from his mouth. Frost leans in close, his face a twisted mask\n\tof insanity.", "BLADE\n\t\tChina Town. I need more serum.\n\t\t\t(re: new equipment)\n\t\tWhat's all this?", "Blade fights back tears. With a wretched moan, he turns his head and\n\tdrives the stake into Whistler's chest. Whistler GASPS. Blade wraps", "Blade's head hangs down. He gasps, wincing, every breath sending a\n\tred hot poker to his gut. Quinn grabs a hold of Blade's jaw, forcing\n\this head up.", "Karen nods, inserting the ampoule into the gun. Blade shrugs off his\n\tjacket, holds out his arm. Karen pauses --", "Karen helps Blade inside. He sinks to the floor of the otherwise\n\tdeserted car, exhausted. He's looking ashen now. The whites of his\n\teyes are shot through with red.", "When Blade withdraws the smoking sword, we SEE that the gleaming\n\tsteel has changed colors, taking on a bluish tinge, just like the", "Blade reaches into the back seat, retrieves his sword and a satchel.\n\tHe snaps open his shotgun, loads it. Karen continues to study the\n\tvampires Blade identified." ] ]

[ "What is the name of the owner of the Rave club that blade raids?", "Who treats hematologist Kareb Jensen?", "What is the two elemental weeknesses that Blade and Whistler employ against the vampires?", "What is the name of the leader ot the faction of younger vampires?", "What name is given to a human slave controled by a vampire?", "What is the name of a anticoagulant that explodes when combined with vampire blood?", "What is the name of the vampire blood god?", "Who does Blade atempt to sve form Frosts Penthouse?", "How does Blade kill frost?", "What is Karen Jenson's job title?", "What is the name of the drug that Blade uses to kill Frost?", "How does Blade learn about the vampire history archive?", "Who is Whistler to Blade? ", "Where was Blade taken by Frost to summon the vampire blood god? ", "Why did Blade and Whistler tell Karen she she needed to leave the city? ", "How did Blade's mother die during his birth? ", "Why is the treatment Blade uses to control his desire to drink blood becoming less effective? ", "What is the name of the owner of the nightclub that Blade raided? ", "What job does the familiar who attacked Karen have? ", "What are the elemental weaknesses of vampires?", "Who is the leader of the faction of younger vampires who strips the elders of their authority?", "Why are Frost and his kind considered inferior?", "What is the term used to describe a human slave controlled by a vampire?", "Who is the vampire blood god?", "What is the name of the anticoagulant that explodes when it comes into contact with vampire blood?", "In what year is Blade's mother attacked while giving birth?", "Karen synthesizes a vaccine that can cure the infected, but why does it not work on Blade?", "Who offers to cure Blade?", "What is the special serum Blade injects himself with supposed to do?" ]

[ [ "Decon Frost", "Deacon Frost." ], [ "Abraham Whistler", "Abraham Whistler." ], [ "Sunlight and silver", "Silver and Sunlight." ], [ "Frost", "Frost" ], [ "Familiar", "Familiar" ], [ "EDTA", "EDTA." ], [ "La Magra", "La Magra" ], [ "Karen", "Karen Jenson." ], [ "Injects him with the syringes.", "injection" ], [ "Hematologist. ", "Hematologist" ], [ "EDTA", "EDTA" ], [ "From the familiar. ", "THROUGH A FAMILIAR" ], [ "An old friend.", "He is an old friend" ], [ "The Temple of Eternal Night. ", "Temple of Eternal Night." ], [ "Because she had been marked by the vampire bite. ", "because she is marked" ], [ "Infection. ", "A VAMPIRE ATTACK" ], [ "Overuse. ", "Because of overuse." ], [ "Deacon Frost. ", "Deacon Frost." ], [ "Police Officer", "Policeman" ], [ "sunlight and silver", "Sunlight and silver." ], [ "Frost", "Frost" ], [ "Because they were not born as vampires", "BECAUSE THEY ARE NOT PURE BLOODS" ], [ "Familiar", "Familiar." ], [ "La Magra", "LA MAGRA" ], [ "EDTA", "EDTA" ], [ "1967", "1967." ], [ "Because he is a vampire-Human hybrid", "He is a human-vampire hybrid." ], [ "Karen", "Karen." ], [ "It keeps him from needing to drink blood", "Prevents him from giving in to desire to drink human blood." ] ]

[ [ "enemies, rises to a mask which covers much of their features.\n 43.", "The look like the statues above -- a hybrid -- part human,\n part demon. Their skin is a perfect black, armor carved of\n black bone, faces once human but now demonic with blood red", "carved BOX MADE OF BONE, laying it before the altar. Like a\n Chinese puzzle box, Khalar manipulates the carvings of", "The two warriors eye each other with satisfaction. Ukafa's\n frightening, sharpened gold teeth shine as he smiles.\n \n UKAFA (CONT'D)", "But when he hands them to his father, he notices his father\n is covered with sword wounds, cut and bleeding.", "that we were sought.\n \n CONAN\n You hid from him. And while you\n did, others died in your place.", "The three hundred foot high edifice is made ENTIRELY OF\n THOUSANDS OF HUMAN SKULLS. Many of the skulls still drip with", "As we pass one of the faces, again we hear the sound of a\n thunderous heartbeat, now closer. THUMP, THUMP.", "that frame countless bas relief carvings of demonic origin.\n \n And at the far of the cave, an ALTAR sits beneath a raised", "The room is dark, surrounded by thick draperies. Conan lies\n on a straw bed with white sheets, soaked through with his\n sweat. He looks to his wounds, all bandaged.", "But the crown of iron is terrifying. Huge rough spikes extend\n from it in every direction. It looks more like a weapon than\n a crown.", "skulls, sacrifices, and creatures until the box UNLATCHES.\n \n And from the box he lifts two items. A CROWN OF GOLD and A", "KHALAR SINGH (CONT'D)\n For a hundred generations the kings\n of Acheron were crowned, and the", "They killed one. I killed three. I\n am a warrior now.\n \n Uran and the other Cimmerian men exchange worried glances.", "Covered with fearsome war paint and armed with dual hand\n axes, the rotting heads of their enemies are slung at their\n waist.", "Corin fashions the blade's hilt, engraving the guard and\n pommel. It is a work of art.", "He waves the glowing sword tip in front of Conan's face.\n \n CONAN\n You lie. I was there. My father", "Khalar Singh CHANTS in Acheronian. Ancient, harsh words, as\n he lifts the two crowns overhead, offering them to the\n statues of dark gods all around.", "ACHERONIAN WARRIORS\n \n Towering over the slaves, the warriors are a fearsome sight.\n Their armor, crafted from the bones of their defeated", "it to his son. He keeps a hand on it as it is too heavy for\n his son to lift alone. He instructs his son as if teaching\n him multiplication." ], [ "Those few who survived, we ran for\n our lives, chased into caves at the\n edge of the Eastern Sea, left with\n nothing to live for. But then we", "Conan exits the forge only to see the entire village burning.\n The bodies of everyone he has ever known litter the\n landscape. Nothing stirs. Until he hears a strange CHOPPING", "CONAN\n \n Conan rushes through a river, now tinged red with blood, and\n reaches the far end of the village.", "He races back home.\n \n \n EXT. CIMMERIAN VILLAGE - DAY", "Only a pair of wagons still stands. One of them holds Tamara.\n \n CONAN\n Use your whips on the horses' legs!", "Huts burn, women are chained, only a handful of Cimmerians\n still stand. Lucius and his Aquilonian mercenaries are", "A small Cimmerian village lies in a heavily forested valley,\n a redoubt from the icy mountains surrounding it.", "Conan confronts her, enraged.\n \n CONAN\n You lie. You are the very reason my\n people are dead.", "He looks around, surprised not to find Tamara. He hears a\n yelp from nearby and walks to a dirt path beyond the\n clearing.", "Behind him something moves in the forest. We catch just a\n glimpse of the PICT, the same one that escaped Conan in the\n earlier scene.", "jungles of Zingara. And countless\n others. They all had a day like\n this one. They all chose a way\n forward.", "their stones. One or two succeed.\n \n Most of the remaining boys run for the trail that winds high\n into the mountains. But a few head right for the sheer cliff", "Corin looks to the ridge above the village, noticing a thick\n fog creeping in. The fog curls and eddies, something is out\n there.", "EXT. CIMMERIAN VILLAGE - DAY\n \n The forge is lit afire from a half dozen torches, thrown onto", "We are each the last of our tribe,\n Cimmerian. Yours dies this day.\n \n Conan responds by lunging forward, swinging his sword in a", "DARKNESS, killing them all. Only Conan is quick enough to\n dodge his arrow by diving aside.", "in the dirt floor. Beneath it a trough of cooling water leads\n under the hut and away from the village.\n \n CORIN", "scout holding Tamara, cutting his throat as well.\n \n Remo and the remaining scout give chase, blending in and out", "Burn this place. It no longer\n exists.\n \n CUT TO:", "We pull back to reveal a funeral pyre, Tamara's body atop it.\n Conan places the torch to the pyre. It quickly spreads." ], [ "pinning his bleeding form to the ground, just a few feet from\n his fallen father.\n \n Enraged, Lucius turns his anger to Corin, raising his sword", "Conan looks him in his eyes, sizing him up. He likes what he\n sees. In a flash, Conan grabs Lucius' head again, yanking it\n back, exposing his throat.", "LUCIUS\n The end of the earth. You kill me,\n and you'll never find them.\n 25.", "Conan takes Lucius' face and smashes it against the table.\n Lucius looks, aghast, as Conan takes his injured hand and", "sword until points down at the floor, then THRUSTS IT THROUGH\n LUCIUS' FOOT AND DEEP INTO THE WOOD FLOOR BELOW.", "will not kill you.\n \n Conan lets Lucius go. Lucius hobbles to his chair.\n \n LUCIUS", "LUCIUS (CONT'D)\n What are you doing?!\n \n CONAN", "As recognition crosses Lucius' face, Conan springs into\n action. He KICKS the table at the men, sending the knives and\n other torture implements flying right into the first guard.", "No. I said I wouldn't kill you.\n \n We hear Lucius SCREAMS OF PAIN as Conan walks out into the", "In rush enter Lucius and Ukafa. Corin and Conan face their\n attackers, fighting in close quarters. Lucius rushes at", "LUCIUS\n Men!\n 23.\n \n \n From around a corner come five more Guards, drawing their", "LUCIUS\n Barbarian! I had your word! You\n said you would spare my life!\n \n CONAN", "way for you.\n \n Conan lifts the sword.\n \n LUCIUS\n Wait!! Wait!!", "Lucius lunges at Conan, Conan steps in on him, grabbing his\n sword hand. In a show of strength, he twists Lucius' own", "kill.\n \n One by one, the lieutenants beat and stab Corin, taking\n pleasure in his pain.", "squares off against Lucius himself. Lucius is sweating.\n Worried. It wasn't supposed to be this hard.\n \n LUCIUS", "guard, and lifts the table back onto its legs. Then he pulls\n the sword out of the floor, a thick plume of blood rising out\n of Lucius' now liberated foot.", "The One-Eyed Prisoner grins with malice. As he closes in on\n the terrified Lucius, Conan heads for the door.", "CONAN\n No!\n \n Lucius delivers a massive backhand, sending Conan flying", "weapons. Lucius draws his as well.\n \n LUCIUS (CONT'D)\n You've made a huge mistake, ape." ], [ "Conan thinks about it.\n \n CONAN\n You have my word. You tell me where\n I will find Khalar Singh, and I", "The room is dark, surrounded by thick draperies. Conan lies\n on a straw bed with white sheets, soaked through with his\n sweat. He looks to his wounds, all bandaged.", "Corin catches a glimpse of Conan, buried but staring back at\n him, unable to move. Corin quickly turns away, careful not to\n give his son away.", "Conan bursts out of the dust cloud, lunging in an attack.\n \n But Khalar Singh is not there. He has withdrawn inside the\n gates.", "Corin walks out of the forge, looking around for Conan.\n Various other Cimmerians go about the daily routine, but\n Conan is nowhere to be seen.", "to their utmost. Again -- no movement.\n \n Conan backs away, taking stock of the surroundings. He climbs\n up the side of the rock.", "CONAN (CONT'D)\n Like a woman, Fariq cried and\n begged me to spare him.", "Rest up. We'll get you there.\n \n Conan withdraws to his room.", "He waves the glowing sword tip in front of Conan's face.\n \n CONAN\n You lie. I was there. My father", "CONAN (CONT'D)\n Go. You are free.\n \n One-Eye looks at his wrists and ankles, still hobbled by", "Please, Conan. Artus told me of how\n you lost your tribe. I too had to\n watch as my people were taken from\n me.", "CONAN\n You were -- adequate.\n \n Conan pulls aside one of the thick draperies that surround", "Conan spots him, recognition in his eyes.\n \n CONAN (CONT'D)\n You!", "A moment later, the flames of the fire are stoked up again,\n revealing Conan standing over the groaning REMO. The other\n two SHADOW SCOUTS are dead.", "Conan just shakes his head as a parting fog reveals a large\n Colossus head, the fallen remains of an enormous statue,\n lying agape on the shoreline.", "Go. There is a hunting lodge in the\n North Pass with provisions.\n \n CONAN\n No! I will fight!", "Conan's mouth is only inches from her ear as he speaks.\n \n CONAN (CONT'D)\n There is only one truth I need from", "He feels eyes upon him and looks down at Tamara, still bound\n and gagged, her eyes burning holes in his forehead. Conan\n pulls out her gag.", "Conan simply nods and the thieves depart. Conan raises his\n torch, illuminating the near wall.\n \n TAMARA", "Fariq turns back to place the sword in the forge, Conan\n notices one of the bricks the chains are fastened to is\n LOOSE." ], [ "The room is dark, surrounded by thick draperies. Conan lies\n on a straw bed with white sheets, soaked through with his\n sweat. He looks to his wounds, all bandaged.", "Conan confronts her, enraged.\n \n CONAN\n You lie. You are the very reason my\n people are dead.", "You have your desire. Death has\n found you.\n \n Corin spits out his last words, also meant for Conan.", "comes over and smells the pot; his face scrunches from the\n odor.\n \n CONAN\n Trying to poison me?", "Slowly, painfully, Conan drags himself into the cooling\n trough that runs beneath the hut.\n \n FADE TO BLACK.", "Conan tosses out what is inside. It falls to the ground,\n rolling to Khalar Singh's feet.\n \n FARIQ'S HEAD", "DARKNESS, killing them all. Only Conan is quick enough to\n dodge his arrow by diving aside.", "Conan off his feet and back against the far wall, pinned by\n the neck.\n \n Conan struggles to breathe, the polearm shaft driving his", "With the moon over his shoulder, Conan stares down at the\n unholy sight before him. We pull back revealing Tamara, her\n blood draining from her body.", "me.\n \n TAMARA\n No!\n \n Suddenly, a trap door opens beneath Conan and drops down in", "Conan walks over, the torchlight revealing something on\n Tamara's leg. It's a SLUG, which he flicks off.", "positions her in front of him, his arms encircling her.\n \n Conan gives her lifeless body one last kiss, her blood", "Smoke fills the air. Conan struggles, still unable to move.\n He COUGHS, dying.", "CONAN\n I saw my father die. Slain by one\n who can only kill men already on\n their knees.", "will not kill you.\n \n Conan lets Lucius go. Lucius hobbles to his chair.\n \n LUCIUS", "Conan drives his sword into Tamara's heart. The crown spikes\n retract and it falls from her head, tumbling into the abyss.", "But drink? Haven't had a drop all\n night.\n \n The guards holding Conan up by his arms, suddenly find those", "Corin, sporting a deep gash to his abdomen, pulls a reluctant\n Conan from the battle, back toward the forge.", "Conan's mouth is only inches from her ear as he speaks.\n \n CONAN (CONT'D)\n There is only one truth I need from", "He waves the glowing sword tip in front of Conan's face.\n \n CONAN\n You lie. I was there. My father" ], [ "Khalar looks down at the ground -- at the head of his beloved\n son, his eyes gone, replaced by molten metal. Khalar trembles\n in shock and rage.", "Their eyes meet. Torment. Loss. They both know. She pulls a\n knife from the folds of her pelts, puts it in his hand.", "positions her in front of him, his arms encircling her.\n \n Conan gives her lifeless body one last kiss, her blood", "Tamara head butts him, struggling to escape, but Khalar\n absorbs the blow effortlessly. He throws Tamara upon the\n altar, his two guards shackling her in place.", "You have your desire. Death has\n found you.\n \n Corin spits out his last words, also meant for Conan.", "We pull back to reveal a funeral pyre, Tamara's body atop it.\n Conan places the torch to the pyre. It quickly spreads.", "What use is talking? You won't\n believe a word I speak. I only want\n to know this -- how will you kill\n Khalar? You are too big to play the", "There is no time, husband. I would\n see my child's face.\n \n Islene's eyes flutter as she struggles. Corin lowers the", "so that he will not find them. So\n he will wander the afterlife\n forever.\n \n Khalar smiles.", "He feels eyes upon him and looks down at Tamara, still bound\n and gagged, her eyes burning holes in his forehead. Conan\n pulls out her gag.", "and now moves to the altar itself, his claw stroking Tamara's\n body. With one touch, the shackles open. He and the", "blood of his enemy. When he feels\n cold, it is the cold steel of his\n sword. When he lies, he lies in\n wait for his enemy. And when he", "CORIN\n Soon -- it comes for you.\n \n CONAN'S POV", "You will not risk your life again.\n You are my line, my successor. You\n will not throw away all that I have\n worked for.", "Only then does he notice Tamara's unsheathed knife which she\n plunges into his throat.", "THE ALTAR\n \n Tamara, her body's blood nearly drained, is still shackled to", "Conan's mouth is only inches from her ear as he speaks.\n \n CONAN (CONT'D)\n There is only one truth I need from", "Following the slick wall, he passes many DEAD BODIES, but\n only one catches his eye. He stops before it.\n \n DEAD WARRIOR", "Immortal. But still it had one\n weakness. For the true power of\n Acheron laid not with its King, but\n the Queen. Every twenty years, a", "(she kisses him deeply)\n I would be that which you live for,\n Conan, if you would have me. You\n may have faith in nothing, Conan --" ], [ "Only then does he notice Tamara's unsheathed knife which she\n plunges into his throat.", "With the flick of a wrist, Khalar cuts Tamara's bonds.\n 94.", "Tamara head butts him, struggling to escape, but Khalar\n absorbs the blow effortlessly. He throws Tamara upon the\n altar, his two guards shackling her in place.", "Dead bodies of the Slavers and Turanian horsemen lie sprawled\n in every direction. Tamara takes in the gruesome sight,\n shocked.", "With a grunt, he swings Tamara and throws her to safety, at\n the edge of the pit.", "Dazed, she struggles to her feet. Conan appears beside her,\n his dagger out. Tamara gasps in fear but Conan only reaches", "Only a pair of wagons still stands. One of them holds Tamara.\n \n CONAN\n Use your whips on the horses' legs!", "scout holding Tamara, cutting his throat as well.\n \n Remo and the remaining scout give chase, blending in and out", "He feels eyes upon him and looks down at Tamara, still bound\n and gagged, her eyes burning holes in his forehead. Conan\n pulls out her gag.", "Tamara!!\n \n They leap on Conan, impossibly fast. They stab him. They cut\n him. But he does not stop. Even wounded, he throws them into", "out and breaks the lock on her chains.\n \n CONAN\n Who are you?\n \n TAMARA", "IT IS TAMARA.\n \n CUT TO:", "attack. Standing atop the altar, Conan cuts down all comers,\n cutting his way through the enemy, working his way to Tamara.\n \n CONAN", "I am nobody.\n \n He cuts the bonds on her feet. Tamara rises up, the battle\n scene revealed to her.", "In agony, Tamara pulls one of the spikes out, then another.\n She pushes with all her might, lifting the crown of iron off\n her bloodied head --", "TAMARA\n Good to know.\n \n Tamara lunges for the nearest shadow scout with her knife,", "With the moon over his shoulder, Conan stares down at the\n unholy sight before him. We pull back revealing Tamara, her\n blood draining from her body.", "Conan spots Tamara plunging towards him. In one swift move,\n he SLASHES his opponent, ducks underneath a writhing", "tentacle, the slices it off. He immediately turns back to\n check on Tamara -- and he discovers she's not there.", "When he comes up, Khalar has Tamara, his sword at her neck.\n Several ARCHERS stand behind him, at the ready.\n \n KHALAR SINGH" ], [ "There is no time, husband. I would\n see my child's face.\n \n Islene's eyes flutter as she struggles. Corin lowers the", "Conan confronts her, enraged.\n \n CONAN\n You lie. You are the very reason my\n people are dead.", "TAMARA\n Ilira!\n \n She raises Ilira's head, only to discover lifeless eyes.", "positions her in front of him, his arms encircling her.\n \n Conan gives her lifeless body one last kiss, her blood", "TAMARA\n Then we don't have much time. Your\n mother perished too young, but at\n least she died having known the", "We pull back to reveal a funeral pyre, Tamara's body atop it.\n Conan places the torch to the pyre. It quickly spreads.", "He spins. Behind him TAMARA stands, a look of sadness on her\n face.\n \n CORIN", "Their eyes meet. Torment. Loss. They both know. She pulls a\n knife from the folds of her pelts, puts it in his hand.", "Tamara cradles her best friend's face.\n \n TAMARA (CONT'D)\n She's dead. It's over.", "Khalar looks down at the ground -- at the head of his beloved\n son, his eyes gone, replaced by molten metal. Khalar trembles\n in shock and rage.", "KHALAR SINGH\n Then our stories began in the same\n place, Cimmerian. I too lost my\n wife to marauders. How many men, in", "CONAN\n She died in battle, even as I was\n born.\n \n TAMARA", "Only then does he notice Tamara's unsheathed knife which she\n plunges into his throat.", "13.\n \n \n When the Zingaran loses his head, lopped off by Corin's\n blade.", "He feels eyes upon him and looks down at Tamara, still bound\n and gagged, her eyes burning holes in his forehead. Conan\n pulls out her gag.", "Corin throws aside his horned helmet, and falls to his knees\n beside Islene, checking her wound. When he pulls his hands\n back they are coated in blood.", "stroke of midnight -- she must be\n already dead.\n \n The other monks nod and they start to head off. Tamara is the", "Immortal. But still it had one\n weakness. For the true power of\n Acheron laid not with its King, but\n the Queen. Every twenty years, a", "You have your desire. Death has\n found you.\n \n Corin spits out his last words, also meant for Conan.", "He doesn't live. I've seen in him\n great mirth, only to watch it\n smothered by greater melancholy. He" ], [ "Corin throws aside his horned helmet, and falls to his knees\n beside Islene, checking her wound. When he pulls his hands\n back they are coated in blood.", "We pull back to reveal a funeral pyre, Tamara's body atop it.\n Conan places the torch to the pyre. It quickly spreads.", "Akhun's innards drop out of his belly as he falls into the\n abyss, only to be snapped up by the massive beast.", "me.\n \n TAMARA\n No!\n \n Suddenly, a trap door opens beneath Conan and drops down in", "Instead, Conan pulls him in a wide circle, sending him flying\n into a wall-mounted torch. The guard burns like dry kindling.", "and cuts another NOTCH into his arm.\n \n CONAN\n Good. Die.", "When Conan hurls his body backwards, into one of the huge\n rolling boulders. The impact crushes Remo and he loses his\n grip.", "narrowly misses, and Conan counters. His father's sword runs\n Khalar Singh through.\n \n Khalar's body falls into the abyss.", "Conan tosses out what is inside. It falls to the ground,\n rolling to Khalar Singh's feet.\n \n FARIQ'S HEAD", "Khalar looks down at the ground -- at the head of his beloved\n son, his eyes gone, replaced by molten metal. Khalar trembles\n in shock and rage.", "positions her in front of him, his arms encircling her.\n \n Conan gives her lifeless body one last kiss, her blood", "Conan exits the forge only to see the entire village burning.\n The bodies of everyone he has ever known litter the\n landscape. Nothing stirs. Until he hears a strange CHOPPING", "Conan confronts her, enraged.\n \n CONAN\n You lie. You are the very reason my\n people are dead.", "Only then does he notice Tamara's unsheathed knife which she\n plunges into his throat.", "CONAN\n Your story ends here.\n \n The two warriors square off, fighting even as they cling to\n the statues.", "You have your desire. Death has\n found you.\n \n Corin spits out his last words, also meant for Conan.", "A thick wall of flame rages before Khalar. Conan and Tamara\n are gone. He looks over the far side of the wall, where two\n figures on horseback ride off into the distance, Tamara", "The two Guardsmen leap for him, but Conan dispatches them\n with a pair of strikes. Both fall down dead.", "The Aesir HOWLS in agony, raising his sword to deliver the\n killing blow -- when another sword pierces his chest. The\n Aesir falls, revealing Corin standing behind him.", "falls, one hand grabbing a protruding statue arm, dangling\n over the abyss.\n \n Conan raises his sword to finish the job." ], [ "Let me tell you something of Conan.\n He will never lie. He will never\n break a trust, once given. And he\n will never, ever give up.", "The room is dark, surrounded by thick draperies. Conan lies\n on a straw bed with white sheets, soaked through with his\n sweat. He looks to his wounds, all bandaged.", "The boy's eyes are as deep and blue as the Eastern Sea.\n \n TITLE CARD: CONAN\n \n CUT TO:", "lances, and they surround Conan.\n 51.\n \n \n The first rider gallops towards Conan who simply LOPS OFF THE", "Conan responds by lunging in, swinging his broadsword in a\n broad arc, with all his might. Even in the small space,", "Conan looks him in his eyes, sizing him up. He likes what he\n sees. In a flash, Conan grabs Lucius' head again, yanking it\n back, exposing his throat.", "CONAN (CONT'D)\n You would risk your life for\n royalty? Why?", "CORIN\n Conan?\n 11.", "CONAN (CONT'D)\n Like a woman, Fariq cried and\n begged me to spare him.", "Conan turns to face him, eyes filled with rage. The guard's\n face goes pale. Conan head butts him with all his might and\n the guard goes down, bleeding from mouth, nose and ears.", "CONAN\n I saw my father die. Slain by one\n who can only kill men already on\n their knees.", "Conan spots him, recognition in his eyes.\n \n CONAN (CONT'D)\n You!", "Corin catches a glimpse of Conan, buried but staring back at\n him, unable to move. Corin quickly turns away, careful not to\n give his son away.", "DARKNESS, killing them all. Only Conan is quick enough to\n dodge his arrow by diving aside.", "CONAN\n You were -- adequate.\n \n Conan pulls aside one of the thick draperies that surround", "CONAN\n Many died to capture nobody.\n (motions to his horse)\n Get up.", "Conan mounts one of the cavalry horses and gallops towards\n the Scouts. They see him coming and let go of Tamara. THEY", "Conan grabs the nearby jib, swings over, and plants both feet\n in the face of one of the spearmen, knocking him over the\n side.", "Conan? Conan?!\n \n Conan steps forward from out of a thicket, his body covered\n in Pict blood. Three PICTS lie massacred, the bodies hacked", "Conan confronts her, enraged.\n \n CONAN\n You lie. You are the very reason my\n people are dead." ], [ "CORIN\n This fight is over, but yours has\n just begun. You wanted to be a\n warrior of the tribe, Conan--now", "Corin grabs Conan by his tunic, pulling him up to his face.\n Corin's eyes are half-crazed.", "Corin, sporting a deep gash to his abdomen, pulls a reluctant\n Conan from the battle, back toward the forge.", "CORIN\n Think you're ready? Then tell me:\n what is a sword's purpose?\n \n CONAN", "Corin catches a glimpse of Conan, buried but staring back at\n him, unable to move. Corin quickly turns away, careful not to\n give his son away.", "can't. Corin's disappointment shows. He takes the sword from\n Conan's hands.\n \n CORIN (CONT'D)", "TRAINING MONTAGE:\n \n Conan is tested under Corin's watchful eye:", "CORIN\n Soon -- it comes for you.\n \n CONAN'S POV", "comes to hold both life and death.\n \n Corin hands Conan the sword.\n \n CORIN (CONT'D)", "CONAN\n It's not enough. I've failed you\n father.\n \n CORIN", "Corin sharpens a sword, perfecting it. Conan cannot take his\n eyes off it, stepping away from the bellows.\n \n CORIN", "CORIN\n Conan?\n 11.", "You have your desire. Death has\n found you.\n \n Corin spits out his last words, also meant for Conan.", "you must be its last.\n \n CONAN\n Father, I am not afraid to die.\n \n CORIN", "CONAN\n Father!\n \n CORIN\n Come.", "INT. FORGE - DAY\n \n The flames of the forge still burn as Corin pushes Conan into\n the room. He bolts the door behind him.", "He tosses Conan two lumps of ore.\n \n CORIN (CONT'D)\n Tell me, which makes the best", "Corin walks out of the forge, looking around for Conan.\n Various other Cimmerians go about the daily routine, but\n Conan is nowhere to be seen.", "CONAN\n Do we need more weapons?\n \n Corin drops his sword, then struggles to lift a heavy grating", "Corin simply turns and walks away, leaving Conan to puzzle\n what happened.\n \n Corin lowers his sword and walks away, leaving Conan to" ], [ "Corin looks to the ridge above the village, noticing a thick\n fog creeping in. The fog curls and eddies, something is out\n there.", "Corin sees the flames in the distance as well. Suddenly,\n Ukafa and his Kushite warriors erupt out of the forest. Armed\n with fearsome barbed spears they charge the remaining", "Corin throws aside his horned helmet, and falls to his knees\n beside Islene, checking her wound. When he pulls his hands\n back they are coated in blood.", "the shadows behind him and drives a short sword into his\n back.\n \n Corin falls to his knees.", "pinning his bleeding form to the ground, just a few feet from\n his fallen father.\n \n Enraged, Lucius turns his anger to Corin, raising his sword", "CORIN\n Wait! Hold your ground!\n \n But it's too late, nearly half the Cimmerian warriors are", "Corin arrives with Uran and other armed CIMMERIAN WARRIORS.\n They get a brief glimpse of a single PICT, escaping in the", "and you'll spare the lives of your\n own. Perhaps even your wife?\n \n CORIN\n My wife was killed, long ago, by", "crown. That is the legacy I seek.\n Will you join me?\n \n It's a powerful, convincing speech. But Corin holds his", "In rush enter Lucius and Ukafa. Corin and Conan face their\n attackers, fighting in close quarters. Lucius rushes at", "kill.\n \n One by one, the lieutenants beat and stab Corin, taking\n pleasure in his pain.", "With a setting sun silhouetting the two, Conan attacks Corin.\n Conan attacks with fury. Corin defends with grace. Until the", "CORIN\n Soon -- it comes for you.\n \n CONAN'S POV", "in the dirt floor. Beneath it a trough of cooling water leads\n under the hut and away from the village.\n \n CORIN", "CORIN (CONT'D)\n What are you waiting for? The fire\n is dying.", "other direction. One of the Cimmerians takes off in pursuit.\n Corin desperately searches for his son.\n \n CORIN", "Corin grabs Conan by his tunic, pulling him up to his face.\n Corin's eyes are half-crazed.", "CUT TO:\n \n \n INT. CORIN'S FORGE - NIGHT", "Wielding a broadsword, runes etched into its surface, Corin\n cuts a bloody path through his enemies, his eyes never\n leaving Islene.", "CORIN\n This fight is over, but yours has\n just begun. You wanted to be a\n warrior of the tribe, Conan--now" ], [ "Corin looks to the ridge above the village, noticing a thick\n fog creeping in. The fog curls and eddies, something is out\n there.", "Corin sees the flames in the distance as well. Suddenly,\n Ukafa and his Kushite warriors erupt out of the forest. Armed\n with fearsome barbed spears they charge the remaining", "pinning his bleeding form to the ground, just a few feet from\n his fallen father.\n \n Enraged, Lucius turns his anger to Corin, raising his sword", "Corin throws aside his horned helmet, and falls to his knees\n beside Islene, checking her wound. When he pulls his hands\n back they are coated in blood.", "crown. That is the legacy I seek.\n Will you join me?\n \n It's a powerful, convincing speech. But Corin holds his", "Wielding a broadsword, runes etched into its surface, Corin\n cuts a bloody path through his enemies, his eyes never\n leaving Islene.", "Conan confronts her, enraged.\n \n CONAN\n You lie. You are the very reason my\n people are dead.", "CORIN (CONT'D)\n What are you waiting for? The fire\n is dying.", "Corin grabs Conan by his tunic, pulling him up to his face.\n Corin's eyes are half-crazed.", "Corin arrives with Uran and other armed CIMMERIAN WARRIORS.\n They get a brief glimpse of a single PICT, escaping in the", "CORIN\n Wait! Hold your ground!\n \n But it's too late, nearly half the Cimmerian warriors are", "Conan exits the forge only to see the entire village burning.\n The bodies of everyone he has ever known litter the\n landscape. Nothing stirs. Until he hears a strange CHOPPING", "the shadows behind him and drives a short sword into his\n back.\n \n Corin falls to his knees.", "With a setting sun silhouetting the two, Conan attacks Corin.\n Conan attacks with fury. Corin defends with grace. Until the", "13.\n \n \n When the Zingaran loses his head, lopped off by Corin's\n blade.", "Khalar Singh. He stares at Corin's bleeding form with the\n dispassion of a sociopath.", "CORIN\n Soon -- it comes for you.\n \n CONAN'S POV", "CONAN\n \n Conan rushes through a river, now tinged red with blood, and\n reaches the far end of the village.", "kill.\n \n One by one, the lieutenants beat and stab Corin, taking\n pleasure in his pain.", "You have your desire. Death has\n found you.\n \n Corin spits out his last words, also meant for Conan." ], [ "Corin throws aside his horned helmet, and falls to his knees\n beside Islene, checking her wound. When he pulls his hands\n back they are coated in blood.", "Corin looks to the ridge above the village, noticing a thick\n fog creeping in. The fog curls and eddies, something is out\n there.", "Corin sees the flames in the distance as well. Suddenly,\n Ukafa and his Kushite warriors erupt out of the forest. Armed\n with fearsome barbed spears they charge the remaining", "Corin catches a glimpse of Conan, buried but staring back at\n him, unable to move. Corin quickly turns away, careful not to\n give his son away.", "the shadows behind him and drives a short sword into his\n back.\n \n Corin falls to his knees.", "CORIN\n Wait! Hold your ground!\n \n But it's too late, nearly half the Cimmerian warriors are", "CORIN\n This fight is over, but yours has\n just begun. You wanted to be a\n warrior of the tribe, Conan--now", "pinning his bleeding form to the ground, just a few feet from\n his fallen father.\n \n Enraged, Lucius turns his anger to Corin, raising his sword", "Corin, sporting a deep gash to his abdomen, pulls a reluctant\n Conan from the battle, back toward the forge.", "Wielding a broadsword, runes etched into its surface, Corin\n cuts a bloody path through his enemies, his eyes never\n leaving Islene.", "kill.\n \n One by one, the lieutenants beat and stab Corin, taking\n pleasure in his pain.", "In rush enter Lucius and Ukafa. Corin and Conan face their\n attackers, fighting in close quarters. Lucius rushes at", "other direction. One of the Cimmerians takes off in pursuit.\n Corin desperately searches for his son.\n \n CORIN", "Corin arrives with Uran and other armed CIMMERIAN WARRIORS.\n They get a brief glimpse of a single PICT, escaping in the", "CORIN (CONT'D)\n What are you waiting for? The fire\n is dying.", "A moment later, Corin lifts the crying, blood-covered BOY up\n through the falling snowflakes to Islene's lap.", "With a setting sun silhouetting the two, Conan attacks Corin.\n Conan attacks with fury. Corin defends with grace. Until the", "crown. That is the legacy I seek.\n Will you join me?\n \n It's a powerful, convincing speech. But Corin holds his", "CONAN\n \n Conan rushes through a river, now tinged red with blood, and\n reaches the far end of the village.", "CORIN (CONT'D)\n The softer ore is what a man lives\n for. It is flexible and lasting. It\n survives, even against the greatest" ], [ "The room is dark, surrounded by thick draperies. Conan lies\n on a straw bed with white sheets, soaked through with his\n sweat. He looks to his wounds, all bandaged.", "Conan turns to face him, eyes filled with rage. The guard's\n face goes pale. Conan head butts him with all his might and\n the guard goes down, bleeding from mouth, nose and ears.", "Conan looks him in his eyes, sizing him up. He likes what he\n sees. In a flash, Conan grabs Lucius' head again, yanking it\n back, exposing his throat.", "But Conan simply pulls the axe from his large boy's skull. He\n turns to face the Picts, his eyes burning.", "Conan exits the forge only to see the entire village burning.\n The bodies of everyone he has ever known litter the\n landscape. Nothing stirs. Until he hears a strange CHOPPING", "CONAN (CONT'D)\n Like a woman, Fariq cried and\n begged me to spare him.", "Conan YELLS IN PAIN, butting Ukafa's head and knocking him\n back. Conan falls to the stern of the ship, his back against\n the harpoon crossbow.", "lances, and they surround Conan.\n 51.\n \n \n The first rider gallops towards Conan who simply LOPS OFF THE", "Khalar ROARS in rage, launching an all-out offensive. Conan\n backs up slowly, waiting for his moment.", "The gangly fifteen year old boy has grown into a powerfully\n built man, broad-shouldered with sun browned skin lined with\n battle scars. Only the piercing blue eyes and square cut", "Conan responds by lunging in, swinging his broadsword in a\n broad arc, with all his might. Even in the small space,", "Khalar KICKS Conan in his shattered chest, lifting Conan off\n the ground with his might. He follows up with a devastating", "DARKNESS, killing them all. Only Conan is quick enough to\n dodge his arrow by diving aside.", "inches from his face. Conan throws Khalar off him, knocking\n the warlord back ten feet. Khalar's attack is feral,\n uncontrolled. He's lost his balance.", "Tamara!!\n \n They leap on Conan, impossibly fast. They stab him. They cut\n him. But he does not stop. Even wounded, he throws them into", "CORIN\n This fight is over, but yours has\n just begun. You wanted to be a\n warrior of the tribe, Conan--now", "The hulking teen goes to shove Conan, but Conan pulls his arm\n towards him, lashing out with his other hand, punching the", "CONAN\n \n Conan rushes through a river, now tinged red with blood, and\n reaches the far end of the village.", "arrows stream toward him.\n \n EXPLOSIONS rip through the air where Conan was, throwing up a\n huge dust cloud.", "The next two riders attack together, but Conan dodges their\n nets and rips away one of their spears, only to lodge it into" ], [ "The girl! Bring her to Khalar!\n \n Conan launches an all out attack. Remo leaps over his sword", "He looks around, surprised not to find Tamara. He hears a\n yelp from nearby and walks to a dirt path beyond the\n clearing.", "out and breaks the lock on her chains.\n \n CONAN\n Who are you?\n \n TAMARA", "He feels eyes upon him and looks down at Tamara, still bound\n and gagged, her eyes burning holes in his forehead. Conan\n pulls out her gag.", "Their eyes meet. Torment. Loss. They both know. She pulls a\n knife from the folds of her pelts, puts it in his hand.", "Dazed, she struggles to her feet. Conan appears beside her,\n his dagger out. Tamara gasps in fear but Conan only reaches", "One girl, ILIRA, mischievously taps the shoulder of the girl\n next to her with her thorn. The girl, TAMARA, squeals in\n pain, angry her prayer was interrupted.", "FEMALE MONK\n I am the one you seek.\n \n Fariq smiles.", "A queen in hiding.\n \n REMO\n Yes! Yes! I sent to find her. Bring\n her. He wait for me now, at Great", "Conan!!!\n \n CONAN\n \n On the other side of the abyss, Conan spots her and scales", "his bed. Behind it lies a staircase, which he ascends.\n \n \n EXT. ZINGARAN GALLEY - NIGHT", "The ship sails like a ghost over black water, the stars lit\n up impossibly bright. Artus finds Tamara sitting near the\n bow. He hands her a steaming bowl of food.", "dagger. Ukafa marshals his men as a fierce battle rages.\n \n UKAFA\n Find the girl!", "Conan confronts her, enraged.\n \n CONAN\n You lie. You are the very reason my\n people are dead.", "KHALAR SINGH\n But I seek a woman.\n \n Khalar looks outside the door of the forge. The Cimmerians", "lives. He'll be coming for me and\n the girl.\n \n ARTUS\n Good. We're scrapping for a fight", "meet. Something about her. Conan stares a moment, then spurs\n his horse on.", "Tamara watches this, jaw dropped, and manages a COUGH, even\n as a SERVING GIRL delivers mead to the table.", "EXT. ZINGARAN GALLEY - MORNING\n \n Tamara steps out onto the deck, grabbing her pounding head.", "Tamara head butts him, struggling to escape, but Khalar\n absorbs the blow effortlessly. He throws Tamara upon the\n altar, his two guards shackling her in place." ], [ "through her suffering Acheron would\n remain invincible. Until one of my\n ancestors, an Acheronian himself,\n put a stop to this tyranny. He and", "Immortal. But still it had one\n weakness. For the true power of\n Acheron laid not with its King, but\n the Queen. Every twenty years, a", "particular, has developed a special\n connection to the blood. A thirst.\n It is said that only the Queen of\n Acheron itself can resist its", "I've read all there is to know of\n mighty Acheron. Why would true\n Acheronians protect a traitor to\n their own? You once held the entire", "It's only begun. Because that one\n was not the heir to Acheron.\n \n Khalar smiles down at Tamara.", "safe. We failed. But if Khalar\n brings her to Acheron, it will rise\n again -- and all our peoples'\n sacrifice is for nothing.", "Acheron again. Never again will we\n hide like rats. Never again will we\n watch as our loved ones are\n slaughtered. I call forth the", "long that you cannot to see? Blood,\n magic, death: it is everywhere.\n Acheron is no different than any\n other kingdom, but for its glory.", "discovered it. Acheron. The temple\n that spawned an empire. We learned\n that we were not broken goat-\n herders on a desolate coastline. We", "Khalar Singh CHANTS in Acheronian. Ancient, harsh words, as\n he lifts the two crowns overhead, offering them to the\n statues of dark gods all around.", "has my confidence. He knows more of\n the legends of Acheron than anyone.\n \n Suddenly, two forms race at them from the blinding sand. REMO", "us all. All of civilization will\n fall if the army of Acheron is\n raised again.\n \n CONAN", "The Acheronians had a wonderful\n sense of balance, don't you think?\n For one to ascend to royalty,\n another must fall.", "I am Khalar Singh, King of Acheron.\n I command you to kneel!\n \n And this demonic horde advances right for him, their razor", "KHALAR SINGH (CONT'D)\n For a hundred generations the kings\n of Acheron were crowned, and the", "Acheronian Warriors drag her pale body toward the abyss.\n \n Khalar grins up at him through bloody teeth.\n 102.", "The streets of Acheron are lined with thousands of SLAVES,\n young and old, chained together, toiling under the lash of\n their cruel masters, the", "But the Acheronian Warriors surround them. Thousands climb\n out of the abyss, teeth bared, closing in on the wounded", "Secretive, the traitors of Acheron.\n It wasn't easy, but Fariq finally\n wrung honesty from the girl. That\n poor innocent was forced to live a", "darkness consumes the world. Never\n again will innocents suffer for\n others' power. Never again will the\n Queen suffer so Acheron may rise." ], [ "Conan looks him in his eyes, sizing him up. He likes what he\n sees. In a flash, Conan grabs Lucius' head again, yanking it\n back, exposing his throat.", "LUCIUS (CONT'D)\n What are you doing?!\n \n CONAN", "Conan takes Lucius' face and smashes it against the table.\n Lucius looks, aghast, as Conan takes his injured hand and", "LUCIUS\n Men!\n 23.\n \n \n From around a corner come five more Guards, drawing their", "LUCIUS (CONT'D)\n You gave your word!", "pinning his bleeding form to the ground, just a few feet from\n his fallen father.\n \n Enraged, Lucius turns his anger to Corin, raising his sword", "squares off against Lucius himself. Lucius is sweating.\n Worried. It wasn't supposed to be this hard.\n \n LUCIUS", "Lucius nods to the guards, who advance on Conan.\n \n LUCIUS\n You talk as though you know me,\n ape.", "LUCIUS\n That is only because they have\n never faced my legion.\n \n Khalar regards Lucius with amusement.", "Lucius lunges at Conan, Conan steps in on him, grabbing his\n sword hand. In a show of strength, he twists Lucius' own", "As recognition crosses Lucius' face, Conan springs into\n action. He KICKS the table at the men, sending the knives and\n other torture implements flying right into the first guard.", "LUCIUS\n Barbarian! I had your word! You\n said you would spare my life!\n \n CONAN", "In rush enter Lucius and Ukafa. Corin and Conan face their\n attackers, fighting in close quarters. Lucius rushes at", "LUCIUS\n The end of the earth. You kill me,\n and you'll never find them.\n 25.", "weapons. Lucius draws his as well.\n \n LUCIUS (CONT'D)\n You've made a huge mistake, ape.", "LUCIUS\n All this sneaking around for a\n lowly tribe of barbarians.", "will not kill you.\n \n Conan lets Lucius go. Lucius hobbles to his chair.\n \n LUCIUS", "RECOGNIZE HIM! He's LUCIUS, the disfigured Aquilionian who\n was one of Khalar Singh's lieutenants.", "way for you.\n \n Conan lifts the sword.\n \n LUCIUS\n Wait!! Wait!!", "guard, and lifts the table back onto its legs. Then he pulls\n the sword out of the floor, a thick plume of blood rising out\n of Lucius' now liberated foot." ], [ "pinning his bleeding form to the ground, just a few feet from\n his fallen father.\n \n Enraged, Lucius turns his anger to Corin, raising his sword", "Conan looks him in his eyes, sizing him up. He likes what he\n sees. In a flash, Conan grabs Lucius' head again, yanking it\n back, exposing his throat.", "will not kill you.\n \n Conan lets Lucius go. Lucius hobbles to his chair.\n \n LUCIUS", "Conan takes Lucius' face and smashes it against the table.\n Lucius looks, aghast, as Conan takes his injured hand and", "LUCIUS (CONT'D)\n What are you doing?!\n \n CONAN", "sword until points down at the floor, then THRUSTS IT THROUGH\n LUCIUS' FOOT AND DEEP INTO THE WOOD FLOOR BELOW.", "No. I said I wouldn't kill you.\n \n We hear Lucius SCREAMS OF PAIN as Conan walks out into the", "LUCIUS\n The end of the earth. You kill me,\n and you'll never find them.\n 25.", "guard, and lifts the table back onto its legs. Then he pulls\n the sword out of the floor, a thick plume of blood rising out\n of Lucius' now liberated foot.", "squares off against Lucius himself. Lucius is sweating.\n Worried. It wasn't supposed to be this hard.\n \n LUCIUS", "way for you.\n \n Conan lifts the sword.\n \n LUCIUS\n Wait!! Wait!!", "Lucius lunges at Conan, Conan steps in on him, grabbing his\n sword hand. In a show of strength, he twists Lucius' own", "LUCIUS\n Barbarian! I had your word! You\n said you would spare my life!\n \n CONAN", "LUCIUS\n Men!\n 23.\n \n \n From around a corner come five more Guards, drawing their", "As recognition crosses Lucius' face, Conan springs into\n action. He KICKS the table at the men, sending the knives and\n other torture implements flying right into the first guard.", "Lucius and the Aquilonians race up to a sheer cliff face.\n Nowhere left to run. They turn to see the Cimmerians\n gathering in front of them.", "In rush enter Lucius and Ukafa. Corin and Conan face their\n attackers, fighting in close quarters. Lucius rushes at", "Conan shows Lucius the FIVE SCARS running down his forearm.\n \n CONAN\n No. I am death. And I came a long", "The One-Eyed Prisoner grins with malice. As he closes in on\n the terrified Lucius, Conan heads for the door.", "LUCIUS (CONT'D)\n You gave your word!" ], [ "KHALAR SINGH\n Yes. I come to resurrect the\n greatest empire Hyboria has ever\n known.", "KHALAR SINGH (CONT'D)\n So much for vengeance.\n (to his soldiers)", "Khalar pulls back, tries to settle himself. Conan's eyes\n narrow, he knows what Khalar is doing.", "TAMARA (CONT'D)\n Let me ask you something. Once\n you've killed Khalar and claimed", "Tamara is shocked.\n \n TAMARA\n Wait -- you seek to kill this\n Khalar? We have the same aim. He", "Khalar looks down at the ground -- at the head of his beloved\n son, his eyes gone, replaced by molten metal. Khalar trembles\n in shock and rage.", "Tamara head butts him, struggling to escape, but Khalar\n absorbs the blow effortlessly. He throws Tamara upon the\n altar, his two guards shackling her in place.", "Khalar nods to one of his men, who slits the Sailor's throat.\n \n Khalar turns to his FALCONER, with the huge bird of prey on", "What use is talking? You won't\n believe a word I speak. I only want\n to know this -- how will you kill\n Khalar? You are too big to play the", "KHALAR SINGH\n No.\n \n Khalar reaches for the severed head, giving Conan a brief", "Khalar Singh. He stares at Corin's bleeding form with the\n dispassion of a sociopath.", "KHALAR SINGH (CONT'D)\n Cimmerian!!!\n \n Enraged, Khalar CHARGES Conan throwing all his skill and", "Khalar Singh CHANTS in Acheronian. Ancient, harsh words, as\n he lifts the two crowns overhead, offering them to the\n statues of dark gods all around.", "safe. We failed. But if Khalar\n brings her to Acheron, it will rise\n again -- and all our peoples'\n sacrifice is for nothing.", "so that he will not find them. So\n he will wander the afterlife\n forever.\n \n Khalar smiles.", "KHALAR SINGH (CONT'D)\n Before you lies our enemy. His\n tribe waits for him in the beyond.\n What would you do?", "KHALAR SINGH\n You will return to Khor Kalba. You\n will feed the women to the beast\n until you find our Queen.", "Khalar picks up THE SWORD Corin and Conan had forged\n together, the one Corin took away. He admires it, then hands", "Khalar KICKS Conan in his shattered chest, lifting Conan off\n the ground with his might. He follows up with a devastating", "Khalar Singh looks to Remo for confirmation. The misshapen\n and shadowy Remo nods." ], [ "particular, has developed a special\n connection to the blood. A thirst.\n It is said that only the Queen of\n Acheron itself can resist its", "flesh and blood. The last of a\n royal line that goes back three\n thousand years.\n \n Corin LAUGHS.", "A queen in hiding.\n \n REMO\n Yes! Yes! I sent to find her. Bring\n her. He wait for me now, at Great", "through her suffering Acheron would\n remain invincible. Until one of my\n ancestors, an Acheronian himself,\n put a stop to this tyranny. He and", "new queen from the royal line would\n be coronated with a crown of iron.\n Spikes would pierce her, slowly\n drain her precious blood, and", "It's only begun. Because that one\n was not the heir to Acheron.\n \n Khalar smiles down at Tamara.", "Immortal. But still it had one\n weakness. For the true power of\n Acheron laid not with its King, but\n the Queen. Every twenty years, a", "THE ALTAR\n \n Tamara, her body's blood nearly drained, is still shackled to", "The caves beneath Khor Khalba\n contain all manner of creature,\n many -- altered -- by centuries of\n blood magic. But one, in", "Their eyes meet. Torment. Loss. They both know. She pulls a\n knife from the folds of her pelts, puts it in his hand.", "Conan confronts her, enraged.\n \n CONAN\n You lie. You are the very reason my\n people are dead.", "Dazed, she struggles to her feet. Conan appears beside her,\n his dagger out. Tamara gasps in fear but Conan only reaches", "long that you cannot to see? Blood,\n magic, death: it is everywhere.\n Acheron is no different than any\n other kingdom, but for its glory.", "Cimmerian it is. Now it makes\n sense. You came for blood, not\n gold.\n 53.", "Tamara head butts him, struggling to escape, but Khalar\n absorbs the blow effortlessly. He throws Tamara upon the\n altar, his two guards shackling her in place.", "He feels eyes upon him and looks down at Tamara, still bound\n and gagged, her eyes burning holes in his forehead. Conan\n pulls out her gag.", "You will not risk your life again.\n You are my line, my successor. You\n will not throw away all that I have\n worked for.", "The one. The Queen.\n \n Conan's mind races, remembering Khalar's words from long ago.\n \n CONAN", "owes a blood debt, and he can\n entertain no other joy, no other\n cause, until it is fulfilled.\n \n TAMARA", "WE FOLLOW the trail of blood, down the side of the altar, in\n a spiral channel around the leg, and in a wide circle around\n the altar until reaching the channel's end --" ], [ "enemies, rises to a mask which covers much of their features.\n 43.", "that we were sought.\n \n CONAN\n You hid from him. And while you\n did, others died in your place.", "The look like the statues above -- a hybrid -- part human,\n part demon. Their skin is a perfect black, armor carved of\n black bone, faces once human but now demonic with blood red", "He feels eyes upon him and looks down at Tamara, still bound\n and gagged, her eyes burning holes in his forehead. Conan\n pulls out her gag.", "The explanation comes as the shadow behind the driver MORPHS\n into Remo, the spindly Shadow Scout. He takes the reins,\n stopping the wagon.", "He waves the glowing sword tip in front of Conan's face.\n \n CONAN\n You lie. I was there. My father", "Conan confronts her, enraged.\n \n CONAN\n You lie. You are the very reason my\n people are dead.", "out and breaks the lock on her chains.\n \n CONAN\n Who are you?\n \n TAMARA", "both know you are not my equal.\n \n Conan takes the burlap sack wrapped at his hip pulls it off.\n \n CONAN", "CONAN\n You know this.\n \n TAMARA\n We did not know who sought us, only", "skulls, sacrifices, and creatures until the box UNLATCHES.\n \n And from the box he lifts two items. A CROWN OF GOLD and A", "STRANGER\n \n A FIGURE, his form hidden beneath a cloak, spots Conan and", "The room is dark, surrounded by thick draperies. Conan lies\n on a straw bed with white sheets, soaked through with his\n sweat. He looks to his wounds, all bandaged.", "I am nobody.\n \n He cuts the bonds on her feet. Tamara rises up, the battle\n scene revealed to her.", "The One Eyed Thief offers the same gap-toothed grin.\n \n ONE EYED THIEF (CONT'D)\n You just need to find someone crazy", "Only the red irises of their eyes peer through. That and\n their pitch black skin.\n \n The slaves hobble down the main boulevard, their naked feet", "CONAN\n And what better disguise for a\n monk?\n \n Conan tugs on the rope for the camel to move faster. The", "Corin catches a glimpse of Conan, buried but staring back at\n him, unable to move. Corin quickly turns away, careful not to\n give his son away.", "me.\n \n TAMARA\n No!\n \n Suddenly, a trap door opens beneath Conan and drops down in", "Shemish traders, obscuring all but his eyes.\n \n TAMARA" ], [ "Only then does he notice Tamara's unsheathed knife which she\n plunges into his throat.", "kill.\n \n One by one, the lieutenants beat and stab Corin, taking\n pleasure in his pain.", "Tamara head butts him, struggling to escape, but Khalar\n absorbs the blow effortlessly. He throws Tamara upon the\n altar, his two guards shackling her in place.", "TAMARA\n Ilira!\n \n She raises Ilira's head, only to discover lifeless eyes.", "But Khalar Singh has. He destroyed\n my people, looking for you.\n \n Suddenly Tamara understands.\n 48.", "Conan confronts her, enraged.\n \n CONAN\n You lie. You are the very reason my\n people are dead.", "Khalar Singh throws the gold sack. It lands halfway between\n them. He sends Tamara ahead, her mouth gagged.\n \n But the moment Tamara reaches the gold --", "Conan tosses out what is inside. It falls to the ground,\n rolling to Khalar Singh's feet.\n \n FARIQ'S HEAD", "scout holding Tamara, cutting his throat as well.\n \n Remo and the remaining scout give chase, blending in and out", "Only to see Conan standing there, holding the decapitated\n head of the Lieutenant.\n \n The shocked Guard goes for his sword. Conan swings the", "Tamara is shocked.\n \n TAMARA\n Wait -- you seek to kill this\n Khalar? We have the same aim. He", "He feels eyes upon him and looks down at Tamara, still bound\n and gagged, her eyes burning holes in his forehead. Conan\n pulls out her gag.", "Conan drives his sword into Tamara's heart. The crown spikes\n retract and it falls from her head, tumbling into the abyss.", "Khalar nods to one of his men, who slits the Sailor's throat.\n \n Khalar turns to his FALCONER, with the huge bird of prey on", "KHALAR SINGH\n Fine. Take your fill. I will kill\n him myself.\n \n CONAN", "We pull back to reveal a funeral pyre, Tamara's body atop it.\n Conan places the torch to the pyre. It quickly spreads.", "Khalar Singh. He stares at Corin's bleeding form with the\n dispassion of a sociopath.", "KHALAR SINGH\n He killed Remo, likely his cavalry\n legion as well. Whatever he is, he", "TAMARA (CONT'D)\n Let me ask you something. Once\n you've killed Khalar and claimed", "arms wrapped around their heads. Twist, twist. SNAP. SNAP. He\n breaks both their necks in an instant." ], [ "The room is dark, surrounded by thick draperies. Conan lies\n on a straw bed with white sheets, soaked through with his\n sweat. He looks to his wounds, all bandaged.", "Conan confronts her, enraged.\n \n CONAN\n You lie. You are the very reason my\n people are dead.", "You have your desire. Death has\n found you.\n \n Corin spits out his last words, also meant for Conan.", "DARKNESS, killing them all. Only Conan is quick enough to\n dodge his arrow by diving aside.", "me.\n \n TAMARA\n No!\n \n Suddenly, a trap door opens beneath Conan and drops down in", "Conan tosses out what is inside. It falls to the ground,\n rolling to Khalar Singh's feet.\n \n FARIQ'S HEAD", "comes over and smells the pot; his face scrunches from the\n odor.\n \n CONAN\n Trying to poison me?", "Slowly, painfully, Conan drags himself into the cooling\n trough that runs beneath the hut.\n \n FADE TO BLACK.", "Conan off his feet and back against the far wall, pinned by\n the neck.\n \n Conan struggles to breathe, the polearm shaft driving his", "positions her in front of him, his arms encircling her.\n \n Conan gives her lifeless body one last kiss, her blood", "Instead, Conan pulls him in a wide circle, sending him flying\n into a wall-mounted torch. The guard burns like dry kindling.", "With the moon over his shoulder, Conan stares down at the\n unholy sight before him. We pull back revealing Tamara, her\n blood draining from her body.", "Ukafa tries to spear Conan through the chest, and Conan\n decides to drop his sword, grabbing the spear as it passes by\n him.", "He feels eyes upon him and looks down at Tamara, still bound\n and gagged, her eyes burning holes in his forehead. Conan\n pulls out her gag.", "will not kill you.\n \n Conan lets Lucius go. Lucius hobbles to his chair.\n \n LUCIUS", "Smoke fills the air. Conan struggles, still unable to move.\n He COUGHS, dying.", "The two Guardsmen leap for him, but Conan dispatches them\n with a pair of strikes. Both fall down dead.", "CONAN\n I saw my father die. Slain by one\n who can only kill men already on\n their knees.", "Conan drives his sword into Tamara's heart. The crown spikes\n retract and it falls from her head, tumbling into the abyss.", "and vaults Conan, landing on his back. He draws his sword,\n preparing to cut Conan's throat --" ], [ "CONAN (CONT'D)\n Go. You are free.\n \n One-Eye looks at his wrists and ankles, still hobbled by", "He feels eyes upon him and looks down at Tamara, still bound\n and gagged, her eyes burning holes in his forehead. Conan\n pulls out her gag.", "out and breaks the lock on her chains.\n \n CONAN\n Who are you?\n \n TAMARA", "Between the bonds she slips down a blade. It's CONAN'S\n DAGGER. She quickly cuts her bonds.", "The two Guardsmen leap for him, but Conan dispatches them\n with a pair of strikes. Both fall down dead.", "The City Guards drag Conan into a broad prison yard. Many of\n the INMATES are shackled together, hacking with picks at the\n rock walls on their work detail. Those in no condition to", "Conan confronts her, enraged.\n \n CONAN\n You lie. You are the very reason my\n people are dead.", "are cut down by either Conan's blade or the slavers' tulwars.\n But their victory is short lived --", "Spinning and striking blindly, Conan smashes the second\n shackle on her wrist. He continues his motion, bringing his", "But then the fire collapses more of the forge, and the\n falling beams shatter the one that pins Conan to the ground.\n 18.", "The room is dark, surrounded by thick draperies. Conan lies\n on a straw bed with white sheets, soaked through with his\n sweat. He looks to his wounds, all bandaged.", "Conan and Tamara walk through the town's teeming market, a\n otherworldly bazaar replete with animal sacrifices, veiled\n faces and not a hint of morality.", "Conan lifts his manacles, forcing the blade up into the brick\n holding his chain.\n \n Then Conan pulls on the chains with all his might, loosening", "DARKNESS, killing them all. Only Conan is quick enough to\n dodge his arrow by diving aside.", "Conan mounts one of the cavalry horses and gallops towards\n the Scouts. They see him coming and let go of Tamara. THEY", "Conan just keeps riding.\n \n CONAN\n Perhaps the slavers took your\n orders. I don't.", "Toasting, to our deal.\n \n Conan swings his sword and cuts the One Eyed Prisoner from\n the wall.", "CONAN\n \n Conan rushes through a river, now tinged red with blood, and\n reaches the far end of the village.", "Tamara pauses, realizing she must trust Conan to gain his\n help.\n \n TAMARA\n Because she represent freedom, not", "and vaults Conan, landing on his back. He draws his sword,\n preparing to cut Conan's throat --" ], [ "out and breaks the lock on her chains.\n \n CONAN\n Who are you?\n \n TAMARA", "With a grunt, he swings Tamara and throws her to safety, at\n the edge of the pit.", "Tamara head butts him, struggling to escape, but Khalar\n absorbs the blow effortlessly. He throws Tamara upon the\n altar, his two guards shackling her in place.", "With the flick of a wrist, Khalar cuts Tamara's bonds.\n 94.", "He feels eyes upon him and looks down at Tamara, still bound\n and gagged, her eyes burning holes in his forehead. Conan\n pulls out her gag.", "TAMARA\n No!!!\n \n Tamara looks around with a panicked look, until she realizes", "TAMARA\n \n Tamara sees that the prisoner baskets are suspended by the\n top half of the metallic cage. She begins scaling the cage,", "Only then does he notice Tamara's unsheathed knife which she\n plunges into his throat.", "Dazed, she struggles to her feet. Conan appears beside her,\n his dagger out. Tamara gasps in fear but Conan only reaches", "Only a pair of wagons still stands. One of them holds Tamara.\n \n CONAN\n Use your whips on the horses' legs!", "window to rush to Tamara's side. Conan tries to lift her off\n the altar, but the bone shackles still pin her down.", "In agony, Tamara pulls one of the spikes out, then another.\n She pushes with all her might, lifting the crown of iron off\n her bloodied head --", "Tamara kicks the first Scout in the face, slamming his head\n into the bars. However, the second one clubs her unconscious\n from behind.", "EXT. ZINGARAN GALLEY - MORNING\n \n Tamara steps out onto the deck, grabbing her pounding head.", "IT IS TAMARA.\n \n CUT TO:", "Fassir grabs Tamara.\n \n FASSIR (CONT'D)\n The Queen must not be captured.", "Take her out the North Gate.\n Quickly!\n \n Tamara grabs Ilira and pulls her through the flaming", "Conan heads off one direction, leaving Tamara to navigate the\n other half. Her torch illuminates the grizzly path ahead. She\n inhales deeply and takes her first step.", "Tamara kisses Conan's cheek one last time and heads off.\n \n \n INT. CATACOMBS - NIGHT", "He looks up to see Tamara scaling the cage, now nearly fifty\n feet directly above him.\n \n CONAN (CONT'D)\n Crom!" ], [ "He feels eyes upon him and looks down at Tamara, still bound\n and gagged, her eyes burning holes in his forehead. Conan\n pulls out her gag.", "Conan. Tamara, badly weakened herself, grabs Conan.\n \n TAMARA (CONT'D)\n Conan, you know what you must do.", "out and breaks the lock on her chains.\n \n CONAN\n Who are you?\n \n TAMARA", "Conan ignores her, gathering wood for a fire.\n \n TAMARA (CONT'D)\n All I ask is that you let me travel", "Tamara pauses, realizing she must trust Conan to gain his\n help.\n \n TAMARA\n Because she represent freedom, not", "TAMARA\n I haven't lied.\n \n Conan get off his horse, unties Tamara and gives her a water", "CONAN\n I will not fail.\n \n But still Tamara glares at him -- and we can see the hint of", "Tamara is dressed like a Shemish serving girl, her taut body\n barely covered by silken drapings. She glares at Conan,\n miserable.", "Dazed, she struggles to her feet. Conan appears beside her,\n his dagger out. Tamara gasps in fear but Conan only reaches", "me.\n \n TAMARA\n No!\n \n Suddenly, a trap door opens beneath Conan and drops down in", "CONAN\n Be still!\n \n Conan thrusts Tamara in Khalar's direction.", "Conan and Tamara walk through the town's teeming market, a\n otherworldly bazaar replete with animal sacrifices, veiled\n faces and not a hint of morality.", "TAMARA (CONT'D)\n I've only ever heard you speak of\n what you'd die for, Conan. What\n would you live for?", "CONAN AND TAMARA\n \n Conan holds a squirming, but bound Tamara.", "Tamara!!\n \n They leap on Conan, impossibly fast. They stab him. They cut\n him. But he does not stop. Even wounded, he throws them into", "We pull back to reveal a funeral pyre, Tamara's body atop it.\n Conan places the torch to the pyre. It quickly spreads.", "Only a pair of wagons still stands. One of them holds Tamara.\n \n CONAN\n Use your whips on the horses' legs!", "CONAN\n Just leave me to sleep.\n \n But Tamara doesn't leave, forcing Conan to respond.", "comes a pair of MEN, their beady eyes fixed on Tamara.\n \n CONAN\n Thieves. You'll regret finding me.", "(TO TAMARA)\n Stay behind me.\n \n Tamara steps behind Conan, who blocks the others' path to\n her." ], [ "The look like the statues above -- a hybrid -- part human,\n part demon. Their skin is a perfect black, armor carved of\n black bone, faces once human but now demonic with blood red", "Get me oil -- and a torch.\n \n Soldiers quickly bring over a bucket of oil and a lit torch.", "Suddenly, Lucius and his legion of silver-armored warriors\n burst out of the fog, attacking with speed and strength.", "queens were sacrificed.\n \n Khalar snaps his fingers and two guardsmen bring an ornately", "takes out the four SOLDIERS in his way.\n \n FARIQ\n You should have run, while you\n could.", "And for a moment, the Cimmerians look relieved, until they\n notice small bags of a black substance tied to the arrows.\n The flames lick at the substance --", "ACHERONIAN WARRIORS\n \n Towering over the slaves, the warriors are a fearsome sight.\n Their armor, crafted from the bones of their defeated", "And the forest comes alive. The forces are an odd\n combination; massive KUSHITE TRIBESMEN, dark-skinned savages", "CHAOS\n \n The monks scatter in every direction, but wherever they turn,\n more troops burst out of the swirling sand.", "Corin sees the flames in the distance as well. Suddenly,\n Ukafa and his Kushite warriors erupt out of the forest. Armed\n with fearsome barbed spears they charge the remaining", "But the crown of iron is terrifying. Huge rough spikes extend\n from it in every direction. It looks more like a weapon than\n a crown.", "Khalar nods to his men. Two Guardsmen take their torches and\n light other torches set in the walls. It sets off a chain", "Instead, Conan pulls him in a wide circle, sending him flying\n into a wall-mounted torch. The guard burns like dry kindling.", "arms wrapped around their heads. Twist, twist. SNAP. SNAP. He\n breaks both their necks in an instant.", "Only the red irises of their eyes peer through. That and\n their pitch black skin.\n \n The slaves hobble down the main boulevard, their naked feet", "Conan's torch like a sentient, animate thing.\n \n The floor of the corridor is lined with DEAD BODIES, in", "TAMARA\n Is there not a living thing you can\n be at peace with?\n \n They ride into the city, past the troops.", "with the mortar block on the end, a homemade ball and chain.\n \n The two Guards come forward, sword drawn, only to meet with a", "wall and cut him down where he\n stands.\n \n TAMARA\n And the archers and cavalry? They", "They let the arrows fly, streaking balls of flame heading\n right for the Cimmerians. But they do not hit them. They hit\n the tree trunks beside them." ] ]

[ "Who crafted the mask thousands of years ago?", "Who was the only survivor of the village after Zym left?", "Who is Lucius killed by?", "Where does Ela-Shan tell Conan he can be found at if needed?", "What was Conan poisoned with?", "Whose body does Zym want to use for his wife's soul?", "Whose hand does Tamara cut off, while in battle?", "What is the name of Zym's deceased wife?", "Who dies by falling into lava?", "Who is Conan?", "Why does Corin believe that Conan is not fully ready to be a warrior?", "Who attacks Corin's village?", "Why does Zym attack Corin's village?", "Who survives the attack on Corin's village?", "What does Conan grow to become years after the attack?", "What girl is Zym searching for?", "Why does Zym need to find the descendant of the sorcerers of Acheron? ", "Who is Lucius?", "How does Lucius die?", "Who does Khalar want to revive?", "Where did Zym think she would find the pure blood descendant?", "Who created the Mask?", "Who executed Maliva?", "How is Conan poisoned?", "What people does Conan free?", "When does Tamara escape from Zym?", "What does Conan say he will trade Tamara for?", "What are the soldiers Marique sends out made of?" ]

[ [ "A group of sorcerers", "A group of sorcerers" ], [ "Conan", "Conan." ], [ "Prisoners", "his prisoners" ], [ "City of Thieves, Argalon", "argalon" ], [ "A poison-laced boomerang sword", "Boomerang sword " ], [ "Tamara", "Tamara" ], [ "Marique", "marique" ], [ "Maliva", "Maliva." ], [ "Zym", "Zym." ], [ "The son of Corin, the leader of a barbarian tribe. ", "The son of a barbarian chief." ], [ "Corin believes that his son, although skilled, is excessively violent. ", "He is too violent" ], [ "Khalar Zym.", "Khalar Zym" ], [ "To reunite the mask of Acheron and revive his dead wife.", "To get the pieces of the mask." ], [ "Conan is the only survivor.", "Conan." ], [ "A pirate.", "A pirate." ], [ "the descendant of the sorcerers of Acheron.", "Tamara." ], [ "To use the blood of the of the girl to wield the power of the mask. ", "Her blood will reveal the masks powers" ], [ "A soldier of Zym's that Conan remembers.", "a soldier from zyms " ], [ "The prisoners kill him. ", "He is killed by the prisoners" ], [ "His wife.", "His deceased wife." ], [ "A monastery.", "A monastery." ], [ "A group of sorcerers.", "A group of sorcerers" ], [ "Monks.", "The monks from Tamara's monastery." ], [ "By a poison laced boomerang sword.", "A poisonous boomerang-sword." ], [ "Slaves.", "slave colony" ], [ "As Conan is battling Zym.", "Conan" ], [ "Gold.", "Gold." ], [ "Sand.", "Sand." ] ]

[ [ "Jane does her part enormously well -- laughing with amusement...\n\tbut her eyes blaze -- her friend has been needlessly humiliated.\n\tBlair wants desperately to be inside Aaron's joke.", "Jane turns and is a bit blown away by his gesture -- life\n\tthreatens to be good. And now Jane bumps a bit at the top of", "JANE\n\t\tGood. That's it...See you.\n\n\tShe walks off. He runs a few steps to stop her.", "As Jane passes through and sets off the buzzer. She stands\n\tthere -- the heel of her hand pressed to her brow trying to", "JANE\n\t\tJennifer. Hey, Jennifer.\n\n\tON STAIRCASE\n\n\tJennifer turning as Jane whips up the stairs.", "away. Jane finishes, notices him, makes a face by way of\n\texplanation, and exits the scene feeling measurably better.", "back to the office. He keeps looking back to see if he missed\n\ther, so that his head is turned as Jane reaches him, says a\n\tfairly social:", "As he passes Jane he leans next to her and WE HEAR him WHISPER.", "JANE\n\t\t\t(dumbly)\n\t\tThank you.\n\t\t\t(then)\n\t\tThey hated me. I don't hate them.", "TOM'S P.O.V.\n\n\tJane across the room hugging one person after another.\n\n\tON JANE\n\n\tAS she embraces an older secretary.", "ON JANE", "JANE\n\t\tRight, right -- Isn't she fun to\n\t\ttease?\n\n\tHe leans forward and speaks softly and truly.", "JANE\n\t\t\t(that quickly)\n\t\tPlease forgive what I said.\n\t\t\t(to Tom)\n\t\tSorry.\n\n\tAs she retreats:", "Jane, because of the proximity to Tom is speaking in whispered\n\tintensity.", "Jane looks at her and, in a moment of atypical merriment, does\n\ta choking gesture at her own throat as the monitors flash a", "JANE\n\t\t\t(to herself)\n\t\tWell, why not?\n\t\t\t(as they arrive)\n\t\tHey, what is this? My life's\n\t\trushing in front of my eyes.", "JANE\n\t\t\t(voice over; as\n\t\t\t she types)\n\t\tDear Felatzia, it's truly amazing", "with but builds and builds; almost like a family fight getting\n\tout of hand and threatening to bend lives. Through it all, Jane\n\tremains remarkable calm. Her focus is amazing; her command sexy.", "Jane is NOT hyper. She is purposeful -- organized -- even\n\tcalming Blair with a little physical contact -- a touch on\n\tthe arm, to still her colleague's hysterical demons.", "JANE\n\t\t\t(much, much too quickly)\n\t\tJennifer.\n\n\tThe men look at her curiously. She repeats herself more\n\trationally." ], [ "AARON\n\t\tGood.\n\n\tHe grabs her and hugs her exuberantly -- takes her face in his\n\thands and kisses her full on the lips.", "She runs out the door. Aaron turns mean and mocks Jane's\n\tlast words -- screwing up his face in a savage burlesque.\n\n\t\t\t\tAARON\n\t\tYeah, love you, too.", "These watching struck -- perhaps embarrassed but riveted. Aaron\n\tis aghast. Aaron approaches the set.", "Aaron, tape in head, is saying his farewell to Tom. He is facing\n\this left side as he will do for the rest of his life on earth.", "TOM\n\t\tHoly shit, Aaron.\n\n\tHe claps him on the back... Aaron is as pleased as he is\n\tuncomfortable with the attention.", "AARON\n\t\tHe loved it. Big smile.\n\n\tHe gives Jane a congratulatory sock in the shoulder which she\n\treturns -- Tom in the b.g. of the SHOT.", "AARON\n\t\tLook at her.\n\t\t\t(to Jane)\n\t\tIf anything happens to me tell every", "AARON\n\t\tYes.\n\n\t\t\t\tGEORGE\n\t\tYes.\n\n\t\t\t\tERNIE\n\t\tMe too.", "Her eyes meet Aaron's.\n\n\t\t\t\tJANE\n\t\tUh-uh.\n\t\t\t(to Aaron)\n\t\tHe says you could hardly notice it.", "They kiss.\n\n\tINT. AARON'S APARTMENT - NIGHT\n\n\tThe phone rings. He answers.", "AARON\n\t\tThanks, Jane. Have a good time tonight.\n\n\t\t\t\tJANE\n\t\tYou too.\n\n\tAaron takes her in -- she looks lovely.", "TOM\n\t\tOkay...It's so good to see you.\n\n\tShe gives him a quick kiss. He shakes hands with Aaron.", "AARON\n\t\tYeah. Well...I think it is\n\t\timportant for you too. Sit down.\n\n\tShe sits. He walks to a desk and looks at her briefly... Silence.", "AARON\n\t\tCome on, Cliff. Come on.\n\n\tAs Clifford runs back to his father, Aaron sits next to Jane.", "Tom and Lila shaking hand. Aaron, his son in his arms, wait.\n\n\tON TOM\n\n\tAs he sees Aaron... he is clearly delighted.", "AARON\n\t\tYou didn't say anything to her?\n\n\tHe shakes his head.\n\n\t\t\t\tERNIE\n\t\tMy instincts tell me not to.", "AARON\n\t\tI know you care about him. I've\n\t\tnever seen you like this about", "AARON\n\t\t\t(voice over)\n\t\tYou're welcome. Sow how does it\n\t\tfeel to...I know you gotta go --\n\t\tMe too. We're very busy here.", "AARON\n\t\tNo. You know that I'm not.\n\n\t\t\t\tJANE\n\t\tHow?", "Aaron has come over to join them now in time to HEAR." ], [ "Aaron has come over to join them now in time to HEAR.", "Aaron is having a hard enough day, He is visibly annoyed.", "These watching struck -- perhaps embarrassed but riveted. Aaron\n\tis aghast. Aaron approaches the set.", "They kiss.\n\n\tINT. AARON'S APARTMENT - NIGHT\n\n\tThe phone rings. He answers.", "AARON\n\t\tYeah. Well...I think it is\n\t\timportant for you too. Sit down.\n\n\tShe sits. He walks to a desk and looks at her briefly... Silence.", "It is at the top of a flight of steps. She KNOCKS on the DOOR.\n\tRINGS. KNOCKS. Aaron opens it. He is wearing a sweatshirt\n\tand cords.", "Aaron is seated behind a desk -- some old news copy in\n\this hand. An unmanned camera is pointing at him. Tom\n\tis standing a few feet further back studying him.", "AARON\n\t\tYes.\n\n\t\t\t\tGEORGE\n\t\tYes.\n\n\t\t\t\tERNIE\n\t\tMe too.", "AARON\n\t\tGood.\n\n\tHe grabs her and hugs her exuberantly -- takes her face in his\n\thands and kisses her full on the lips.", "AARON\n\t\tCome on, Cliff. Come on.\n\n\tAs Clifford runs back to his father, Aaron sits next to Jane.", "Aaron deflates.", "Her eyes meet Aaron's.\n\n\t\t\t\tJANE\n\t\tUh-uh.\n\t\t\t(to Aaron)\n\t\tHe says you could hardly notice it.", "Aaron directs him behind a screen and looks at his notes.\n\n\t\t\t\tAARON\n\t\tIt's Mr. Buddy Felton?", "Aaron looks up -- takes a breath. He's done well -- he's\n\tpunched his words and his one thought for the story. His gaze", "Aaron, tape in head, is saying his farewell to Tom. He is facing\n\this left side as he will do for the rest of his life on earth.", "TOM\n\t\tHoly shit, Aaron.\n\n\tHe claps him on the back... Aaron is as pleased as he is\n\tuncomfortable with the attention.", "As Aaron walks to his office.\n\n\tINT. AARON'S OFFICE - DAY\n\n\tAs he enters and finds Ernie bent over his desk.", "TOM\n\t\tOkay...It's so good to see you.\n\n\tShe gives him a quick kiss. He shakes hands with Aaron.", "He starts massaging her neck as the phone rings. she lets it\n\tring for a beat as Aaron works on her. As she picks up the", "ON AARON\n\n\tHe blots his face -- some makeup streaked -- by the towel.\n\n\t\t\t\tFLOOR MANAGER\n\t\tFive seconds." ], [ "Tom has a real sense of the moment -- of having arrived. The\n\tstrange bubble of pleasure rises to the surface as he walks off\n\tto cover his first story. He laughs out loud, loving his lot.", "Tom walks away. He's a good twenty yards away when Aaron looks up\n\tto see his son running after Tom.", "He leans forward, gives Tom a quick embrace, a small kiss on\n\tthe cheek. Tom turns and walks off down the hallway to meet\n\this immediate destiny as Buddy looks on.", "Tom is enjoying himself immensely.\n\n\t\t\t\tTOM\n\t\tIsn't this a great date?\n\n\tWe HEAR the SOUND OF SCRATCHING as we:", "She is obviously in pain but still alert enough to catch Tom's\n\tanswer.\n\n\tINT. TOM'S OFFICE - DAY", "As Tom makes his way across it -- crews are drifting in... He\n\tenters Jane's cubby, flushed with the electricity of the \"win\"\n\tthe most noteworthy moment of his working life.", "It is a converted room -- given over the racks of clothes and\n\tshoes extraordinarily well organized. Tom stands there agape.\n\tVarious rain coats -- clothes for all climates -- lots of\n\tluggage.", "looks for Tom. Tom rises from a table and is immediately at\n\ther side.", "AS Tom enters from his office, a wake is slowly igniting. Tom\n\tmoves along the edge of the room, carrying his wastebasket full\n\tof belongings, not really a part of the mournful festivities.", "As he sits down beaming over his recent good fortune... now we\n\tREVEAL his twelve-year-old son, TOM, seated quietly beside him. \n\tHe seems a bit down. Gerald glances at his son.", "He exits.\n\n\tINT. TOM'S OFFICE - DAY", "TOM\n\t\tI don't write.\n\n\tJane laughs or, more accurately, scoffs as Tom Continues.", "TOM\n\t\tOh, sure. Okay.\n\n\tHis heart racing, Buddy attempts casual matter-of-factness.", "Tom and Buddy on adjoining stools. For Tom, the last weeks have\n\tbeen humbling, antagonistic. He's enjoying Buddy who listens\n\tattentively and wholeheartedly endorses every word Tom speaks.", "As Tom savors the moment.\n\n\tINT. TELEVISION STUDIO - EVENING", "Tom turns. Buddy talks rather quickly -- He cares very much\n\tabout leaving Tom with the right impression. The last words\n\tof his speech he hadn't expected to say.", "INT. TOM'S OFFICE - DAY", "Tom decides not to deal with the remark. He's jolted by the\n\thostility. He leads the way out French Doors to a ground floor", "TOM\n\t\tHoly shit, Aaron.\n\n\tHe claps him on the back... Aaron is as pleased as he is\n\tuncomfortable with the attention.", "and scratches his back in friendship... Tom approaches an she\n\tmoves off -- not wanting to deal with him. She takes a few" ], [ "Tom, Aaron and the boy walking along. Tom plays with Cliff\n\tas they move. The boy is delighted. Jane is in a park -- a", "They leave -- Aaron waving to Tom who stands in the b.g. The\n\tothers leave. Tom approaches Jane.", "He moves off to intercept Jane -- as he stops her... Tom is\n\tstranded -- then sees Aaron and moves over to his side.\n\n\t\t\t\tTOM\n\t\tHi, Aaron...What's doing?", "As he answers and we have the following conversation between\n\tJane, who is using the phone, with Aaron seen just a few feet\n\taway. Tom in his apartment.", "JANE (cont'd)\n\t\tJennifer.\n\n\tINT. TOM'S OFFICE - LATE AFTERNOON", "LONG SHOT\n\n\tAaron in the f.g. -- his BACK TO CAMERA... Beyond him\n\tTom being approached... then joining Jane.", "JANE\n\t\tIt's started.\n\n\tBobbie sticks his head out of his office...\n\n\t\t\t\tBOBBIE\n\t\tTom -- Paul wants to see you.", "Jane's cab pulls up to the curb. She gets out -- she is\n\tcarrying no luggage. She sees Tom who hurriedly walks up\n\tto her. Jane is fighting to maintain a calm.", "AARON\n\t\tHello.\n\n\tINT. JANE'S OFFICE - NIGHT\n\n\tJane -- still at the office -- it is quite late.", "JANE\n\t\t\t(turning to leave)\n\t\tWe'd better get moving.\n\n\tAs they move out... Jane goes to Aaron... He moves with her\n\ttowards the door.", "Jane waiting for an elevator... It comes and she steps on just\n\tas Tom clearly excited comes around the bend from Ernie's office\n\tcalling for her. He goes to the stairs.", "Much the same place where Jane and Tom first met. The\n\twords \"SEVEN YEAS LATER\" appears on the screen.", "INT. TOM'S CAR - DAY\n\n\tAs it moves off.\n\n\t\t\t\tJANE\n\t\tNervous?", "JANE\n\t\tI think so...They've been talking\n\t\tto me about being Tom's Managing\n\t\tEditor.\n\n\t\t\t\tAARON\n\t\tReally?", "AARON\n\t\tCome on, Cliff. Come on.\n\n\tAs Clifford runs back to his father, Aaron sits next to Jane.", "AARON\n\t\tHe excels at gratitude.\n\n\t\t\t\tTOM\n\t\t\t(to Jane)\n\t\tAre you any closer to a decision?", "Tom nods and gestures that he proceed. Aaron begins reading\n\tthe news. Barely a sentence in, he is interrupted.\n\n\t\t\t\tTOM\n\t\tWait.", "On Tom moving past the metal detector. He too is frustrated\n\t-- pissed off at her.\n\n\tINT. OTHER TERMINAL AREA\n\n\tJane moving quickly along towards the metal detectors.", "TOM\n\t\tOkay...It's so good to see you.\n\n\tShe gives him a quick kiss. He shakes hands with Aaron.", "As Tom makes his way across it -- crews are drifting in... He\n\tenters Jane's cubby, flushed with the electricity of the \"win\"\n\tthe most noteworthy moment of his working life." ], [ "They leave -- Aaron waving to Tom who stands in the b.g. The\n\tothers leave. Tom approaches Jane.", "Tom, Aaron and the boy walking along. Tom plays with Cliff\n\tas they move. The boy is delighted. Jane is in a park -- a", "He moves off to intercept Jane -- as he stops her... Tom is\n\tstranded -- then sees Aaron and moves over to his side.\n\n\t\t\t\tTOM\n\t\tHi, Aaron...What's doing?", "As he answers and we have the following conversation between\n\tJane, who is using the phone, with Aaron seen just a few feet\n\taway. Tom in his apartment.", "JANE\n\t\tI think so...They've been talking\n\t\tto me about being Tom's Managing\n\t\tEditor.\n\n\t\t\t\tAARON\n\t\tReally?", "AARON\n\t\tCome on, Cliff. Come on.\n\n\tAs Clifford runs back to his father, Aaron sits next to Jane.", "Aaron takes in Jane, who is taking in Jennifer and Tom -- then\n\tAaron begins to sense a new dynamic in the room as Ernie re-enters", "AARON\n\t\tHe excels at gratitude.\n\n\t\t\t\tTOM\n\t\t\t(to Jane)\n\t\tAre you any closer to a decision?", "AARON\n\t\tHe loved it. Big smile.\n\n\tHe gives Jane a congratulatory sock in the shoulder which she\n\treturns -- Tom in the b.g. of the SHOT.", "TOM\n\t\tOkay...It's so good to see you.\n\n\tShe gives him a quick kiss. He shakes hands with Aaron.", "JANE\n\t\t\t(turning to leave)\n\t\tWe'd better get moving.\n\n\tAs they move out... Jane goes to Aaron... He moves with her\n\ttowards the door.", "LONG SHOT\n\n\tAaron in the f.g. -- his BACK TO CAMERA... Beyond him\n\tTom being approached... then joining Jane.", "JANE\n\t\tIt's started.\n\n\tBobbie sticks his head out of his office...\n\n\t\t\t\tBOBBIE\n\t\tTom -- Paul wants to see you.", "JANE (cont'd)\n\t\tJennifer.\n\n\tINT. TOM'S OFFICE - LATE AFTERNOON", "Tom nods and gestures that he proceed. Aaron begins reading\n\tthe news. Barely a sentence in, he is interrupted.\n\n\t\t\t\tTOM\n\t\tWait.", "JANE\n\t\t\t(into phone)\n\t\tJust a minute.\n\n\tHer finger hits the \"Tom\" button.", "Tom walks away. He's a good twenty yards away when Aaron looks up\n\tto see his son running after Tom.", "TOM\n\t\t\t(to Jane as he leaves)\n\t\tBye...boss.", "AARON\n\t\tHello.\n\n\tINT. JANE'S OFFICE - NIGHT\n\n\tJane -- still at the office -- it is quite late.", "The special report ended, Jane breathes a breath -- she and\n\tBlair momentarily grasp hands. The first talk concerns Tom." ], [ "As they walk to his car, first exchanging a look of reflection\n\tover Jane... then bumping accidentally, then bumping back, a\n\tlook, then kissing with passion, wrapped around each other.", "Jane turns and is a bit blown away by his gesture -- life\n\tthreatens to be good. And now Jane bumps a bit at the top of", "JANE\n\t\tOkay.\n\t\t\t(she hugs him)\n\t\tSorry.", "JANE\n\t\tRight, right -- Isn't she fun to\n\t\ttease?\n\n\tHe leans forward and speaks softly and truly.", "He laughs self-consciously and turns briefly away.\n\n\t\t\t\tJANE\n\t\tI love that turn away.\n\n\tINT. AUDITORIUM - DAY", "JANE\n\t\t\t(that quickly)\n\t\tPlease forgive what I said.\n\t\t\t(to Tom)\n\t\tSorry.\n\n\tAs she retreats:", "Jane looks at him and nods slightly -- an unconscious spasm of\n\ttruthfulness.", "As he passes Jane he leans next to her and WE HEAR him WHISPER.", "ON TOM\n\n\tHis spirits lifted.\n\n\tON JANE\n\n\tBehind the door, trying to hide the glow in her eyes.", "She runs out the door. Aaron turns mean and mocks Jane's\n\tlast words -- screwing up his face in a savage burlesque.\n\n\t\t\t\tAARON\n\t\tYeah, love you, too.", "Aaron poses a question which he feels in his deepest core:\n\n\t\t\t\tAARON\n\t\tReally?\n\n\tJane nods.", "JANE\n\t\tGood. That's it...See you.\n\n\tShe walks off. He runs a few steps to stop her.", "away. Jane finishes, notices him, makes a face by way of\n\texplanation, and exits the scene feeling measurably better.", "ON JANE\n\n\tAs she feels Tom staring at her -- turns and notices him\n\tfor the first time.\n\n\t\t\t\tTOM\n\t\tHi.", "AARON\n\t\tHe loved it. Big smile.\n\n\tHe gives Jane a congratulatory sock in the shoulder which she\n\treturns -- Tom in the b.g. of the SHOT.", "AARON\n\t\tThanks, Jane. Have a good time tonight.\n\n\t\t\t\tJANE\n\t\tYou too.\n\n\tAaron takes her in -- she looks lovely.", "She hands him a toy.\n\n\t\t\t\tAARON\n\t\tWhat do you say, Cliff?\n\n\tThe boy kisses Jane's hand.", "back to the office. He keeps looking back to see if he missed\n\ther, so that his head is turned as Jane reaches him, says a\n\tfairly social:", "JANE\n\t\t\t(dumbly)\n\t\tThank you.\n\t\t\t(then)\n\t\tThey hated me. I don't hate them.", "JANE\n\t\t\t(interrupting)\n\t\tI'm sorry. But look at how\n\t\twonderful his face is.\n\n\tShe points to the derelict." ], [ "BUDDY\n\t\tI was there two years and was promoted\n\t\ton merit nine times.\n\n\t\t\t\tAARON\n\t\tEventually rising to...", "JANE\n\t\tIt made me ill. You could get\n\t\tfired for things like that.\n\n\t\t\t\tTOM\n\t\tI got promoted for things like that.", "TOM\n\t\t\t(suddenly hopeful)\n\t\tThat would be great.\n\t\t\t(worried)\n\t\tIt better help. What can you do with\n\t\tyourself if all you do is look good?", "in town called him up with death\n\t\tnotices, he cried. He was till\n\t\tthat way when they promoted him", "TOM\n\t\tMaybe I haven't been here long\n\t\tenough.\n\t\t\t(great)\n\t\tBut, hey, congratulations on the\n\t\tpromotion.", "GERALD\n\t\tYou know, Tom, I feel a little\n\t\tproud when people comment on your\n\t\tlooks. Maybe you should feel that\n\t\tway.", "AARON\n\t\tYou're saying the fact that you're\n\t\tgay had something directly to do with\n\t\tyour promotions?", "AARON\n\t\tYou're saying the fact that you're gay had\n\t\tsomething directly to do with your promotions?", "He leans forward, gives Tom a quick embrace, a small kiss on\n\tthe cheek. Tom turns and walks off down the hallway to meet\n\this immediate destiny as Buddy looks on.", "TOM\n\t\tHe -- uh -- said he liked you because\n\t\tyou looked like you had -- fire and\n\t\thonesty.", "JANE\n\t\t\t(interrupting)\n\t\tI'm sorry. But look at how\n\t\twonderful his face is.\n\n\tShe points to the derelict.", "AARON\n\t\tBecause nobody invites a bad-\n\t\tlooking idiot to their bedroom.\n\n\tShe smiles.", "AARON\n\t\t\t(agreeably)\n\t\tHe must have been great-looking, right?\n\n\t\t\t\tJANE\n\t\tWhy do you say that?", "Seated with other members of his news team, a young blonde\n\twoman whose hand is resting on his inner leg, a good looking\n\tHispanic. Tom feels a growing excitement -- Jane is not just\n\ta speaker, she seems a savior.", "BLAIR\n\t\tErnie, you missed his close... He smiled.\n\t\t\t(mimicking)\n\t\tThank you...Good night.\n\n\tShe smiles.", "As they walk to his car, first exchanging a look of reflection\n\tover Jane... then bumping accidentally, then bumping back, a\n\tlook, then kissing with passion, wrapped around each other.", "Tom has a real sense of the moment -- of having arrived. The\n\tstrange bubble of pleasure rises to the surface as he walks off\n\tto cover his first story. He laughs out loud, loving his lot.", "He dodges as they come after him. They catch him by the hair\n\tand hurl him to the ground. As he gets up he hurls his\n\tdevastating verbal blow.", "air. And then he does something he's thought about many times\n\tbefore -- he briefly caresses her breasts -- while continuing\n\tto look at her.", "work and, by all appearances, doing it well. As the General\n\tanswers in the b.g. --" ], [ "And now she sees Tom -- he mouths one word at her -- \"London.\"\n\tShe nods that she already knows and then lets her body sag a", "for a while and assign you to London.", "TOM\n\t\tLondon.\n\n\t\t\t\tAARON\n\t\t\t(incensed)\n\t\tLondon. That's a promotion!", "He leans forward, gives Tom a quick embrace, a small kiss on\n\tthe cheek. Tom turns and walks off down the hallway to meet\n\this immediate destiny as Buddy looks on.", "He walks to the People Eater and gets on, still holding his\n\tpaper bags of bathing suits. The bus pulls away.\n\n\tON JANE\n\n\tWatching him go.", "Annie comes up.\n\n\t\t\t\tANNE\n\t\tThe office is phoning, honey.\n\n\tHe EXITS SCENE as Anne watches him go.", "She half-laughs... kisses him, wipes the slight lipstick mark\n\tfrom his cheek and, in a sudden decision, takes each of her", "Blair leaves, as Jane gathers up her notes. She charges out\n\tleaving Tom awkwardly along with Bobbie.", "Others start to board. He sees Jane moving towards him.\n\tHe walks to her, she gestures back towards the street.", "On Tom moving past the metal detector. He too is frustrated\n\t-- pissed off at her.\n\n\tINT. OTHER TERMINAL AREA\n\n\tJane moving quickly along towards the metal detectors.", "away. Jane finishes, notices him, makes a face by way of\n\texplanation, and exits the scene feeling measurably better.", "As he passes Jane he leans next to her and WE HEAR him WHISPER.", "Tom has a real sense of the moment -- of having arrived. The\n\tstrange bubble of pleasure rises to the surface as he walks off\n\tto cover his first story. He laughs out loud, loving his lot.", "She is obviously in pain but still alert enough to catch Tom's\n\tanswer.\n\n\tINT. TOM'S OFFICE - DAY", "back to the office. He keeps looking back to see if he missed\n\ther, so that his head is turned as Jane reaches him, says a\n\tfairly social:", "He moves off -- Aaron watching him go, feeling decidedly\n\tuncomfortable by this last piece of advice and vaguely corrupted.\n\n\tINT. JANE'S APARTMENT - NIGHT", "TOM\n\t\tYes, born to party.\n\n\tPaul enjoys the riposte, looks at Jane who is shrinking within\n\therself.", "JANE\n\t\tIt's started.\n\n\tBobbie sticks his head out of his office...\n\n\t\t\t\tBOBBIE\n\t\tTom -- Paul wants to see you.", "in town called him up with death\n\t\tnotices, he cried. He was till\n\t\tthat way when they promoted him", "She starts to flurry with activity -- moves to the curb when\n\tout of nowhere Tom barks a sharp command, the first time any\n\tof his actions has been tinged with fury." ], [ "He puts his hand behind her neck in an awkward gesture of\n\tcamaraderie. She awkwardly disengages... waves and steps\n\tinside the door to the restaurant... standing there between\n\tthe two sets of doors watching Tom and Jennifer walk away.", "Earnest, nervous -- handsome...Just when she needed a mirage\n\tthere it is.\n\n\t\t\t\tJANE\n\t\tHi.", "Jane laughs very briefly -- then rubs her face vigorously with\n\ther hands... He's making her feel a little crazy. She gets off\n\tthe bed.", "She stands there, genuinely frightened. She must deal with him\n\tnow. He crosses to her.", "away. Jane finishes, notices him, makes a face by way of\n\texplanation, and exits the scene feeling measurably better.", "redden and she begins to cry. Now she sobs -- then miraculously\n\tshakes it off and exits quickly to the bathroom. This crying\n\tepisode is clearly part of her morning routine.", "JANE\n\t\tNo. It makes me nervous to think\n\t\tabout it. Let's do this.\n\n\tShe consults her notes and goes back to the exact spot.", "As Jane passes through and sets off the buzzer. She stands\n\tthere -- the heel of her hand pressed to her brow trying to", "Tom the last person remaining in the room. He approaches her --\n\tshe is totally unaware of his presence, even when he casually", "He has been reading from a respectable stack of mail -- Jane\n\tappears in his doorway. For the first time, we notice that\n\tshe is woefully ba at at least one endeavor -- flirting.", "Tom distracted -- his day has been a bit of a bummer. Buddy\n\tself conscious -- the proximity creating an almost unbearable\n\ttension of romance and adventure.", "FATHER\n\t\t\t(softly)\n\t\tHoney?...\n\n\tJane SCREAMS, and grabs her heart, breathing heavily, babbles\n\tnervously at her Dad.", "She hangs up the phone. Then compulsively hits the \"Tom\"\n\tbutton again. Busy. And again. Busy. She considers for\n\ta moment hitting the button next to Aaron's name.", "He walks to the People Eater and gets on, still holding his\n\tpaper bags of bathing suits. The bus pulls away.\n\n\tON JANE\n\n\tWatching him go.", "sees Jennifer on the stairs and moves toward her calling in a\n\ttoo loud, anxiety-ridden voice as she goes.", "beckons nervously to the Makeup Woman -- who comes in and dabs --\n\tthen dabs again as Aaron feels himself under his arms...", "TOM\n\t\t...that way we have someplace to go when \n\t\twe cut. And I just sit here, I nod my \n\t\thead and look nerdy.\n\n\tYoung Woman chuckles.", "Wedged into an uncomfortable position between two tape racks --\n\tHe is wide-eyed at this circus of tension and fear. His eyes", "J.D.\n\t\t\t(on tape; he smiles)\n\t\tUh-uh.\n\t\t\t(then)\n\t\tI'm a little freaked right now about\n\t\tseeing my father though.", "But again he almost manages to conceal his private rush. Buddy's\n\tinternal drama is such he invariably finds himself covering up,\n\tfearful roomfuls of people will simultaneously guess his" ], [ "Jane does her part enormously well -- laughing with amusement...\n\tbut her eyes blaze -- her friend has been needlessly humiliated.\n\tBlair wants desperately to be inside Aaron's joke.", "Jane turns and is a bit blown away by his gesture -- life\n\tthreatens to be good. And now Jane bumps a bit at the top of", "JANE\n\t\tGood. That's it...See you.\n\n\tShe walks off. He runs a few steps to stop her.", "As Jane passes through and sets off the buzzer. She stands\n\tthere -- the heel of her hand pressed to her brow trying to", "JANE\n\t\tJennifer. Hey, Jennifer.\n\n\tON STAIRCASE\n\n\tJennifer turning as Jane whips up the stairs.", "away. Jane finishes, notices him, makes a face by way of\n\texplanation, and exits the scene feeling measurably better.", "back to the office. He keeps looking back to see if he missed\n\ther, so that his head is turned as Jane reaches him, says a\n\tfairly social:", "As he passes Jane he leans next to her and WE HEAR him WHISPER.", "JANE\n\t\t\t(dumbly)\n\t\tThank you.\n\t\t\t(then)\n\t\tThey hated me. I don't hate them.", "TOM'S P.O.V.\n\n\tJane across the room hugging one person after another.\n\n\tON JANE\n\n\tAS she embraces an older secretary.", "ON JANE", "JANE\n\t\tRight, right -- Isn't she fun to\n\t\ttease?\n\n\tHe leans forward and speaks softly and truly.", "JANE\n\t\t\t(that quickly)\n\t\tPlease forgive what I said.\n\t\t\t(to Tom)\n\t\tSorry.\n\n\tAs she retreats:", "Jane, because of the proximity to Tom is speaking in whispered\n\tintensity.", "Jane looks at her and, in a moment of atypical merriment, does\n\ta choking gesture at her own throat as the monitors flash a", "JANE\n\t\t\t(to herself)\n\t\tWell, why not?\n\t\t\t(as they arrive)\n\t\tHey, what is this? My life's\n\t\trushing in front of my eyes.", "JANE\n\t\t\t(voice over; as\n\t\t\t she types)\n\t\tDear Felatzia, it's truly amazing", "with but builds and builds; almost like a family fight getting\n\tout of hand and threatening to bend lives. Through it all, Jane\n\tremains remarkable calm. Her focus is amazing; her command sexy.", "Jane is NOT hyper. She is purposeful -- organized -- even\n\tcalming Blair with a little physical contact -- a touch on\n\tthe arm, to still her colleague's hysterical demons.", "JANE\n\t\t\t(much, much too quickly)\n\t\tJennifer.\n\n\tThe men look at her curiously. She repeats herself more\n\trationally." ], [ "The anchor teams -- leaning forward. They love this man,\n\ta humble specialist refusing the generalist trap. Imagine\n\tthe feeling -- you see, on the top of the mountain, a man\n\tnot unlike yourself.", "ERNIE\n\t\tAny particular area you feel\n\t\tstrongest in?\n\n\t\t\t\tTOM\n\t\tTo be honest, I was best at anchor.", "Paul arriving with Bill Rorish. The first time we have seen\n\tthe multi-millionaire anchorman in the flesh. He has the grace", "AARON\n\t\t\t(feigning casualness)\n\t\tThe weekend news...anchoring...\n\t\tanchoring the weekend news.\n\n\t\t\t\tGEORGE\n\t\tWay to go.", "irony works nicely. The network anchorman comes up for his close. \n\tBILL RORISH, 50 years old and able to flutter much younger pulses.", "Anchor, a FLOOR PRODUCER and WRITER feeding him copy.", "There is a stillness in the Control Room as Jane speaks to the\n\tanchor man in New York who WE CAN VIEW on a monitor.\n\n\tON MONITOR\n\n\tWe see Bill Rorish.", "INT. NEWS BUILDING LOBBY - DAY\n\n\tTom arrives for first day of work.\n\n\tINT. ERNIE MERRIMAN'S OFFICE", "She pauses half a beat for possible applause -- hearing none,\n\tshe continues. An anchorman sneezes -- four people shout\n\t\"gesundheit\" simultaneously -- they laugh.", "Seated with other members of his news team, a young blonde\n\twoman whose hand is resting on his inner leg, a good looking\n\tHispanic. Tom feels a growing excitement -- Jane is not just\n\ta speaker, she seems a savior.", "In the b.g. WE MAY HAVE NOTICED Bill Rorish on one monitor as he\n\tpicks up the phone at his anchor desk, during the commercial\n\tbreak.", "TOM\n\t\tMe!\n\n\tShe laughs. Almost completes an affectionate gesture -- takes\n\this arm instead.\n\n\tINT. NEWSROOM - NIGHT", "SHOT CONTINUES\n\n\tWomen playing with their hair, young man bored...one\n\tmiddle-aged anchorman fusses with a spot on his tie...\n\n\tON JANE", "INT. BAR - EARLY EVENING\n\n\tBuddy and Tom watching the Evening News as Jennifer finishes\n\ther story.", "Aaron is seated behind a desk -- some old news copy in\n\this hand. An unmanned camera is pointing at him. Tom\n\tis standing a few feet further back studying him.", "Equally touched as he watches the world's most prominent\n\tjournalist greet his Dad, who turns goofy with excitement.\n\n\t\t\t\tMR. GRUNICK\n\t\tGood-bye, Tom.", "ON MONITOR\n\n\tAs the news piece cut to: Tom's face -- he turns clearing a tear\n\tfrom his eyes.\n\n\tON NEWSROOM", "As the regulars watch the Evening News, in particular the Date\n\tRape piece which is now in progress. Tom anxiously eyeing Jane", "David Brinkley and Walter Cronkite\n\t\tis being squandered in a desperate\n\t\tpopularity contest. Our profession\n\t\tis in danger:", "AARON\n\t\tI didn't sleep. They're giving me less\n\t\tand less air time. They don't think\n\t\tI'm at all anchor material." ], [ "Tom is enjoying himself immensely.\n\n\t\t\t\tTOM\n\t\tIsn't this a great date?\n\n\tWe HEAR the SOUND OF SCRATCHING as we:", "And now she sees Tom -- he mouths one word at her -- \"London.\"\n\tShe nods that she already knows and then lets her body sag a", "looks for Tom. Tom rises from a table and is immediately at\n\ther side.", "She is obviously in pain but still alert enough to catch Tom's\n\tanswer.\n\n\tINT. TOM'S OFFICE - DAY", "and scratches his back in friendship... Tom approaches an she\n\tmoves off -- not wanting to deal with him. She takes a few", "She stops the tape -- summons herself. She walks towards Tom's\n\n\toffice and opens the door. Tom is seated behind his desk.", "Tom the last person remaining in the room. He approaches her --\n\tshe is totally unaware of his presence, even when he casually", "He leans forward, gives Tom a quick embrace, a small kiss on\n\tthe cheek. Tom turns and walks off down the hallway to meet\n\this immediate destiny as Buddy looks on.", "ON JANE\n\n\tAs she feels Tom staring at her -- turns and notices him\n\tfor the first time.\n\n\t\t\t\tTOM\n\t\tHi.", "TOM (cont'd)\n\t\tI can't help it that they like me.\n\t\tAnd I like that they like me. And", "Seated with other members of his news team, a young blonde\n\twoman whose hand is resting on his inner leg, a good looking\n\tHispanic. Tom feels a growing excitement -- Jane is not just\n\ta speaker, she seems a savior.", "Tom distracted -- his day has been a bit of a bummer. Buddy\n\tself conscious -- the proximity creating an almost unbearable\n\ttension of romance and adventure.", "Tom half turns from her and moves back toward the bench. Jane close \n\tbehind, stalking him.", "Tom is startled but cool -- nods his head -- Jennifer is amazed\n\tlooking at Tom with new and even prettier eyes... Paul and Ernie", "TOM\n\t\tYes, born to party.\n\n\tPaul enjoys the riposte, looks at Jane who is shrinking within\n\therself.", "Jane shifts her position so that her back is to Tom... He is\n\timmobilized by the sudden turn. Jane waits, just a bit longer", "JENNIFER\n\t\tBut it's a party, right?\n\n\tJane smiles back feigning female bonding -- Jennifer goes back\n\tdown the steps and crosses to Tom.", "He puts his hand behind her neck in an awkward gesture of\n\tcamaraderie. She awkwardly disengages... waves and steps\n\tinside the door to the restaurant... standing there between\n\tthe two sets of doors watching Tom and Jennifer walk away.", "BLAIR\n\t\tMy gosh, and for a while there, I was\n\t\tattracted to you.\n\n\tShe walks off.", "Jane turns -- sees that Tom is still looking at her from a few\n\tfeet away.\n\n\t\t\t\tJANE\n\t\t\t(badly)\n\t\tHi, Tom." ], [ "As they walk to his car, first exchanging a look of reflection\n\tover Jane... then bumping accidentally, then bumping back, a\n\tlook, then kissing with passion, wrapped around each other.", "As he passes Jane he leans next to her and WE HEAR him WHISPER.", "Jane turns and is a bit blown away by his gesture -- life\n\tthreatens to be good. And now Jane bumps a bit at the top of", "Jane four steps ahead of him -- not yet aware of him. He moves\n\tpast one other man until he is standing directly behind her.", "He has been reading from a respectable stack of mail -- Jane\n\tappears in his doorway. For the first time, we notice that\n\tshe is woefully ba at at least one endeavor -- flirting.", "JANE\n\t\tRight, right -- Isn't she fun to\n\t\ttease?\n\n\tHe leans forward and speaks softly and truly.", "She runs out the door. Aaron turns mean and mocks Jane's\n\tlast words -- screwing up his face in a savage burlesque.\n\n\t\t\t\tAARON\n\t\tYeah, love you, too.", "Seeing her. -- He does a tap step -- a brief giddy burst, the\n\tmeaning of which is not lost on Jane. He is acting like her\n\tboyfriend.\n\n\tON JANE", "JANE\n\t\t\t(dumbly)\n\t\tThank you.\n\t\t\t(then)\n\t\tThey hated me. I don't hate them.", "Jane waiting for an elevator... It comes and she steps on just\n\tas Tom clearly excited comes around the bend from Ernie's office\n\tcalling for her. He goes to the stairs.", "JANE\n\t\t\t(to herself)\n\t\tIf he doesn't see me soon, we're not\n\t\tsupposed to be together.\n\n\tON TOM", "JANE\n\t\tGood. That's it...See you.\n\n\tShe walks off. He runs a few steps to stop her.", "He laughs self-consciously and turns briefly away.\n\n\t\t\t\tJANE\n\t\tI love that turn away.\n\n\tINT. AUDITORIUM - DAY", "ON TOM\n\n\tHis spirits lifted.\n\n\tON JANE\n\n\tBehind the door, trying to hide the glow in her eyes.", "JANE\n\t\t\t(interrupting)\n\t\tI'm sorry. But look at how\n\t\twonderful his face is.\n\n\tShe points to the derelict.", "Jane, because of the proximity to Tom is speaking in whispered\n\tintensity.", "back to the office. He keeps looking back to see if he missed\n\ther, so that his head is turned as Jane reaches him, says a\n\tfairly social:", "Jane does her part enormously well -- laughing with amusement...\n\tbut her eyes blaze -- her friend has been needlessly humiliated.\n\tBlair wants desperately to be inside Aaron's joke.", "away. Jane finishes, notices him, makes a face by way of\n\texplanation, and exits the scene feeling measurably better.", "Jane laughs very briefly -- then rubs her face vigorously with\n\ther hands... He's making her feel a little crazy. She gets off\n\tthe bed." ], [ "And now she sees Tom -- he mouths one word at her -- \"London.\"\n\tShe nods that she already knows and then lets her body sag a", "He walks to the People Eater and gets on, still holding his\n\tpaper bags of bathing suits. The bus pulls away.\n\n\tON JANE\n\n\tWatching him go.", "INT. ERNIE'S OFFICE - DAY\n\n\tGeorge Weln, the black correspondent and Tom are seated in the\n\toffice with Ernie -- they are in mid-meeting.", "Tom, Aaron and the boy walking along. Tom plays with Cliff\n\tas they move. The boy is delighted. Jane is in a park -- a", "He puts his hand behind her neck in an awkward gesture of\n\tcamaraderie. She awkwardly disengages... waves and steps\n\tinside the door to the restaurant... standing there between\n\tthe two sets of doors watching Tom and Jennifer walk away.", "Much the same place where Jane and Tom first met. The\n\twords \"SEVEN YEAS LATER\" appears on the screen.", "FADE IN\n\n\tEXT. CITY STREET - DAY", "JANE\n\t\tWell, we met about three months ago.\n\t\tHe works at the surgeon general office.\n\t\tHe loves boating. So, he's been \n\t\tgetting me into water skiing.", "Aaron and Ernie are off to the side in the newsroom -- People\n\tare packing their belongings -- as secretaries cry and embrace --\n\tfrom an office rumbles a shouted denunciation:", "clear them off so that she is literally sleeping with her work. \n\tThe PHONE RINGS.", "As she moves past Tom who is talking on the phone, eventually\n\tcatching up with Paul. In the b.g. Tom has just HEARD the\n\t\"BEEP\" of an ANSWERING MACHINE.", "back to the office. He keeps looking back to see if he missed\n\ther, so that his head is turned as Jane reaches him, says a\n\tfairly social:", "Jane waiting for an elevator... It comes and she steps on just\n\tas Tom clearly excited comes around the bend from Ernie's office\n\tcalling for her. He goes to the stairs.", "He leans forward, gives Tom a quick embrace, a small kiss on\n\tthe cheek. Tom turns and walks off down the hallway to meet\n\this immediate destiny as Buddy looks on.", "In the mirror he SEES his wife making faces at him behind his\n\tback. He EXITS his home without comment.\n\n\tINT. EDITING ROOM - DAY", "Sitting in groups of three -- NEWS TEAM from around the country,\n\tremarkably similar in comparison...a great looking woman, good", "A weeping woman bursts into their circle and sweeps Ernie away.\n\tTom and Aaron stand there -- comrades at last -- victims of\n\tthe same sword.\n\n\t\t\t\tTOM\n\t\tYou packing up tonight?", "She is obviously in pain but still alert enough to catch Tom's\n\tanswer.\n\n\tINT. TOM'S OFFICE - DAY", "away. Jane finishes, notices him, makes a face by way of\n\texplanation, and exits the scene feeling measurably better.", "Jane four steps ahead of him -- not yet aware of him. He moves\n\tpast one other man until he is standing directly behind her." ], [ "Paul arriving with Bill Rorish. The first time we have seen\n\tthe multi-millionaire anchorman in the flesh. He has the grace", "There is a stillness in the Control Room as Jane speaks to the\n\tanchor man in New York who WE CAN VIEW on a monitor.\n\n\tON MONITOR\n\n\tWe see Bill Rorish.", "She pauses half a beat for possible applause -- hearing none,\n\tshe continues. An anchorman sneezes -- four people shout\n\t\"gesundheit\" simultaneously -- they laugh.", "AARON\n\t\t\t(feigning casualness)\n\t\tThe weekend news...anchoring...\n\t\tanchoring the weekend news.\n\n\t\t\t\tGEORGE\n\t\tWay to go.", "The anchor teams -- leaning forward. They love this man,\n\ta humble specialist refusing the generalist trap. Imagine\n\tthe feeling -- you see, on the top of the mountain, a man\n\tnot unlike yourself.", "INT. NEWS BUILDING LOBBY - DAY\n\n\tTom arrives for first day of work.\n\n\tINT. ERNIE MERRIMAN'S OFFICE", "ERNIE\n\t\tAny particular area you feel\n\t\tstrongest in?\n\n\t\t\t\tTOM\n\t\tTo be honest, I was best at anchor.", "David Brinkley and Walter Cronkite\n\t\tis being squandered in a desperate\n\t\tpopularity contest. Our profession\n\t\tis in danger:", "irony works nicely. The network anchorman comes up for his close. \n\tBILL RORISH, 50 years old and able to flutter much younger pulses.", "they made him anchor. I can't stand\n\t\tit -- they're grooming you for it\n\t\tall and you don't even know it.", "SHOT CONTINUES\n\n\tWomen playing with their hair, young man bored...one\n\tmiddle-aged anchorman fusses with a spot on his tie...\n\n\tON JANE", "Seated with other members of his news team, a young blonde\n\twoman whose hand is resting on his inner leg, a good looking\n\tHispanic. Tom feels a growing excitement -- Jane is not just\n\ta speaker, she seems a savior.", "TOM\n\t\tMe!\n\n\tShe laughs. Almost completes an affectionate gesture -- takes\n\this arm instead.\n\n\tINT. NEWSROOM - NIGHT", "As the regulars watch the Evening News, in particular the Date\n\tRape piece which is now in progress. Tom anxiously eyeing Jane", "Various bureau personnel standing at their desks watching Tom's\n\tpiece being broadcast. We SEE a TANK MISFIRING.", "INT. BAR - EARLY EVENING\n\n\tBuddy and Tom watching the Evening News as Jennifer finishes\n\ther story.", "AARON\n\t\tI didn't sleep. They're giving me less\n\t\tand less air time. They don't think\n\t\tI'm at all anchor material.", "Blair enters wildly into the scene.\n\n\t\t\t\tBLAIR\n\t\tThey canned me. Well, my brother\n\t\twill feel great -- now he's not the\n\t\tonly screw-up.", "JANE\n\t\tI'm not sure. It seems like he\n\t\thad sort of a mishap on the news.\n\n\t\t\t\tTOM\n\t\tI know. I taped it.", "ON MONITOR\n\n\tAs the news piece cut to: Tom's face -- he turns clearing a tear\n\tfrom his eyes.\n\n\tON NEWSROOM" ], [ "AARON\n\t\tThat's it. I resign as of now.\n\n\t\t\t\tERNIE\n\t\t\t(to Aaron)\n\t\tStop it.", "Aaron, tape in head, is saying his farewell to Tom. He is facing\n\this left side as he will do for the rest of his life on earth.", "thereby good-naturedly helping with the destruction of all he\n\tholds dear. As he hands Tom his credentials:", "He simply turns and walks away -- looking back once as Jane\n\tstands there mucked up by his sudden departure -- the lack\n\tof resolution to their confrontation is palpable.\n\n\tINT. TERMINAL - DAY", "He leans forward, gives Tom a quick embrace, a small kiss on\n\tthe cheek. Tom turns and walks off down the hallway to meet\n\this immediate destiny as Buddy looks on.", "JANE\n\t\tI just found out. You didn't say\n\t\tanything to me? You just resign?", "away. Jane finishes, notices him, makes a face by way of\n\texplanation, and exits the scene feeling measurably better.", "Aaron and Ernie are off to the side in the newsroom -- People\n\tare packing their belongings -- as secretaries cry and embrace --\n\tfrom an office rumbles a shouted denunciation:", "Bobbie stops the machine, turns in his chair and shakes hands.\n\tThen he smiles secretly and speaks his first full sentence.", "He exits.\n\n\tINT. TOM'S OFFICE - DAY", "Tom turns. Buddy talks rather quickly -- He cares very much\n\tabout leaving Tom with the right impression. The last words\n\tof his speech he hadn't expected to say.", "enough sense of duty to kiss him good night before storming from \n\tthe room. She exits the room INTO BLACK.", "Annie comes up.\n\n\t\t\t\tANNE\n\t\tThe office is phoning, honey.\n\n\tHe EXITS SCENE as Anne watches him go.", "Blair leaves, as Jane gathers up her notes. She charges out\n\tleaving Tom awkwardly along with Bobbie.", "Equally touched as he watches the world's most prominent\n\tjournalist greet his Dad, who turns goofy with excitement.\n\n\t\t\t\tMR. GRUNICK\n\t\tGood-bye, Tom.", "TOM\n\t\tAh, I don't want any credit. Bobbie\n\t\tand I serve anonymously.\n\n\tHe pats Bobbie on the back... and exits.", "He puts his hand behind her neck in an awkward gesture of\n\tcamaraderie. She awkwardly disengages... waves and steps\n\tinside the door to the restaurant... standing there between\n\tthe two sets of doors watching Tom and Jennifer walk away.", "Blair enters wildly into the scene.\n\n\t\t\t\tBLAIR\n\t\tThey canned me. Well, my brother\n\t\twill feel great -- now he's not the\n\t\tonly screw-up.", "Tom decides not to deal with the remark. He's jolted by the\n\thostility. He leads the way out French Doors to a ground floor", "SECRETARY\n\t\tHe'll just be a minute.\n\n\tTom sits down -- pats his tie in place... A beat and the door\n\topens. Paul leads out Martin Klein. They shake hands." ], [ "And now she sees Tom -- he mouths one word at her -- \"London.\"\n\tShe nods that she already knows and then lets her body sag a", "for a while and assign you to London.", "TOM\n\t\tLondon.\n\n\t\t\t\tAARON\n\t\t\t(incensed)\n\t\tLondon. That's a promotion!", "He walks to the People Eater and gets on, still holding his\n\tpaper bags of bathing suits. The bus pulls away.\n\n\tON JANE\n\n\tWatching him go.", "He leans forward, gives Tom a quick embrace, a small kiss on\n\tthe cheek. Tom turns and walks off down the hallway to meet\n\this immediate destiny as Buddy looks on.", "As he passes Jane he leans next to her and WE HEAR him WHISPER.", "Annie comes up.\n\n\t\t\t\tANNE\n\t\tThe office is phoning, honey.\n\n\tHe EXITS SCENE as Anne watches him go.", "away. Jane finishes, notices him, makes a face by way of\n\texplanation, and exits the scene feeling measurably better.", "Tom has a real sense of the moment -- of having arrived. The\n\tstrange bubble of pleasure rises to the surface as he walks off\n\tto cover his first story. He laughs out loud, loving his lot.", "back to the office. He keeps looking back to see if he missed\n\ther, so that his head is turned as Jane reaches him, says a\n\tfairly social:", "Others start to board. He sees Jane moving towards him.\n\tHe walks to her, she gestures back towards the street.", "On Tom moving past the metal detector. He too is frustrated\n\t-- pissed off at her.\n\n\tINT. OTHER TERMINAL AREA\n\n\tJane moving quickly along towards the metal detectors.", "Jane four steps ahead of him -- not yet aware of him. He moves\n\tpast one other man until he is standing directly behind her.", "JANE\n\t\tIt's started.\n\n\tBobbie sticks his head out of his office...\n\n\t\t\t\tBOBBIE\n\t\tTom -- Paul wants to see you.", "Jane's cab pulls up to the curb. She gets out -- she is\n\tcarrying no luggage. She sees Tom who hurriedly walks up\n\tto her. Jane is fighting to maintain a calm.", "Blair leaves, as Jane gathers up her notes. She charges out\n\tleaving Tom awkwardly along with Bobbie.", "TOM\n\t\tYes, born to party.\n\n\tPaul enjoys the riposte, looks at Jane who is shrinking within\n\therself.", "She is obviously in pain but still alert enough to catch Tom's\n\tanswer.\n\n\tINT. TOM'S OFFICE - DAY", "She half-laughs... kisses him, wipes the slight lipstick mark\n\tfrom his cheek and, in a sudden decision, takes each of her", "She stands there, genuinely frightened. She must deal with him\n\tnow. He crosses to her." ], [ "Aaron and Ernie are off to the side in the newsroom -- People\n\tare packing their belongings -- as secretaries cry and embrace --\n\tfrom an office rumbles a shouted denunciation:", "ERNIE\n\t\tAll I know is that they've got to\n\t\tfire a large number of people...", "BILL\n\t\tThis is a brutal layoff...And all\n\t\tbecause they couldn't program Wednesdays.", "the budget and that means massive firings.\n\t\tI'm doing everything I can... It's too\n\t\tearly to make up a 'death list' but I", "ERNIE\n\t\tNo. They're firing even more people\n\t\tthan they said. Some will want to\n\t\ttalk. It could help.", "AARON\n\t\tCan you believe it? I just risked my\n\t\tlife for a network that tests my face\n\t\twith focus groups.", "I don't feel worse. This has happened\n\t\tat every station I ever worked for.\n\t\tLook, I think it's crazy for you to", "clear them off so that she is literally sleeping with her work. \n\tThe PHONE RINGS.", "Jane is working with Bobbie the editor... Snatches of the tape\n\tmake it obvious that the Labor Secretary has been indicted --\n\tGeorge Weln stands behind Jane, who is dialing a number.", "TOM\n\t\tThose audition tapes I sent out...\n\t\tI've been hired by your network for\n\t\tthe Washington bureau. So I'll\n\t\tprobably see you at work. Sorry.", "JANE\n\t\tWe are being increasingly influenced\n\t\tby the star system. The network\n\t\tanchormen are so powerful they", "The 10 A.M. briefing just breaking up -- Jennifer leaves her\n\tnetwork seat in the front row, only to be grabbed by Tom who\n\tsteers her outside.", "discusses the more pressing problems of the network news\n\tdivision, Jane sits near the window strangely unmoved by\n\ther first moment at the seat of power. She has the blues.", "people like this for network news. For\n\t\tGod's sake. What's going on?", "PAUL\n\t\tWe're having a severe cutback, Tom --\n\t\t17 people in this bureau including", "Blair enters wildly into the scene.\n\n\t\t\t\tBLAIR\n\t\tThey canned me. Well, my brother\n\t\twill feel great -- now he's not the\n\t\tonly screw-up.", "Jane looks at her and, in a moment of atypical merriment, does\n\ta choking gesture at her own throat as the monitors flash a", "Various bureau personnel standing at their desks watching Tom's\n\tpiece being broadcast. We SEE a TANK MISFIRING.", "ERNIE\n\t\t\t(calls back to Jane)\n\t\tGreat work, Jane, really -- You know?\n\t\tReally.\n\n\tShe nods... totally depleted.", "which Jane is editing against a tightening deadline. The\n\tPHONE RINGS periodically -- Jane conducting abrupt conversations\n\twhich continuing to edit. The pressure is palpable to begin" ], [ "Tom, Aaron and the boy walking along. Tom plays with Cliff\n\tas they move. The boy is delighted. Jane is in a park -- a", "He moves off to intercept Jane -- as he stops her... Tom is\n\tstranded -- then sees Aaron and moves over to his side.\n\n\t\t\t\tTOM\n\t\tHi, Aaron...What's doing?", "They leave -- Aaron waving to Tom who stands in the b.g. The\n\tothers leave. Tom approaches Jane.", "As he answers and we have the following conversation between\n\tJane, who is using the phone, with Aaron seen just a few feet\n\taway. Tom in his apartment.", "LONG SHOT\n\n\tAaron in the f.g. -- his BACK TO CAMERA... Beyond him\n\tTom being approached... then joining Jane.", "AARON\n\t\tHello.\n\n\tINT. JANE'S OFFICE - NIGHT\n\n\tJane -- still at the office -- it is quite late.", "JANE\n\t\tI think so...They've been talking\n\t\tto me about being Tom's Managing\n\t\tEditor.\n\n\t\t\t\tAARON\n\t\tReally?", "JANE (cont'd)\n\t\tJennifer.\n\n\tINT. TOM'S OFFICE - LATE AFTERNOON", "Aaron takes in Jane, who is taking in Jennifer and Tom -- then\n\tAaron begins to sense a new dynamic in the room as Ernie re-enters", "JANE\n\t\t\t(turning to leave)\n\t\tWe'd better get moving.\n\n\tAs they move out... Jane goes to Aaron... He moves with her\n\ttowards the door.", "AARON\n\t\tCome on, Cliff. Come on.\n\n\tAs Clifford runs back to his father, Aaron sits next to Jane.", "Much the same place where Jane and Tom first met. The\n\twords \"SEVEN YEAS LATER\" appears on the screen.", "Jane's cab pulls up to the curb. She gets out -- she is\n\tcarrying no luggage. She sees Tom who hurriedly walks up\n\tto her. Jane is fighting to maintain a calm.", "Jane waiting for an elevator... It comes and she steps on just\n\tas Tom clearly excited comes around the bend from Ernie's office\n\tcalling for her. He goes to the stairs.", "He moves off -- Aaron watching him go, feeling decidedly\n\tuncomfortable by this last piece of advice and vaguely corrupted.\n\n\tINT. JANE'S APARTMENT - NIGHT", "INT. EDITING ROOM - NIGHT\n\n\tJane up against it now -- but still seemingly calm. Tom\n\twatching, keeps on glancing at the clock fascinated,\n\timpressed.", "As Tom makes his way across it -- crews are drifting in... He\n\tenters Jane's cubby, flushed with the electricity of the \"win\"\n\tthe most noteworthy moment of his working life.", "AARON\n\t\tHe loved it. Big smile.\n\n\tHe gives Jane a congratulatory sock in the shoulder which she\n\treturns -- Tom in the b.g. of the SHOT.", "AARON\n\t\tHe excels at gratitude.\n\n\t\t\t\tTOM\n\t\t\t(to Jane)\n\t\tAre you any closer to a decision?", "INT. EDITING ROOM - DAY\n\n\tAS Tom enters and waits for Jane. When she enters he closes\n\tthe door." ], [ "ON JANE", "back to the office. He keeps looking back to see if he missed\n\ther, so that his head is turned as Jane reaches him, says a\n\tfairly social:", "Jane turns and is a bit blown away by his gesture -- life\n\tthreatens to be good. And now Jane bumps a bit at the top of", "As Jane passes through and sets off the buzzer. She stands\n\tthere -- the heel of her hand pressed to her brow trying to", "away. Jane finishes, notices him, makes a face by way of\n\texplanation, and exits the scene feeling measurably better.", "with but builds and builds; almost like a family fight getting\n\tout of hand and threatening to bend lives. Through it all, Jane\n\tremains remarkable calm. Her focus is amazing; her command sexy.", "Jane's cab pulls up to the curb. She gets out -- she is\n\tcarrying no luggage. She sees Tom who hurriedly walks up\n\tto her. Jane is fighting to maintain a calm.", "which Jane is editing against a tightening deadline. The\n\tPHONE RINGS periodically -- Jane conducting abrupt conversations\n\twhich continuing to edit. The pressure is palpable to begin", "TOM\n\t\tNo, I really got this job on a\n\t\tfluke and wait till you hear where\n\t\tit ends up.\n\n\tJane smiles a calming smile.", "JANE\n\t\tGood. That's it...See you.\n\n\tShe walks off. He runs a few steps to stop her.", "He has been reading from a respectable stack of mail -- Jane\n\tappears in his doorway. For the first time, we notice that\n\tshe is woefully ba at at least one endeavor -- flirting.", "Jane, because of the proximity to Tom is speaking in whispered\n\tintensity.", "JANE (cont'd)\n\t\tJennifer.\n\n\tINT. TOM'S OFFICE - LATE AFTERNOON", "Jane arrives at the maitre d' stand. She has attempted to dress\n\tup to the extent that packing for a short-day trip allows. She", "Jane moves quickly off, awed at the prospect of taking on the\n\tbig boss.\n\n\tON JANE", "ON JANE\n\n\tAs she silently mouths the words -- \"smile and move and smile\n\tand move.\" Which is exactly what he's doing. Then a contract\n\twith the gods.", "grabs Jane and heads for some cover to the left. As they run --\n\tmore SHOTS. Jane in work mode. As soon as they settle.", "JANE\n\t\t\t(immediately at work)\n\t\tOh let's see -- wait a minute, well,\n\t\tI can think of two reasons.", "JANE\n\t\t\t(to Cameraman)\n\t\tOkay.\n\n\tHe shoots the scene.\n\n\tINT. HAY ADAMS HOTEL", "Jane is NOT hyper. She is purposeful -- organized -- even\n\tcalming Blair with a little physical contact -- a touch on\n\tthe arm, to still her colleague's hysterical demons." ], [ "Tom has a real sense of the moment -- of having arrived. The\n\tstrange bubble of pleasure rises to the surface as he walks off\n\tto cover his first story. He laughs out loud, loving his lot.", "As Tom makes his way across it -- crews are drifting in... He\n\tenters Jane's cubby, flushed with the electricity of the \"win\"\n\tthe most noteworthy moment of his working life.", "Tom turns. Buddy talks rather quickly -- He cares very much\n\tabout leaving Tom with the right impression. The last words\n\tof his speech he hadn't expected to say.", "thereby good-naturedly helping with the destruction of all he\n\tholds dear. As he hands Tom his credentials:", "Tom walks away. He's a good twenty yards away when Aaron looks up\n\tto see his son running after Tom.", "TOM\n\t\tHoly shit, Aaron.\n\n\tHe claps him on the back... Aaron is as pleased as he is\n\tuncomfortable with the attention.", "TOM\n\t\tOh, sure. Okay.\n\n\tHis heart racing, Buddy attempts casual matter-of-factness.", "Tom and Buddy on adjoining stools. For Tom, the last weeks have\n\tbeen humbling, antagonistic. He's enjoying Buddy who listens\n\tattentively and wholeheartedly endorses every word Tom speaks.", "It is a converted room -- given over the racks of clothes and\n\tshoes extraordinarily well organized. Tom stands there agape.\n\tVarious rain coats -- clothes for all climates -- lots of\n\tluggage.", "TOM\n\t\tHe -- uh -- said he liked you because\n\t\tyou looked like you had -- fire and\n\t\thonesty.", "TOM\n\t\tNo, I really got this job on a\n\t\tfluke and wait till you hear where\n\t\tit ends up.\n\n\tJane smiles a calming smile.", "He leans forward, gives Tom a quick embrace, a small kiss on\n\tthe cheek. Tom turns and walks off down the hallway to meet\n\this immediate destiny as Buddy looks on.", "From the excited group of people blocking his view,\n\tit's clear there is some personage in attendance.\n\n\tON AARON\n\n\tAnd now he sees that it's Tom.", "mounts the stage with an athletic leap. It takes courage for\n\tTom to fully intrude himself, which he now does:", "TOM (cont'd)\n\t\tAnd then when they heard my reaction --\n\t\tthey thought I was kidding. I told them", "BOBBIE\n\t\t\t(pausing in his work)\n\t\tYou know, I like Tom, because hi...\n\n\t\t\t\tJANE\n\t\tBobbie, please.", "ON TOM\n\n\tStanding alone and forlorn as his crew trots back.\n\n\t\t\t\tCAMERAMAN\n\t\t\t(observing Tom)\n\t\tWhat's wrong?", "JANE\n\t\tIt made me ill. You could get\n\t\tfired for things like that.\n\n\t\t\t\tTOM\n\t\tI got promoted for things like that.", "looks for Tom. Tom rises from a table and is immediately at\n\ther side.", "TOM\n\t\t... when they told me Bill had decided\n\t\tto retire and offered me the Evening\n\t\tNews, I thought it was the same kind" ], [ "Aaron has come over to join them now in time to HEAR.", "Aaron is having a hard enough day, He is visibly annoyed.", "These watching struck -- perhaps embarrassed but riveted. Aaron\n\tis aghast. Aaron approaches the set.", "Aaron is seated behind a desk -- some old news copy in\n\this hand. An unmanned camera is pointing at him. Tom\n\tis standing a few feet further back studying him.", "AARON\n\t\tYes.\n\n\t\t\t\tGEORGE\n\t\tYes.\n\n\t\t\t\tERNIE\n\t\tMe too.", "Aaron deflates.", "AARON\n\t\tCome on, Cliff. Come on.\n\n\tAs Clifford runs back to his father, Aaron sits next to Jane.", "Aaron directs him behind a screen and looks at his notes.\n\n\t\t\t\tAARON\n\t\tIt's Mr. Buddy Felton?", "AARON\n\t\tYeah. Well...I think it is\n\t\timportant for you too. Sit down.\n\n\tShe sits. He walks to a desk and looks at her briefly... Silence.", "They kiss.\n\n\tINT. AARON'S APARTMENT - NIGHT\n\n\tThe phone rings. He answers.", "Aaron, tape in head, is saying his farewell to Tom. He is facing\n\this left side as he will do for the rest of his life on earth.", "Aaron seated in the main newsroom in shirt-sleeves, writing. He\n\ttakes the just-completed page out of the typewriter and walks over\n\tto the weekend news PRODUCER. (W.N.P.)", "Her eyes meet Aaron's.\n\n\t\t\t\tJANE\n\t\tUh-uh.\n\t\t\t(to Aaron)\n\t\tHe says you could hardly notice it.", "As Aaron walks to his office.\n\n\tINT. AARON'S OFFICE - DAY\n\n\tAs he enters and finds Ernie bent over his desk.", "Aaron looks up -- takes a breath. He's done well -- he's\n\tpunched his words and his one thought for the story. His gaze", "ON AARON\n\n\tHe blots his face -- some makeup streaked -- by the towel.\n\n\t\t\t\tFLOOR MANAGER\n\t\tFive seconds.", "It is at the top of a flight of steps. She KNOCKS on the DOOR.\n\tRINGS. KNOCKS. Aaron opens it. He is wearing a sweatshirt\n\tand cords.", "TOM\n\t\tHoly shit, Aaron.\n\n\tHe claps him on the back... Aaron is as pleased as he is\n\tuncomfortable with the attention.", "AARON\n\t\tLook at her.\n\t\t\t(to Jane)\n\t\tIf anything happens to me tell every", "The INSERT MOVES OUT AT US TO FILL THE SCREEN -- WE SEE Aaron's\n\tdim outline and HEAR him say:" ], [ "He leans forward, gives Tom a quick embrace, a small kiss on\n\tthe cheek. Tom turns and walks off down the hallway to meet\n\this immediate destiny as Buddy looks on.", "Tom walks away. He's a good twenty yards away when Aaron looks up\n\tto see his son running after Tom.", "And now she sees Tom -- he mouths one word at her -- \"London.\"\n\tShe nods that she already knows and then lets her body sag a", "Tom has a real sense of the moment -- of having arrived. The\n\tstrange bubble of pleasure rises to the surface as he walks off\n\tto cover his first story. He laughs out loud, loving his lot.", "Tom turns. Buddy talks rather quickly -- He cares very much\n\tabout leaving Tom with the right impression. The last words\n\tof his speech he hadn't expected to say.", "thereby good-naturedly helping with the destruction of all he\n\tholds dear. As he hands Tom his credentials:", "Moving with Tom. Nervousness growing, confidence gone, he\n\tproceeds down the hallway.\n\n\tINT. ERNIE'S OUTER OFFICE - DAY", "TOM\n\t\tOh, sure. Okay.\n\n\tHis heart racing, Buddy attempts casual matter-of-factness.", "TOM\n\t\t\t(to Clifford)\n\t\tGo back to your daddy.\n\n\tThe boy starts back.", "He exits.\n\n\tINT. TOM'S OFFICE - DAY", "AS Tom enters from his office, a wake is slowly igniting. Tom\n\tmoves along the edge of the room, carrying his wastebasket full\n\tof belongings, not really a part of the mournful festivities.", "She is obviously in pain but still alert enough to catch Tom's\n\tanswer.\n\n\tINT. TOM'S OFFICE - DAY", "He looks directly at his father and talks quietly, and sincerely.\n\n\t\t\t\tTOM\n\t\tI got my report card. Three Cs,\n\t\ttwo Ds and an incomplete.", "Equally touched as he watches the world's most prominent\n\tjournalist greet his Dad, who turns goofy with excitement.\n\n\t\t\t\tMR. GRUNICK\n\t\tGood-bye, Tom.", "MR. GRUNICK\n\t\tI'm going to go back home and tell\n\t\tall your old teachers.\n\n\tTom watches his father walk off and moves immediately to Jane's\n\tediting room.", "TOM\n\t\tI'll see you at the office. Good night.\n\n\tSeveral beats of silence. Finally:", "As Tom makes his way across it -- crews are drifting in... He\n\tenters Jane's cubby, flushed with the electricity of the \"win\"\n\tthe most noteworthy moment of his working life.", "Tom is enjoying himself immensely.\n\n\t\t\t\tTOM\n\t\tIsn't this a great date?\n\n\tWe HEAR the SOUND OF SCRATCHING as we:", "mounts the stage with an athletic leap. It takes courage for\n\tTom to fully intrude himself, which he now does:", "TOM\n\t\tMe!\n\n\tShe laughs. Almost completes an affectionate gesture -- takes\n\this arm instead.\n\n\tINT. NEWSROOM - NIGHT" ], [ "AARON\n\t\tThat's it. I resign as of now.\n\n\t\t\t\tERNIE\n\t\t\t(to Aaron)\n\t\tStop it.", "Aaron, tape in head, is saying his farewell to Tom. He is facing\n\this left side as he will do for the rest of his life on earth.", "He moves off -- Aaron watching him go, feeling decidedly\n\tuncomfortable by this last piece of advice and vaguely corrupted.\n\n\tINT. JANE'S APARTMENT - NIGHT", "JANE\n\t\t\t(turning to leave)\n\t\tWe'd better get moving.\n\n\tAs they move out... Jane goes to Aaron... He moves with her\n\ttowards the door.", "Aaron deflates.", "Aaron is having a hard enough day, He is visibly annoyed.", "Aaron has come over to join them now in time to HEAR.", "AARON\n\t\tOkay. I think I'd better be alone\n\t\tfor a while.\n\n\t\t\t\tERNIE\n\t\tI understand. I'll go with you.", "Tom walks away. He's a good twenty yards away when Aaron looks up\n\tto see his son running after Tom.", "Aaron and Ernie are off to the side in the newsroom -- People\n\tare packing their belongings -- as secretaries cry and embrace --\n\tfrom an office rumbles a shouted denunciation:", "These watching struck -- perhaps embarrassed but riveted. Aaron\n\tis aghast. Aaron approaches the set.", "Blair and Aaron laugh appreciatively as he walks off to another\n\tgroup.\n\n\t\t\t\tBLAIR\n\t\tGoodbye, Paul.", "Aaron is seated behind a desk -- some old news copy in\n\this hand. An unmanned camera is pointing at him. Tom\n\tis standing a few feet further back studying him.", "AARON\n\t\tWhat did they do with you?\n\n\t\t\t\tTOM\n\t\tThey booted me out of Washington.", "AARON\n\t\t\t(voice over)\n\t\tYou're welcome. Sow how does it\n\t\tfeel to...I know you gotta go --\n\t\tMe too. We're very busy here.", "As Aaron walks to his office.\n\n\tINT. AARON'S OFFICE - DAY\n\n\tAs he enters and finds Ernie bent over his desk.", "AARON\n\t\t\t(thinks then)\n\t\tOh, that's nice...\n\t\t\t(walking away)\n\t\tWe'll need some new lines.", "She runs out the door. Aaron turns mean and mocks Jane's\n\tlast words -- screwing up his face in a savage burlesque.\n\n\t\t\t\tAARON\n\t\tYeah, love you, too.", "AARON\n\t\tYes. And I'm sorry that they're\n\t\tsending you down for a while, but\n\t\tyou'll make it back...Where they\n\t\tsending you?", "They kiss.\n\n\tINT. AARON'S APARTMENT - NIGHT\n\n\tThe phone rings. He answers." ], [ "AARON\n\t\tGood.\n\n\tHe grabs her and hugs her exuberantly -- takes her face in his\n\thands and kisses her full on the lips.", "These watching struck -- perhaps embarrassed but riveted. Aaron\n\tis aghast. Aaron approaches the set.", "Aaron, tape in head, is saying his farewell to Tom. He is facing\n\this left side as he will do for the rest of his life on earth.", "She runs out the door. Aaron turns mean and mocks Jane's\n\tlast words -- screwing up his face in a savage burlesque.\n\n\t\t\t\tAARON\n\t\tYeah, love you, too.", "AARON\n\t\tThanks, Jane. Have a good time tonight.\n\n\t\t\t\tJANE\n\t\tYou too.\n\n\tAaron takes her in -- she looks lovely.", "Aaron has come over to join them now in time to HEAR.", "They kiss.\n\n\tINT. AARON'S APARTMENT - NIGHT\n\n\tThe phone rings. He answers.", "AARON\n\t\tYes.\n\n\t\t\t\tGEORGE\n\t\tYes.\n\n\t\t\t\tERNIE\n\t\tMe too.", "AARON\n\t\tHe loved it. Big smile.\n\n\tHe gives Jane a congratulatory sock in the shoulder which she\n\treturns -- Tom in the b.g. of the SHOT.", "Aaron is having a hard enough day, He is visibly annoyed.", "AARON\n\t\tYeah. Well...I think it is\n\t\timportant for you too. Sit down.\n\n\tShe sits. He walks to a desk and looks at her briefly... Silence.", "AARON\n\t\tWell, I felt something.\n\n\tHe leaves her on the corner and walks back.\n\n\tON JANE", "TOM\n\t\tOkay...It's so good to see you.\n\n\tShe gives him a quick kiss. He shakes hands with Aaron.", "TOM\n\t\tHoly shit, Aaron.\n\n\tHe claps him on the back... Aaron is as pleased as he is\n\tuncomfortable with the attention.", "AARON\n\t\tLook at her.\n\t\t\t(to Jane)\n\t\tIf anything happens to me tell every", "AARON\n\t\tNo. You know that I'm not.\n\n\t\t\t\tJANE\n\t\tHow?", "AARON\n\t\t\t(to Jane)\n\t\tYou write this?\n\n\t\t\t\tJANE\n\t\tI write for you sometimes.", "AARON\n\t\tCome on, Cliff. Come on.\n\n\tAs Clifford runs back to his father, Aaron sits next to Jane.", "AARON\n\t\t\t(voice over)\n\t\tYou're welcome. Sow how does it\n\t\tfeel to...I know you gotta go --\n\t\tMe too. We're very busy here.", "JANE\n\t\tGod, he loved the boots.\n\n\tAaron reaches happily for the phone." ], [ "ON NEWSROOM\n\n\tAs Aaron enters the scene.\n\n\t\t\t\tAARON\n\t\tHi.", "Aaron is seated behind a desk -- some old news copy in\n\this hand. An unmanned camera is pointing at him. Tom\n\tis standing a few feet further back studying him.", "Tom nods and gestures that he proceed. Aaron begins reading\n\tthe news. Barely a sentence in, he is interrupted.\n\n\t\t\t\tTOM\n\t\tWait.", "SOUND OF MEN VOCALIZING NEWS THEME comes UP AND continues\n\tthrough:\n\n\tEXT. AARON'S APARTMENT - EARLY EVENING", "Aaron seated in the main newsroom in shirt-sleeves, writing. He\n\ttakes the just-completed page out of the typewriter and walks over\n\tto the weekend news PRODUCER. (W.N.P.)", "AARON\n\t\t\t(feigning casualness)\n\t\tThe weekend news...anchoring...\n\t\tanchoring the weekend news.\n\n\t\t\t\tGEORGE\n\t\tWay to go.", "These watching struck -- perhaps embarrassed but riveted. Aaron\n\tis aghast. Aaron approaches the set.", "INT. NEWSROOM - NIGHT\n\n\tAaron, Jane, the others looking at the end of the piece on the\n\tair -- Tom in the b.g. as Blair enters -- relaxed, almost jaunty.", "AARON\n\t\tIt depends on how big a news day it \n\t\tis.\n\n\tThey reach Jane. She calls to him.", "AARON\n\t\tCan I turn on the news for a second?\n\t\t...Oh, wait a minute. Sex -- Tears --\n\t\tThis must be the news.", "She dales.\n\n\tINT. DUPLICATE MOTEL ROOM\n\n\tWhere Aaron is switching his TV from station to station,\n\tmonitoring the early morning news. His PHONE RINGS.", "AARON\n\t\tJust a few questions?\n\n\t\t\t\tJ.D.\n\t\tNo.\n\n\tHe starts walking -- the four person newsteam staying with him.", "AARON\n\t\tThanks.\n\n\tINT. SMALL TELEVISION STUDIO - NIGHT", "INT. RECORDING BOOTH - NIGHT\n\n\tWhere Aaron is writing his last line on a folded over piece of\n\tpaper even as he gets ready to record. He times it with a\n\tstop watch.", "AARON\n\t\tI didn't sleep. They're giving me less\n\t\tand less air time. They don't think\n\t\tI'm at all anchor material.", "Aaron and Ernie are off to the side in the newsroom -- People\n\tare packing their belongings -- as secretaries cry and embrace --\n\tfrom an office rumbles a shouted denunciation:", "Aaron looks up -- takes a breath. He's done well -- he's\n\tpunched his words and his one thought for the story. His gaze", "Aaron nods, as the Producer finishes the copy.\n\n\t\t\t\tW.N.P.\n\t\tThis is terrific news, Aaron. It's\n\t\ta pleasure to read.", "ON AARON\n\n\tHe blots his face -- some makeup streaked -- by the towel.\n\n\t\t\t\tFLOOR MANAGER\n\t\tFive seconds.", "The INSERT MOVES OUT AT US TO FILL THE SCREEN -- WE SEE Aaron's\n\tdim outline and HEAR him say:" ], [ "They leave -- Aaron waving to Tom who stands in the b.g. The\n\tothers leave. Tom approaches Jane.", "Aaron, tape in head, is saying his farewell to Tom. He is facing\n\this left side as he will do for the rest of his life on earth.", "He moves off to intercept Jane -- as he stops her... Tom is\n\tstranded -- then sees Aaron and moves over to his side.\n\n\t\t\t\tTOM\n\t\tHi, Aaron...What's doing?", "JANE\n\t\t\t(turning to leave)\n\t\tWe'd better get moving.\n\n\tAs they move out... Jane goes to Aaron... He moves with her\n\ttowards the door.", "She runs out the door. Aaron turns mean and mocks Jane's\n\tlast words -- screwing up his face in a savage burlesque.\n\n\t\t\t\tAARON\n\t\tYeah, love you, too.", "Blair leaves, as Jane gathers up her notes. She charges out\n\tleaving Tom awkwardly along with Bobbie.", "AARON\n\t\tLook at her.\n\t\t\t(to Jane)\n\t\tIf anything happens to me tell every", "AARON\n\t\tWell, I felt something.\n\n\tHe leaves her on the corner and walks back.\n\n\tON JANE", "Tom walks away. He's a good twenty yards away when Aaron looks up\n\tto see his son running after Tom.", "AARON\n\t\tHe loved it. Big smile.\n\n\tHe gives Jane a congratulatory sock in the shoulder which she\n\treturns -- Tom in the b.g. of the SHOT.", "He moves off -- Aaron watching him go, feeling decidedly\n\tuncomfortable by this last piece of advice and vaguely corrupted.\n\n\tINT. JANE'S APARTMENT - NIGHT", "AARON\n\t\tCome on, Cliff. Come on.\n\n\tAs Clifford runs back to his father, Aaron sits next to Jane.", "AARON\n\t\tHe excels at gratitude.\n\n\t\t\t\tTOM\n\t\t\t(to Jane)\n\t\tAre you any closer to a decision?", "As he answers and we have the following conversation between\n\tJane, who is using the phone, with Aaron seen just a few feet\n\taway. Tom in his apartment.", "Her eyes meet Aaron's.\n\n\t\t\t\tJANE\n\t\tUh-uh.\n\t\t\t(to Aaron)\n\t\tHe says you could hardly notice it.", "Tom nods and gestures that he proceed. Aaron begins reading\n\tthe news. Barely a sentence in, he is interrupted.\n\n\t\t\t\tTOM\n\t\tWait.", "AARON\n\t\tNo. You know that I'm not.\n\n\t\t\t\tJANE\n\t\tHow?", "TOM\n\t\tAnd it has nothing to do with the fact\n\t\tI left your room instead of staying \n\t\tthere?\n\n\tJane looks at him.", "AARON\n\t\tThanks, Jane. Have a good time tonight.\n\n\t\t\t\tJANE\n\t\tYou too.\n\n\tAaron takes her in -- she looks lovely.", "AARON\n\t\tAaach...Jane...\n\t\t\t(glancing at note)\n\t\tLet's take the part that has" ], [ "Tom has a real sense of the moment -- of having arrived. The\n\tstrange bubble of pleasure rises to the surface as he walks off\n\tto cover his first story. He laughs out loud, loving his lot.", "As Tom makes his way across it -- crews are drifting in... He\n\tenters Jane's cubby, flushed with the electricity of the \"win\"\n\tthe most noteworthy moment of his working life.", "It is a converted room -- given over the racks of clothes and\n\tshoes extraordinarily well organized. Tom stands there agape.\n\tVarious rain coats -- clothes for all climates -- lots of\n\tluggage.", "Tom turns. Buddy talks rather quickly -- He cares very much\n\tabout leaving Tom with the right impression. The last words\n\tof his speech he hadn't expected to say.", "He leans forward, gives Tom a quick embrace, a small kiss on\n\tthe cheek. Tom turns and walks off down the hallway to meet\n\this immediate destiny as Buddy looks on.", "He exits.\n\n\tINT. TOM'S OFFICE - DAY", "Tom walks away. He's a good twenty yards away when Aaron looks up\n\tto see his son running after Tom.", "thereby good-naturedly helping with the destruction of all he\n\tholds dear. As he hands Tom his credentials:", "TOM\n\t\tNo, I really got this job on a\n\t\tfluke and wait till you hear where\n\t\tit ends up.\n\n\tJane smiles a calming smile.", "TOM\n\t\t\t(to Jane as he leaves)\n\t\tBye...boss.", "JANE\n\t\tIt made me ill. You could get\n\t\tfired for things like that.\n\n\t\t\t\tTOM\n\t\tI got promoted for things like that.", "TOM\n\t\t... when they told me Bill had decided\n\t\tto retire and offered me the Evening\n\t\tNews, I thought it was the same kind", "TOM\n\t\t\t(to Clifford)\n\t\tGo back to your daddy.\n\n\tThe boy starts back.", "She is obviously in pain but still alert enough to catch Tom's\n\tanswer.\n\n\tINT. TOM'S OFFICE - DAY", "TOM\n\t\t\t(enormously pleased)\n\t\tYeah.\n\n\tHe walks back towards the area of the monitor.\n\n\tON MONITOR", "As he sits down beaming over his recent good fortune... now we\n\tREVEAL his twelve-year-old son, TOM, seated quietly beside him. \n\tHe seems a bit down. Gerald glances at his son.", "JANE\n\t\t\t(enormously pleased)\n\t\tNo. Did he really?\n\n\t\t\t\tTOM\n\t\tYes. Then he said a really weird\n\t\tthing...", "TOM\n\t\tOh, sure. Okay.\n\n\tHis heart racing, Buddy attempts casual matter-of-factness.", "Tom and Buddy on adjoining stools. For Tom, the last weeks have\n\tbeen humbling, antagonistic. He's enjoying Buddy who listens\n\tattentively and wholeheartedly endorses every word Tom speaks.", "INT. TOM'S OFFICE - DAY" ] ]

[ "Who is Jane's best friend?", "Who does Aaron secretly love?", "What does Aaron do for a living?", "What does Tom do for a living?", "What city does Tom, Jane, and Aaron work out of?", "Who do Tom, Jane, an Aaron work for?", "Who acknowledges their love to Jane?", "Who got promoted mainly because of their good looks?", "Who gets transferred to London?", "Who character is considered neurotic?", "Who is Jane's best friend?", "Which character used to be a sports anchorman?", "Which character is Tom attracted to?", "Which character is secretly in love with Jane?", "What city do all three character work in?", "Whose debut as an anchorman is a failure?", "Which character tenders his resignation?", "Which character is getting transfered to London?", "What is the cause of people at the network losing their jobs? ", "In which city do Jane, Aaron and Tom work together?", "What is Jane's job?", "Why was Tom hired?", "What is Aaron's job?", "Where is Tom transferring to?", "Where is Aaron going to go when he resigns?", "Who is Aaron in love with?", "What happens when Aaron gets to do a newscast?", "What does Aaron tell Jane about Tom before he leaves?", "What was Tom's previous job?" ]

[ [ "Aaron Altman", "Aaron Altman." ], [ "Jane", "Jane Craig." ], [ "Writer and Producer", "Writer and reporter." ], [ "local news anchorman", "news anchor" ], [ "Washington, DC", "Washington D.C." ], [ "A national television network", "national television network" ], [ "Aaron", "Aaron Altman." ], [ "Tom", "Tom Grunick." ], [ "Tom", "Tom" ], [ "Jane Craig", "Jane Craig" ], [ "Aaron Altman", "Aaron Altman." ], [ "Tom Grunick", "Tom Grunick" ], [ "Jane Craig", "Jane Craig" ], [ "Aaron Altman", "Aaron Altman" ], [ "Washington D.C.", "Washington D.C." ], [ "Altman", "Altman" ], [ "Altman", "Aaron Altman" ], [ "Grunick", "Tom Grunick." ], [ "Layoffs", "Massive layoffs." ], [ "Washington D.C.", "Washington, D.C." ], [ "producer", "Producer" ], [ "for his looks and charm.", "Good looks and charm." ], [ "writer", "Writer/reporter" ], [ "London", "London." ], [ "Portland Oregon", "Portland, Oregon" ], [ "Jane", "Jane" ], [ "He's terrible and it is a disaster.", "he fails" ], [ "he's commited an ethical breach", "Breach of ethics" ], [ "sportscaster", "Sports anchorman" ] ]

[ [ "suicide or should he not! People will \n write in pleading with him. But no! \n No, sir! John Doe will remain adamant!", "to their hero, John Doe.\n \n Camera pans over to JOHN B. HUGHES.", "publicly that on Christmas Eve he intends \n to commit suicide, giving as his reason—quote: \n \"I protest against the state of civilization.\"", "As soon as he gets strong enough, we'll \n find out what John Doe wants! Thirty \n every Thursday—sixty at sixty—who knows", "asking John Doe not to jump off any \n roof . . .\n \n Camera pans over to KNOX MANNING.", "Yeah, maybe.\n \n NOTE: Henceforth in this script he shall \n be referred to as JOHN DOE.", "on our part. Just statements from John \n Doe and we can blast our heads off.\n \n \n ANN", "Dissolve to: Ext.: Clearing under the \n bridge. Close-up: Of JOHN. He sits on \n a rock, his head bent low, tears streaming", "You're a fake, John Doe, and I can prove \n it! You're the big hero that's supposed \n to jump off tall buildings and things!", "(loses control—screams)\n \n What John Doe?", "You're a fake, John Doe, and I can prove \n it! You're the big hero that's supposed \n to jump off tall buildings and things.", "I want a special John Doe edition every \n day until the convention is over.\n \n \n (dismissing them)", "Close-up: Of JOHN. He smiles helplessly. \n Starts toward door.", "(hoarsely)\n \n Listen . . . John Does . . .\n \n (weakly)", "you.\n \n JOHN hangs up.\n \n The COLONEL has just reached the door", "answering.\n \n SERGEANT\n \n Who? John Doe? Is that screwball still", "JOHN\n \n (in a sepulchral voice)", "John Doe's a phoney—and they insist \n on seeing him.\n \n ANN", "What John Doe?\n \n ANN\n \n Our John Doe! The one I made up! Look,", "the John Does. We're the meek who are, \n er, supposed to inherit the earth. You'll \n find us everywhere. We raise the crops," ], [ "JOHN\n \n Long John Willoughby.\n \n (takes glove out of pocket)", "Yeah, but his name's Willoughby.\n \n DAN\n \n Oh!", "TALL CHAP\n \n Willoughby. John Willoughby, Long John", "isn't Doe. It's Willoughby.\n \n ANN", "then, see? But the real me, John Doe, \n er, that is, Long John Willoughby, I \n was the fellow up there with the book.", "there you were getting married.\n \n Close-up: Of JOHN. He suddenly becomes \n aware he is treading on sensitive grounds.", "COLONEL\n \n (ignoring him)\n \n And let me tell you, Long John. When", "JOHN\n \n No, thanks, Colonel.\n \n JOHN lifts his eyes skyward, stares", "you.\n \n JOHN hangs up.\n \n The COLONEL has just reached the door", "COLONEL\n \n Aw, Long John . . . I tell you—it's \n no good. You're gonna get used to a", "JOHN\n \n No, not that bad. It was a fella that", "JOHN\n \n (going back to her)\n \n Say, Mrs. Mitchell, I, er, I'm kinda", "JOHN\n \n (calling futilely)\n \n Hey, Colonel!", "Mr. Norton's house.\n \n JOHN\n \n Oh!", "COLONEL\n \n (crosses to John)", "JOHN\n \n (quickly—threateningly)\n \n Stop right where you are, Mr. Norton,", "John, I want to have a little talk with \n you.\n \n (lurches—John holds him up)", "He leaves her, abruptly.\n \n Int. dining room: Full shot: JOHN enters", "JOHN referred to. He is much older and \n goes by the name of COLONEL.\n \n Camera continues to pull back revealing", "JOHN\n \n (in a sepulchral voice)" ], [ "Yeah, but his name's Willoughby.\n \n DAN\n \n Oh!", "JOHN\n \n Long John Willoughby.\n \n (takes glove out of pocket)", "isn't Doe. It's Willoughby.\n \n ANN", "D. B.\n \n All right, Casanova. I'll give you a \n break. See that Miss Mitchell gets a", "TALL CHAP\n \n Willoughby. John Willoughby, Long John", "D. B.\n \n Fifteen thousand? Oh my, that's fine. \n Now, listen, Charlie, as soon as John", "Yes, sir.\n \n They exit. D. B. walks to the door, \n a pleased expression on his face.", "D. B. hands him a bill and nods toward \n the children. The BUTLER exits.", "He was paid to say so!\n \n (turning to John)\n \n Do you deny that?", "and wouldn't take any money for it? \n You remember that? Okay, boss, I'll \n go and look for her.", "MIKE\n \n Well, that's a cinch. I know somebody \n that'll give you five thousand dollars", "produced for questioning. You know as \n well as I do that this whole thing is \n being engineered by a vicious man with", "It is now replaced by one of thoughtfulness \n and interest. He looks off toward the \n foyer, and impulsively goes in that \n direction.", "And there were a lot of others that \n were going to do the same thing. Why, \n Mr. Sourpuss even got a letter from", "When you're desperate for money, you \n do a lot of things, Mr. Connell. He's \n our man, I tell you.", "(calling to men)\n \n Don't let that girl get away!\n \n The butler rushes out.", "(to Colonel)\n \n Help yourself.\n \n COLONEL", "then, see? But the real me, John Doe, \n er, that is, Long John Willoughby, I \n was the fellow up there with the book.", "He bows again, and starts for the door. \n When he gets there, he is stopped by \n MRS. MITCHELL's voice.", "B. a moment. He realizes he has been \n told to mind his own business.\n \n Two shot: CONNELL picks up his hat." ], [ "Yeah, but his name's Willoughby.\n \n DAN\n \n Oh!", "JOHN\n \n Long John Willoughby.\n \n (takes glove out of pocket)", "D. B.\n \n Fifteen thousand? Oh my, that's fine. \n Now, listen, Charlie, as soon as John", "isn't Doe. It's Willoughby.\n \n ANN", "D. B.\n \n All right, Casanova. I'll give you a \n break. See that Miss Mitchell gets a", "(eyes heaven-ward)\n \n Five thousand dollars! Holy mackerel! \n I can see the heelots comin'. The whole", "He was paid to say so!\n \n (turning to John)\n \n Do you deny that?", "JOHN\n \n Five thousand bucks! I had it right \n in my hand!", "her confession.\n \n CONNELL\n \n So you think this is worth a thousand", "and wouldn't take any money for it? \n You remember that? Okay, boss, I'll \n go and look for her.", "TALL CHAP\n \n Willoughby. John Willoughby, Long John", "Yeah. Five thousand dollars. And he \n gets it right away. You don't have to \n wait till Christmas.", "of doing it—that you were being paid \n to say so?\n \n 5. Again the girl who laughed appears:", "(tries to drop it casually)\n \n Oh, the bonus of a thousand dollars \n the Chronicle was going to pay me for", "advanced him and the letter Miss Mitchell \n wrote, for which I gave her a thousand \n dollars.\n \n CONNELL", "A hundred dollars!\n \n D. B.\n \n That's only the beginning. You play", "JOHN\n \n Yes! I was paid! But the—\n \n D. B.", "MIKE\n \n Well, that's a cinch. I know somebody \n that'll give you five thousand dollars", "(eyes popping)\n \n Five thousand dollars?\n \n MIKE", "What for? I gave you fifty just the \n other day.\n \n MOTHER" ], [ "to their hero, John Doe.\n \n Camera pans over to JOHN B. HUGHES.", "the John Does. We're the meek who are, \n er, supposed to inherit the earth. You'll \n find us everywhere. We raise the crops,", "It isn't too late. The John Doe movement \n isn't dead yet.\n \n Suddenly she becomes conscious of the", "MAN\n \n Three cheers for John Doe!\n \n JOHN", "Oh, yeah. We made Sourpuss chairman \n and decided to call ourselves The John \n Doe Club. And, say, incidentally, this", "Here you are! John Doe a fake! Read \n all about it! John Doe movement a racket!", "The John Doe idea may be the answer, \n though! It may be the one thing capable \n of saving this cockeyed world! Yet you", "Ladies and gentlemen, this certainly \n looks like the end of the John Doe movement.", "I'm glad you gentlemen are here. You've \n killed the John Doe movement, all right, \n but you're going to see it born all", "happened. They're forming John Doe Clubs. \n We know of eight already and they say \n that there's going—", "D. B.\n \n . . . Er, this John Doe idea is yours, \n huh?", "way around. This John Doe movement costs \n you a fortune. This convention's gonna \n cost plenty.", "What John Doe?\n \n ANN\n \n Our John Doe! The one I made up! Look,", "thousand people, and talking over a \n nation-wide radio hook-up, John Doe \n will announce the formation of a third \n party.", "and from now on we quote: \"I protest, \n by John Doe.\" He protests against all \n the evils in the world; the greed, the", "citizen, John Doe.'\"\n \n JOE pauses to absorb this.\n \n JOE", "This John Doe meeting is gonna be one \n of the biggest things that ever happened.", "John Doe. And He's kept that idea alive \n for nearly two thousand years.", "COLONEL\n \n Join the John Doe Club.\n \n JOHN", "Do you mean to tell me you'd try to \n kill the John Doe movement if you can't \n use it to get what you want?" ], [ "a vicious purpose—Mr. D. B. Norton.\n \n \n As he finishes saying this, Dissolve", "Mr. Norton's house.\n \n JOHN\n \n Oh!", "Norton, I mean. He's, er, he's done \n an awful lot for the—", "(to D. B.—defiantly)\n \n There you are, Norton! The people! Try \n and lick that! Come on, Colonel.", "TROOPER\n \n Mr. Norton wants to see you.\n \n ANN", "(turns to secretary)\n \n Oh, Matilda darling, phone the newspapers. \n Tell them Mr. Norton is here. Step right", "Make room for Mr. Norton. Gangway, gangway. \n Here he is, Mr. Norton, well taken care \n of. The neighbors are serving him a", "here.\"\n \n (agitated)\n \n There it is! That's D. B. Norton's opening", "over again. Now, take a good look, Mr. \n Norton.\n \n Int.: Landing to tower. Med. shot: As", "you'll be pulling the strings, Mr. Norton!\n \n \n Close-up: Of D. B. His eyes have begun", "JOHN\n \n (quickly—threateningly)\n \n Stop right where you are, Mr. Norton,", "My name is D. B. Norton . . . you all \n know me! I accuse this man of being \n a faker! We've been taken for a lot", "Cut to: Int. D. B. NORTON's study: Med. \n shot: D. B. and TED SHELDON are listening", "Look, Mr. Norton, I think you've got \n a lot of nerve having those people hold \n us here.", "If you do, Mr. Norton, you're just as \n much of a dumb cluck as he is! Excuse \n me.", "Mr. Norton! I'm Mayor Hawkins. Your \n office telephoned me to hold him.", "this whole thing to you. As you all \n know, this paper is published by a man \n by the name of D. B. Norton . . .", "inside, Mr. Norton—my office is very \n comfortable here, Mr. Norton. Just had \n it air-conditioned. Gangway, please.", "it, but it's also a windfall for somebody \n like Mr. Norton who's trying to crash \n national politics.", "sends you flowers every day. Er, what's \n his name? Mr. Norton's nephew.\n \n ? 652 ?" ], [ "Yeah, but his name's Willoughby.\n \n DAN\n \n Oh!", "Mr. Norton's house.\n \n JOHN\n \n Oh!", "a vicious purpose—Mr. D. B. Norton.\n \n \n As he finishes saying this, Dissolve", "JOHN\n \n Long John Willoughby.\n \n (takes glove out of pocket)", "(turns to secretary)\n \n Oh, Matilda darling, phone the newspapers. \n Tell them Mr. Norton is here. Step right", "TROOPER\n \n Mr. Norton wants to see you.\n \n ANN", "(suddenly)\n \n Did you speak to Mr. Norton?", "JOHN\n \n (quickly—threateningly)\n \n Stop right where you are, Mr. Norton,", "(to D. B.—defiantly)\n \n There you are, Norton! The people! Try \n and lick that! Come on, Colonel.", "Make room for Mr. Norton. Gangway, gangway. \n Here he is, Mr. Norton, well taken care \n of. The neighbors are serving him a", "Norton, I mean. He's, er, he's done \n an awful lot for the—", "isn't Doe. It's Willoughby.\n \n ANN", "here.\"\n \n (agitated)\n \n There it is! That's D. B. Norton's opening", "And there were a lot of others that \n were going to do the same thing. Why, \n Mr. Sourpuss even got a letter from", "If you do, Mr. Norton, you're just as \n much of a dumb cluck as he is! Excuse \n me.", "ANN\n \n Mr. Norton, I'd like to talk to you \n alone for a moment.", "Gee whiz, Boss, you know Mr. Norton \n told me not to leave him, not even for \n a minute.", "Mr. Norton! I'm Mayor Hawkins. Your \n office telephoned me to hold him.", "ANN\n \n (in an awed whisper)\n \n Mr. D. B. Norton!", "sends you flowers every day. Er, what's \n his name? Mr. Norton's nephew.\n \n ? 652 ?" ], [ "isn't Doe. It's Willoughby.\n \n ANN", "Yeah, but his name's Willoughby.\n \n DAN\n \n Oh!", "There! You see? He admits it! You're \n a fake, John Doe! And for what you've \n done to all these good people—they ought", "Well, I was just thinking about this \n John Doe business. Why, as soon as it \n comes out it's all a fake, you'll be", "then, see? But the real me, John Doe, \n er, that is, Long John Willoughby, I \n was the fellow up there with the book.", "You remember? What do you suppose your \n precious John Does will say when they \n find out that you never had any intention", "JOHN\n \n Long John Willoughby.\n \n (takes glove out of pocket)", "You're a fake, John Doe, and I can prove \n it! You're the big hero that's supposed \n to jump off tall buildings and things!", "John Doe's a phoney—and they insist \n on seeing him.\n \n ANN", "with another man, the one she made up. \n You know, the real John Doe. Well, that's \n pretty tough competition.", "You're a fake, John Doe, and I can prove \n it! You're the big hero that's supposed \n to jump off tall buildings and things.", "a fake!\n \n CONNELL turns sharply.\n \n Close-up: Of ANN. She was just about", "Yes. Yes. I saw it, Governor . . . and \n if you ask me that's a phoney letter. \n Why, that gag has got whiskers on it.", "And there were a lot of others that \n were going to do the same thing. Why, \n Mr. Sourpuss even got a letter from", "Doe clubs. Well, I ain't waiting another \n minute.\n \n He opens the door and when he sees the", "Yeah, maybe.\n \n NOTE: Henceforth in this script he shall \n be referred to as JOHN DOE.", "Oh, please, Mr. Doe—\n \n Close-up: Of JOHN.", "suicide or should he not! People will \n write in pleading with him. But no! \n No, sir! John Doe will remain adamant!", "Run a story. Say John Doe was in here, \n and is sorry he wrote the letter and—\n \n \n CONNELL", "now I find out it's nothing but a cheap \n racket! Cooked up by him and two of \n my employees for the sole purpose of" ], [ "You know something? I've actually fallen \n in love with him.\n \n Full shot: They are interrupted by the", "She hangs up the receiver, despairingly. \n Then, suddenly, she jumps out of bed \n and runs to a clothes closet—grabbing", "looking at her, while she clings to \n him desperately. While she speaks, he \n turns his face from her and stares at \n the men.", "JOHN\n \n And you know, I think she's in love", "But, he's gonna jump off a building!\n \n \n ANN", "She rushes and throws her arms around \n him.\n \n ANN", "button impatiently. She feels weak, \n and has to brace herself to stay on \n her feet. Suddenly, she is startled", "(suddenly)\n \n No, John, if you die, I want to die, \n too!", "(sobbing)\n \n Oh, let me go! Let me go to him! Oh,", "Yeah, but his name's Willoughby.\n \n DAN\n \n Oh!", "(overlapping above speech)\n \n Let go of me! This man had no intention \n of jumping off of the top of a building!", "futilely before him. The COLONEL reaches \n his side and glancing sympathetically \n up at his face, starts to lead him off", "suicide or should he not! People will \n write in pleading with him. But no! \n No, sir! John Doe will remain adamant!", "No, no, no. This man's going to jump \n off a roof.\n \n EDDIE", "Dissolve to: Ext.: Clearing under the \n bridge. Close-up: Of JOHN. He sits on \n a rock, his head bent low, tears streaming", "(in a desperate plea)\n \n John. Please, John, listen to me. We'll \n start all over again, just you and I.", "John!\n \n She takes his face in her two hands \n and turns it to her.", "to jump off any roof a'tall. Oh, we'll \n stop it!\n \n ANN completes the phone call—crosses", "ANN is deeply concerned. She watches \n him, helplessly.\n \n JOHN", "Please—I can explain everything, John. \n I didn't know what they were going to \n do! Let me go with you, John! John," ], [ "JOHN\n \n Long John Willoughby.\n \n (takes glove out of pocket)", "Yeah, but his name's Willoughby.\n \n DAN\n \n Oh!", "TALL CHAP\n \n Willoughby. John Willoughby, Long John", "then, see? But the real me, John Doe, \n er, that is, Long John Willoughby, I \n was the fellow up there with the book.", "isn't Doe. It's Willoughby.\n \n ANN", "COLONEL\n \n (ignoring him)\n \n And let me tell you, Long John. When", "there you were getting married.\n \n Close-up: Of JOHN. He suddenly becomes \n aware he is treading on sensitive grounds.", "JOHN\n \n No, thanks, Colonel.\n \n JOHN lifts his eyes skyward, stares", "you.\n \n JOHN hangs up.\n \n The COLONEL has just reached the door", "COLONEL\n \n Aw, Long John . . . I tell you—it's \n no good. You're gonna get used to a", "JOHN\n \n (going back to her)\n \n Say, Mrs. Mitchell, I, er, I'm kinda", "Mr. Norton's house.\n \n JOHN\n \n Oh!", "JOHN\n \n (calling futilely)\n \n Hey, Colonel!", "JOHN\n \n (quickly—threateningly)\n \n Stop right where you are, Mr. Norton,", "He leaves her, abruptly.\n \n Int. dining room: Full shot: JOHN enters", "John, I want to have a little talk with \n you.\n \n (lurches—John holds him up)", "JOHN\n \n No, not that bad. It was a fella that", "hounds wait for JOHN.\n \n COLONEL\n \n Gangway, you heelots!", "(at John's elbow)\n \n Never mind. Let him alone. He's all \n right. I'll be right over there pulling", "COLONEL\n \n (crosses to John)" ], [ "JOHN\n \n Long John Willoughby.\n \n (takes glove out of pocket)", "Yeah, but his name's Willoughby.\n \n DAN\n \n Oh!", "TALL CHAP\n \n Willoughby. John Willoughby, Long John", "isn't Doe. It's Willoughby.\n \n ANN", "then, see? But the real me, John Doe, \n er, that is, Long John Willoughby, I \n was the fellow up there with the book.", "John, I want to have a little talk with \n you.\n \n (lurches—John holds him up)", "He was paid to say so!\n \n (turning to John)\n \n Do you deny that?", "Er, would you, er, would you like to \n make some money?\n \n JOHN", "D. B.\n \n Fifteen thousand? Oh my, that's fine. \n Now, listen, Charlie, as soon as John", "JOHN\n \n (going back to her)\n \n Say, Mrs. Mitchell, I, er, I'm kinda", "there you were getting married.\n \n Close-up: Of JOHN. He suddenly becomes \n aware he is treading on sensitive grounds.", "D. B.\n \n John—\n \n (concerned)", "Mr. Norton's house.\n \n JOHN\n \n Oh!", "JOHN\n \n (quickly—threateningly)\n \n Stop right where you are, Mr. Norton,", "and happy guy you used to be. You gotta \n have money to pay for all those things—so \n you go after what the other feller's", "Dissolve to: Ext.: Clearing under the \n bridge. Close-up: Of JOHN. He sits on \n a rock, his head bent low, tears streaming", "JOHN\n \n Yeah, yeah, but look, Mrs. Mitchell,", "He leaves her, abruptly.\n \n Int. dining room: Full shot: JOHN enters", "COLONEL\n \n (ignoring him)\n \n And let me tell you, Long John. When", "you.\n \n JOHN hangs up.\n \n The COLONEL has just reached the door" ], [ "It's for Ann . . .\n \n MRS. MITCHELL\n \n (taking the box)", "Do it, and I'll give you a hundred dollars \n a week.\n \n ANN", "Close shot: Of the girl. Her name is \n ANN MITCHELL. She stands, thinking, \n and then suddenly, impulsively, wheels", "And, Miss Mitchell—I think from now \n on you'd better work directly with me.\n \n \n ANN", "MRS. MITCHELL\n \n Oh, Ann, dear!", "D. B.\n \n All right, Casanova. I'll give you a \n break. See that Miss Mitchell gets a", "advanced him and the letter Miss Mitchell \n wrote, for which I gave her a thousand \n dollars.\n \n CONNELL", "This is my nephew, Ted Sheldon, Miss \n Mitchell.\n \n ANN", "ANN\n \n Sure! When you get hold of a stunt that \n sells papers you don't drop it like", "sees her.\n \n CONNELL\n \n (into phone—staring at Ann)", "of doing it—that you were being paid \n to say so?\n \n 5. Again the girl who laughed appears:", "a coat and scarf.\n \n MRS. MITCHELL\n \n Why, Ann! . . .", "ANN comes out. Suddenly, she stops, \n gets another idea, picks up a book from \n a desk, and reaches back to heave it.", "Int.: Police station. Med. shot: ANN \n and her mother sit on a bench. A policeman \n is in the background. ANN stares into", "may I offer a little toast to Miss Ann \n Mitchell—the brilliant and beautiful \n lady who is responsible for all this!", "JOHN\n \n Yeah, yeah, but look, Mrs. Mitchell,", "Close-up: Of MRS. MITCHELL. She watches \n him, amused.\n \n JOHN", "John Doe and Miss Mitchell and handle \n the press and the radio.\n \n CHARLIE", "Camera pans with her as she goes back \n to ANN.\n \n MOTHER", "and you hate to let go.\n \n ANN\n \n Sure, it's a meal ticket for me. I admit" ], [ "to their hero, John Doe.\n \n Camera pans over to JOHN B. HUGHES.", "the John Does. We're the meek who are, \n er, supposed to inherit the earth. You'll \n find us everywhere. We raise the crops,", "It isn't too late. The John Doe movement \n isn't dead yet.\n \n Suddenly she becomes conscious of the", "The John Doe idea may be the answer, \n though! It may be the one thing capable \n of saving this cockeyed world! Yet you", "MAN\n \n Three cheers for John Doe!\n \n JOHN", "Oh, yeah. We made Sourpuss chairman \n and decided to call ourselves The John \n Doe Club. And, say, incidentally, this", "Ladies and gentlemen, this certainly \n looks like the end of the John Doe movement.", "I'm glad you gentlemen are here. You've \n killed the John Doe movement, all right, \n but you're going to see it born all", "citizen, John Doe.'\"\n \n JOE pauses to absorb this.\n \n JOE", "Even a conservative estimate shows that \n we can count on anywhere between ten \n and twenty million John Doe votes. Now,", "Here you are! John Doe a fake! Read \n all about it! John Doe movement a racket!", "thousand people, and talking over a \n nation-wide radio hook-up, John Doe \n will announce the formation of a third \n party.", "D. B.\n \n This John Doe convention is a natural. \n It's gonna put our city on the map.", "happened. They're forming John Doe Clubs. \n We know of eight already and they say \n that there's going—", "way around. This John Doe movement costs \n you a fortune. This convention's gonna \n cost plenty.", "D. B.\n \n . . . Er, this John Doe idea is yours, \n huh?", "Why, over twentyfour hundred John Doe \n clubs are sending delegates. Can you \n imagine that? You, Mr. Mayor, will be", "people, don't you? Well, put John Doe \n on the air and you can reach a hundred \n and fifty million of 'em. He can say", "influence people, it might grow into \n a glorious movement.\n \n JOHN", "Mr. Doe. The speech will continue.\n \n \n Med. shot: Featuring JOHN and ANN." ], [ "My name is D. B. Norton . . . you all \n know me! I accuse this man of being \n a faker! We've been taken for a lot", "here.\"\n \n (agitated)\n \n There it is! That's D. B. Norton's opening", "a vicious purpose—Mr. D. B. Norton.\n \n \n As he finishes saying this, Dissolve", "Jim thinks it's D. B. Norton at work.\n \n \n JIM", "D. B.\n \n . . . Er, this John Doe idea is yours, \n huh?", "this whole thing to you. As you all \n know, this paper is published by a man \n by the name of D. B. Norton . . .", "(to D. B.—defiantly)\n \n There you are, Norton! The people! Try \n and lick that! Come on, Colonel.", "There! You see? He admits it! You're \n a fake, John Doe! And for what you've \n done to all these good people—they ought", "Cut to: Int. D. B. NORTON's study: Med. \n shot: D. B. and TED SHELDON are listening", "ANN\n \n (in an awed whisper)\n \n Mr. D. B. Norton!", "A big, rich slob like D. B. Norton buys \n a paper—and forty heads are chopped \n off!", "back there, you!\" He means us, the John \n Does!\n \n Cut to: Int. D. B. 's study:", "Mr. Norton's house.\n \n JOHN\n \n Oh!", "you'll be pulling the strings, Mr. Norton!\n \n \n Close-up: Of D. B. His eyes have begun", "with his foot. Just as he straightens \n out again, D. B. speaks.\n \n D. B.", "D. B.\n \n John—\n \n (concerned)", "(turns to secretary)\n \n Oh, Matilda darling, phone the newspapers. \n Tell them Mr. Norton is here. Step right", "JOHN\n \n (quickly—threateningly)\n \n Stop right where you are, Mr. Norton,", "Oh, yeah. We made Sourpuss chairman \n and decided to call ourselves The John \n Doe Club. And, say, incidentally, this", "Their eyes riveted on JOHN. They feel \n the moment has come. Several of them \n glance toward D. B." ], [ "a vicious purpose—Mr. D. B. Norton.\n \n \n As he finishes saying this, Dissolve", "Yeah, but his name's Willoughby.\n \n DAN\n \n Oh!", "My name is D. B. Norton . . . you all \n know me! I accuse this man of being \n a faker! We've been taken for a lot", "you'll be pulling the strings, Mr. Norton!\n \n \n Close-up: Of D. B. His eyes have begun", "here.\"\n \n (agitated)\n \n There it is! That's D. B. Norton's opening", "Yes, sir.\n \n They exit. D. B. walks to the door, \n a pleased expression on his face.", "with his foot. Just as he straightens \n out again, D. B. speaks.\n \n D. B.", "D. B.\n \n All right, Casanova. I'll give you a \n break. See that Miss Mitchell gets a", "D. B.\n \n Oh, oh.\n \n (chortling)", "speaks to D. B.\n \n WESTON\n \n As I said before, I'm with you—providing", "D. B.\n \n I'll stop him! I'll stop him cold! Don't \n worry, I've been ready for this!", "JOHN\n \n Long John Willoughby.\n \n (takes glove out of pocket)", "(to D. B.—defiantly)\n \n There you are, Norton! The people! Try \n and lick that! Come on, Colonel.", "Cut to: Int. D. B.'s study. Med. shot: \n In the dimly lit room, we see the lonely \n figure of D. B., as he stands near a", "at the others, and grins awkwardly.\n \n \n Close shot: Of D. B. as he signals to", "Cut to: Int. D. B. NORTON's study: Med. \n shot: D. B. and TED SHELDON are listening", "(whispering)\n \n We've been double-crossed!", "Jim thinks it's D. B. Norton at work.\n \n \n JIM", "D. B.\n \n Fifteen thousand? Oh my, that's fine. \n Now, listen, Charlie, as soon as John", "A big, rich slob like D. B. Norton buys \n a paper—and forty heads are chopped \n off!" ], [ "MRS. MITCHELL\n \n Oh, Ann, dear!", "you know I love Ann and it's gonna be \n awfully hard for me to say it because, \n well, you know, she's so wonderful,", "It's for Ann . . .\n \n MRS. MITCHELL\n \n (taking the box)", "a coat and scarf.\n \n MRS. MITCHELL\n \n Why, Ann! . . .", "ANN is deeply concerned. She watches \n him, helplessly.\n \n JOHN", "troublesome to her.\n \n ANN\n \n (hoarsely)", "Close shot: Of the girl. Her name is \n ANN MITCHELL. She stands, thinking, \n and then suddenly, impulsively, wheels", "MRS. MITCHELL'S VOICE\n \n John. My husband said: \"I love you. \n Will you marry me?\"", "turns and looks at ANN.\n \n Close-up: Of ANN. A warm, pleading look \n in her eyes.", "publicly that on Christmas Eve he intends \n to commit suicide, giving as his reason—quote: \n \"I protest against the state of civilization.\"", "ANN comes out. Suddenly, she stops, \n gets another idea, picks up a book from \n a desk, and reaches back to heave it.", "Ann, darling!\n \n ANN\n \n Oh, Mother! They won't let me go! They", "isn't Doe. It's Willoughby.\n \n ANN", "MRS. MITCHELL\n \n (turning to him)", "and you hate to let go.\n \n ANN\n \n Sure, it's a meal ticket for me. I admit", "may I offer a little toast to Miss Ann \n Mitchell—the brilliant and beautiful \n lady who is responsible for all this!", "ANN forces a smile. The moment threatens \n to become awkward—until they are saved \n by the pilot's voice.", "JOHN\n \n (going back to her)\n \n Say, Mrs. Mitchell, I, er, I'm kinda", "Close-up: Of MRS. MITCHELL. She begins \n to sense what is on his mind, and her \n face becomes serious.", "suicide or should he not! People will \n write in pleading with him. But no! \n No, sir! John Doe will remain adamant!" ], [ "suicide or should he not! People will \n write in pleading with him. But no! \n No, sir! John Doe will remain adamant!", "publicly that on Christmas Eve he intends \n to commit suicide, giving as his reason—quote: \n \"I protest against the state of civilization.\"", "isn't Doe. It's Willoughby.\n \n ANN", "JOHN\n \n Long John Willoughby.\n \n (takes glove out of pocket)", "And there were a lot of others that \n were going to do the same thing. Why, \n Mr. Sourpuss even got a letter from", "(over-lapping above speech)\n \n And what about the suicide note? You", "Yeah, but his name's Willoughby.\n \n DAN\n \n Oh!", "then, see? But the real me, John Doe, \n er, that is, Long John Willoughby, I \n was the fellow up there with the book.", "hire someone to say he's gonna commit \n suicide on Christmas Eve? Is that it?\n \n \n ANN", "gonna jump off the City Hall roof at \n midnight on Christmas Eve. Now, I guess \n I'm not average any more. Now, I'm getting", "to their hero, John Doe.\n \n Camera pans over to JOHN B. HUGHES.", "They all say they wrote the John Doe \n letter.\n \n Med. shot: POP and ANN have walked over", "You're a fake, John Doe, and I can prove \n it! You're the big hero that's supposed \n to jump off tall buildings and things!", "You're a fake, John Doe, and I can prove \n it! You're the big hero that's supposed \n to jump off tall buildings and things.", "Dissolve to: Ext.: Clearing under the \n bridge. Close-up: Of JOHN. He sits on \n a rock, his head bent low, tears streaming", "Well, I was just thinking about this \n John Doe business. Why, as soon as it \n comes out it's all a fake, you'll be", "don't you? Well, you don't have to die \n to keep the John Doe idea alive! Someone \n already died for that once! The first", "You remember? What do you suppose your \n precious John Does will say when they \n find out that you never had any intention", "Run a story. Say John Doe was in here, \n and is sorry he wrote the letter and—\n \n \n CONNELL", "(loses control—screams)\n \n What John Doe?" ], [ "They all say they wrote the John Doe \n letter.\n \n Med. shot: POP and ANN have walked over", "the John Does. We're the meek who are, \n er, supposed to inherit the earth. You'll \n find us everywhere. We raise the crops,", "to their hero, John Doe.\n \n Camera pans over to JOHN B. HUGHES.", "D. B.\n \n . . . Er, this John Doe idea is yours, \n huh?", "Run a story. Say John Doe was in here, \n and is sorry he wrote the letter and—\n \n \n CONNELL", "CONNELL\n \n The letter from John Doe.\n \n ANN", "The John Doe idea may be the answer, \n though! It may be the one thing capable \n of saving this cockeyed world! Yet you", "4. Flashes of sheets of paper being \n ripped out of a typewriter.\n \n 5. Flashes of JOHN on the radio—with", "thing. Now the first thing I want is \n an exact copy of the John Doe letter \n in your own handwriting.", "You're a fake, John Doe, and I can prove \n it! You're the big hero that's supposed \n to jump off tall buildings and things!", "John Doe and Miss Mitchell and handle \n the press and the radio.\n \n CHARLIE", "As soon as he gets strong enough, we'll \n find out what John Doe wants! Thirty \n every Thursday—sixty at sixty—who knows", "JOHN\n \n I'm gonna talk about us, the average \n guys, the John Does. If anybody should", "Yeah, maybe.\n \n NOTE: Henceforth in this script he shall \n be referred to as JOHN DOE.", "I still say that this John Doe person \n is a myth. And you can quote me on that. \n And I'm going to insist on his being", "suicide or should he not! People will \n write in pleading with him. But no! \n No, sir! John Doe will remain adamant!", "Well, I was just thinking about this \n John Doe business. Why, as soon as it \n comes out it's all a fake, you'll be", "\"GOODBYE JOHN DOE, CALL AGAIN\"\n \n 2. Close-ups of JOHN speaking—superimposed", "\"John Doe story amateur journalism. \n It's palpably phoney. It's a wonder \n anyone is taking it seriously.\" What", "You're a fake, John Doe, and I can prove \n it! You're the big hero that's supposed \n to jump off tall buildings and things." ], [ "Yeah, but his name's Willoughby.\n \n DAN\n \n Oh!", "JOHN\n \n Long John Willoughby.\n \n (takes glove out of pocket)", "(calling to men)\n \n Don't let that girl get away!\n \n The butler rushes out.", "isn't Doe. It's Willoughby.\n \n ANN", "BEANY suddenly realizes he has gone—and \n chases after him.\n \n BEANY", "to run you out of the country—and I \n hope they do it!\n \n He leaves the platform—followed by his", "He's getting away!\n \n ANN\n \n John!", "They all look up, startled.\n \n COLONEL\n \n They got you. Well, I'm through.", "futilely before him. The COLONEL reaches \n his side and glancing sympathetically \n up at his face, starts to lead him off", "(to John)\n \n Hey. Let's get out o' here. There's \n the door right there.", "And there were a lot of others that \n were going to do the same thing. Why, \n Mr. Sourpuss even got a letter from", "there you were getting married.\n \n Close-up: Of JOHN. He suddenly becomes \n aware he is treading on sensitive grounds.", "He turns to leave.\n \n Close shot: Of SOURPUSS, who, heartbroken, \n stops BERT.", "He leaves her, abruptly.\n \n Int. dining room: Full shot: JOHN enters", "Well, nobody asked yuh.\n \n COLONEL\n \n Trying to improve the world by jumping", "He bows again, and starts for the door. \n When he gets there, he is stopped by \n MRS. MITCHELL's voice.", "his bent cigarette—and again is unsuccessful.\n \n \n JOHN", "Dissolve to: Ext.: Clearing under the \n bridge. Close-up: Of JOHN. He sits on \n a rock, his head bent low, tears streaming", "with his proposal unfinished.\n \n Dissolve to: Int. airport lunchroom—night. \n Med. shot: Scene opens with BEANY entering", "(muffled sobs)\n \n Oh, John, darling. No! No!" ], [ "this little document. You'll find it \n says, er: \"I, Ann Mitchell, hereby certify \n that the John Doe letter was created", "ANN\n \n Sure! When you get hold of a stunt that \n sells papers you don't drop it like", "ANN\n \n Oh, it started as a circulation stunt, \n but it isn't any more. Mr. Norton wants", "It's for Ann . . .\n \n MRS. MITCHELL\n \n (taking the box)", "John Doe and Miss Mitchell and handle \n the press and the radio.\n \n CHARLIE", "What John Doe?\n \n ANN\n \n Our John Doe! The one I made up! Look,", "The letter.\n \n ANN\n \n What letter?", "Run a story. Say John Doe was in here, \n and is sorry he wrote the letter and—\n \n \n CONNELL", "in here and I made him change his mind. \n \"Bulletin editor saves John Doe's life.\" \n Why, it's perfect. I'll have Ned write", "ANN comes out. Suddenly, she stops, \n gets another idea, picks up a book from \n a desk, and reaches back to heave it.", "they're saying about you.\n \n JOHN\n \n Look, it started as a circulation stunt,", "JOHN\n \n Yeah, yeah, but look, Mrs. Mitchell,", "(she turns to D. B.)\n \n That's what you bought the newspaper \n for, isn't it? You wanta reach a lotta", "CONNELL\n \n The letter from John Doe.\n \n ANN", "\"John Doe story amateur journalism. \n It's palpably phoney. It's a wonder \n anyone is taking it seriously.\" What", "ANN\n \n So! So he writes me a letter and I dig \n him up. He pours out his soul to me,", "JOHN\n \n You're all wet. Miss Mitchell writes \n those speeches and nobody can make her", "Close shot: Of the girl. Her name is \n ANN MITCHELL. She stands, thinking, \n and then suddenly, impulsively, wheels", "Three hundred thousand? What makes them \n do it, Ann? What makes them come and \n listen and, and get up their John Doe", "in his pocket—and starts reading ANN'S \n speech.\n \n JOHN" ], [ "The letter.\n \n ANN\n \n What letter?", "And there were a lot of others that \n were going to do the same thing. Why, \n Mr. Sourpuss even got a letter from", "attack on the Governor!\n \n 2ND MAN\n \n Why Jim, it's just a letter sent in", "(reading)\n \n \"Below is a letter which reached my \n desk this morning. It's a commentary", "the letter into the chute.\n \n Ext.: City Hall roof. Full shot: The \n place is silent except for occasional", "Run a story. Say John Doe was in here, \n and is sorry he wrote the letter and—\n \n \n CONNELL", "Yes. Yes. I saw it, Governor . . . and \n if you ask me that's a phoney letter. \n Why, that gag has got whiskers on it.", "Yeah, but it's got everybody sore. Ads \n are being pulled—the Governor's starting \n a libel suit—what's more, they all know", "they're saying about you.\n \n JOHN\n \n Look, it started as a circulation stunt,", "(tries to drop it casually)\n \n Oh, the bonus of a thousand dollars \n the Chronicle was going to pay me for", "I've taken care of that. I've already \n mailed a copy of this letter to Mr. \n Connell.", "ANN\n \n So! So he writes me a letter and I dig \n him up. He pours out his soul to me,", "End quote. Ladies and gentlemen, the \n New Bulletin takes pleasure in presenting \n the man who is fast becoming the most", "this little document. You'll find it \n says, er: \"I, Ann Mitchell, hereby certify \n that the John Doe letter was created", "? 586 ?\n \n He picks up the front page of the Bulletin;", "Close shot: Of JOHN. He looks up, terror-stricken.\n \n \n Med. shot: At press section. Great excitement", "with excitement.\n \n SPENCER\n \n Phone the Chronicle . Tell 'em to start", "in here and I made him change his mind. \n \"Bulletin editor saves John Doe's life.\" \n Why, it's perfect. I'll have Ned write", "Oh, they all wrote the letter?\n \n ANN pushes CONNELL aside—talks to BEANY.", "immediately attacks the sign. As the \n lettering is being obliterated,\n \n Dissolve to: Close-up: A new plaque" ], [ "Close-up: Of MRS. MITCHELL. She begins \n to sense what is on his mind, and her \n face becomes serious.", "And, Miss Mitchell—I think from now \n on you'd better work directly with me.\n \n \n ANN", "JOHN\n \n (going back to her)\n \n Say, Mrs. Mitchell, I, er, I'm kinda", "ANN comes out. Suddenly, she stops, \n gets another idea, picks up a book from \n a desk, and reaches back to heave it.", "MRS. MITCHELL\n \n (turning to him)", "on what we laughingly call the civilized \n world. 'Dear Miss Mitchell: Four years \n ago I was fired out of my job. Since", "Close-up: Of MRS. MITCHELL. She watches \n him, amused.\n \n JOHN", "JOHN\n \n Yeah, yeah, but look, Mrs. Mitchell,", "MRS. MITCHELL crosses to a desk, finds \n a key and unlocks a compartment. ANN \n watches her, curiously.", "She hangs up the receiver, despairingly. \n Then, suddenly, she jumps out of bed \n and runs to a clothes closet—grabbing", "MRS. MITCHELL\n \n No, she just left. I'm surprised you \n didn't run into her. She went over to", "D. B.\n \n All right, Casanova. I'll give you a \n break. See that Miss Mitchell gets a", "Okay, sister, you get your job back.\n \n \n ANN", "Close shot: Of the girl. Her name is \n ANN MITCHELL. She stands, thinking, \n and then suddenly, impulsively, wheels", "MRS. MITCHELL'S VOICE\n \n John. My husband said: \"I love you. \n Will you marry me?\"", "suddenly stops, speculatively. He glances \n out of the corner of his eye toward \n MRS. MITCHELL.", "It is now replaced by one of thoughtfulness \n and interest. He looks off toward the \n foyer, and impulsively goes in that \n direction.", "Suddenly she stops pacing. Her eyes \n widen as a fiendish idea strikes her.\n \n \n ANN", "Two shot: JOHN and MRS. MITCHELL. He \n stares at her a second.\n \n JOHN", "? 658 ?\n \n MRS. MITCHELL\n \n Did you want to see her about something" ], [ "CONNELL\n \n Oh, quiet, quiet, quiet.\n \n (to John)", "works. He is painting HENRY CONNELL's \n name on the door. It opens and a flip \n office boy emerges. The painter has", "CONNELL\n \n (sighing)\n \n Miss Mitchell, do me a favor, will you?", "JOHN\n \n Hello, Mr. Connell.\n \n CONNELL", "Oh.\n \n CONNELL\n \n (to John)", "JOHN\n \n No, sir.\n \n Two shot: JOHN and CONNELL.", "Two shot: JOHN and CONNELL.\n \n CONNELL", "Close-up: Of MRS. MITCHELL. She watches \n him, amused.\n \n JOHN", "JOHN\n \n You're all wet. Miss Mitchell writes \n those speeches and nobody can make her", "CONNELL\n \n The letter from John Doe.\n \n ANN", "JOHN\n \n Yeah, yeah, but look, Mrs. Mitchell,", "JOHN\n \n Sure.\n \n CONNELL", "CONNELL\n \n (voice lowers)\n \n He was killed, John.", "JOHN—who towers over CONNELL.\n \n Wider shot: JOHN is still holding CONNELL,", "MRS. MITCHELL\n \n Oh, John. Come in.\n \n JOHN", "GROOM\n \n Mr. Connell and Miss Mitchell are at \n the house, sir.", "John Doe and Miss Mitchell and handle \n the press and the radio.\n \n CHARLIE", "JOHN\n \n (going back to her)\n \n Say, Mrs. Mitchell, I, er, I'm kinda", "I think maybe you'd better. And Connell—I'd \n like to have the John Doe contract, \n all the receipts for the money we have", "You must be wrong, Mr. Connell, 'cause \n he's been marvelous about the John Doe \n Clubs." ], [ "John Doe and Miss Mitchell and handle \n the press and the radio.\n \n CHARLIE", "to their hero, John Doe.\n \n Camera pans over to JOHN B. HUGHES.", "\"John Doe story amateur journalism. \n It's palpably phoney. It's a wonder \n anyone is taking it seriously.\" What", "your John Doe. They're desperate and \n will do anything for a cup of coffee. \n Pick one out and you can make the Chronicle", "in here and I made him change his mind. \n \"Bulletin editor saves John Doe's life.\" \n Why, it's perfect. I'll have Ned write", "Two shot: JOHN and MRS. MITCHELL. He \n stares at her a second.\n \n JOHN", "JOHN\n \n Yeah, yeah, but look, Mrs. Mitchell,", "people, don't you? Well, put John Doe \n on the air and you can reach a hundred \n and fifty million of 'em. He can say", "Close-up: Of MRS. MITCHELL. She watches \n him, amused.\n \n JOHN", "MRS. MITCHELL'S VOICE\n \n John. My husband said: \"I love you. \n Will you marry me?\"", "Two shot: JOHN and MRS. MITCHELL. She \n is terribly fond of JOHN and deeply \n sympathetic.", "NED\n \n Look, Chief! Look what the Chronicle \n is running on John Doe. They say it's", "they're saying about you.\n \n JOHN\n \n Look, it started as a circulation stunt,", "Run a story. Say John Doe was in here, \n and is sorry he wrote the letter and—\n \n \n CONNELL", "with another man, the one she made up. \n You know, the real John Doe. Well, that's \n pretty tough competition.", "the John Does. We're the meek who are, \n er, supposed to inherit the earth. You'll \n find us everywhere. We raise the crops,", "JOHN\n \n You're all wet. Miss Mitchell writes \n those speeches and nobody can make her", "let the Chronicle get the laugh on us! \n We've got to produce a John Doe now.", "Close shot: Of JOHN. He looks up, terror-stricken.\n \n \n Med. shot: At press section. Great excitement", "ANN\n \n Sure! When you get hold of a stunt that \n sells papers you don't drop it like" ], [ "JOHN\n \n Long John Willoughby.\n \n (takes glove out of pocket)", "to their hero, John Doe.\n \n Camera pans over to JOHN B. HUGHES.", "Yeah, maybe.\n \n NOTE: Henceforth in this script he shall \n be referred to as JOHN DOE.", "isn't Doe. It's Willoughby.\n \n ANN", "then, see? But the real me, John Doe, \n er, that is, Long John Willoughby, I \n was the fellow up there with the book.", "Yeah, but his name's Willoughby.\n \n DAN\n \n Oh!", "As soon as he gets strong enough, we'll \n find out what John Doe wants! Thirty \n every Thursday—sixty at sixty—who knows", "There! You see? He admits it! You're \n a fake, John Doe! And for what you've \n done to all these good people—they ought", "with another man, the one she made up. \n You know, the real John Doe. Well, that's \n pretty tough competition.", "Who'd you say it was?\n \n DAN\n \n John Doe! The big guy there! Picture's", "What John Doe?\n \n ANN\n \n Our John Doe! The one I made up! Look,", "D. B.\n \n . . . Er, this John Doe idea is yours, \n huh?", "Oh, yeah. We made Sourpuss chairman \n and decided to call ourselves The John \n Doe Club. And, say, incidentally, this", "your John Doe. They're desperate and \n will do anything for a cup of coffee. \n Pick one out and you can make the Chronicle", "the John Does. We're the meek who are, \n er, supposed to inherit the earth. You'll \n find us everywhere. We raise the crops,", "answering.\n \n SERGEANT\n \n Who? John Doe? Is that screwball still", "JOHN\n \n Yes! I was paid! But the—\n \n D. B.", "MAN\n \n Three cheers for John Doe!\n \n JOHN", "He was paid to say so!\n \n (turning to John)\n \n Do you deny that?", "You remember? What do you suppose your \n precious John Does will say when they \n find out that you never had any intention" ], [ "advanced him and the letter Miss Mitchell \n wrote, for which I gave her a thousand \n dollars.\n \n CONNELL", "And, Miss Mitchell—I think from now \n on you'd better work directly with me.\n \n \n ANN", "Close-up: Of MRS. MITCHELL. She watches \n him, amused.\n \n JOHN", "Do it, and I'll give you a hundred dollars \n a week.\n \n ANN", "Two shot: JOHN and MRS. MITCHELL. He \n stares at her a second.\n \n JOHN", "D. B.\n \n All right, Casanova. I'll give you a \n break. See that Miss Mitchell gets a", "JOHN\n \n Yeah, yeah, but look, Mrs. Mitchell,", "MRS. MITCHELL\n \n (turning to him)", "John Doe and Miss Mitchell and handle \n the press and the radio.\n \n CHARLIE", "on what we laughingly call the civilized \n world. 'Dear Miss Mitchell: Four years \n ago I was fired out of my job. Since", "MRS. MITCHELL crosses to a desk, finds \n a key and unlocks a compartment. ANN \n watches her, curiously.", "Close-up: Of MRS. MITCHELL. She begins \n to sense what is on his mind, and her \n face becomes serious.", "MRS. MITCHELL\n \n (finds his hat and gives it to him)", "The men rise.\n \n GROUP\n \n Miss Mitchell! Miss Mitchell!", "JOHN\n \n You're all wet. Miss Mitchell writes \n those speeches and nobody can make her", "MRS. MITCHELL'S VOICE\n \n Good night, John.", "I'll tell you what I'll do. I get thirty \n dollars a week. I'll take twenty-five,", "MRS. MITCHELL'S VOICE\n \n John. My husband said: \"I love you. \n Will you marry me?\"", "JOHN\n \n (going back to her)\n \n Say, Mrs. Mitchell, I, er, I'm kinda", "suddenly stops, speculatively. He glances \n out of the corner of his eye toward \n MRS. MITCHELL." ], [ "Yeah, but his name's Willoughby.\n \n DAN\n \n Oh!", "Well, sir, you see, me and my wife, \n we heard your broadcast, and we got \n quite a bang out of it, especially my", "JOHN\n \n Long John Willoughby.\n \n (takes glove out of pocket)", "been able to shake him since.\n \n Full shot: Suddenly, he starts to play \n the overture from \"William Tell.\" The", "radio on a table are all the household \n help. They listen, fascinated.\n \n Int. foyer: Closeup of D. B. His eyes", "on the radio. If you're going to have \n him say anything, why don't you let \n him say something simple and real, something", "(to D. B.)\n \n You own a radio station, Mr. Norton. \n Why not put him on the air?", "Yes, sir.\n \n They exit. D. B. walks to the door, \n a pleased expression on his face.", "gonna give up his life for a principle, \n hundreds of thousands of people are \n gonna listen to him over the radio and,", "Med. shot: Of the audience. They too \n realize it is over—and gradually they \n rise and applaud him wildly, and the", "the microphone.\n \n JOHN\n \n Please listen, folks! Now that he's", "It is now replaced by one of thoughtfulness \n and interest. He looks off toward the \n foyer, and impulsively goes in that \n direction.", "Go down to the office and arrange for \n some radio time.\n \n CONNELL", "Just like you said on the radio, Mr. \n Doe.\n \n SOURPUSS", "a radio speech that would put that fellow \n over?\n \n ANN", "radio announcer.\n \n ANNOUNCER\n \n I'm afraid it'll be John Doe. Listen", "to JOHN's speech over the radio. D. \n B. is astonished at the disturbance \n in the program.", "and proceed to the microphones. Everyone \n stares curiously at JOHN—whispering \n to each other.", "Listen, ladies and gentlemen!\n \n Before he can go any further, the band \n strikes up the strain of \"AMERICA\" and", "you.\n \n JOHN hangs up.\n \n The COLONEL has just reached the door" ], [ "isn't Doe. It's Willoughby.\n \n ANN", "JOHN\n \n Long John Willoughby.\n \n (takes glove out of pocket)", "then, see? But the real me, John Doe, \n er, that is, Long John Willoughby, I \n was the fellow up there with the book.", "Yeah, but his name's Willoughby.\n \n DAN\n \n Oh!", "Well, the whole town's curious about \n John Doe and, boom, just like that you're", "As soon as he gets strong enough, we'll \n find out what John Doe wants! Thirty \n every Thursday—sixty at sixty—who knows", "to their hero, John Doe.\n \n Camera pans over to JOHN B. HUGHES.", "the John Does. We're the meek who are, \n er, supposed to inherit the earth. You'll \n find us everywhere. We raise the crops,", "Oh, yeah. We made Sourpuss chairman \n and decided to call ourselves The John \n Doe Club. And, say, incidentally, this", "TOWNSPEOPLE\n \n There he is!\n \n John Doe!", "You remember? What do you suppose your \n precious John Does will say when they \n find out that you never had any intention", "There! You see? He admits it! You're \n a fake, John Doe! And for what you've \n done to all these good people—they ought", "What does John Doe look like, Mr. Mayor.\n \n \n MAYOR HAWKINS", "Yeah, maybe.\n \n NOTE: Henceforth in this script he shall \n be referred to as JOHN DOE.", "What John Doe?\n \n ANN\n \n Our John Doe! The one I made up! Look,", "Do you remember? What do you suppose \n your precious John Does will say when \n they find out that you never had any", "answering.\n \n SERGEANT\n \n Who? John Doe? Is that screwball still", "MRS. BREWSTER\n \n I insist that this John Doe man be found \n and given a job at once. If something", "never guess that, would you? Well, I \n have. Want to know what it is?\n \n JOHN nods.", "D. B.\n \n . . . Er, this John Doe idea is yours, \n huh?" ], [ "Yeah, but his name's Willoughby.\n \n DAN\n \n Oh!", "isn't Doe. It's Willoughby.\n \n ANN", "It is now replaced by one of thoughtfulness \n and interest. He looks off toward the \n foyer, and impulsively goes in that \n direction.", "And there were a lot of others that \n were going to do the same thing. Why, \n Mr. Sourpuss even got a letter from", "JOHN\n \n Long John Willoughby.\n \n (takes glove out of pocket)", "publicly that on Christmas Eve he intends \n to commit suicide, giving as his reason—quote: \n \"I protest against the state of civilization.\"", "But no, no, he has a better idea. The \n City Hall. Why? Because he wants to \n attract attention. He wants to get a", "a vicious purpose—Mr. D. B. Norton.\n \n \n As he finishes saying this, Dissolve", "Yes, sir.\n \n They exit. D. B. walks to the door, \n a pleased expression on his face.", "the world!\n \n He has finished—but does not move. He \n drops his head to conceal the moisture", "BEANY\n \n Yeah. Just use the phone.\n \n The thought of this delights JOHN.", "As soon as he gets strong enough, we'll \n find out what John Doe wants! Thirty \n every Thursday—sixty at sixty—who knows", "produced for questioning. You know as \n well as I do that this whole thing is \n being engineered by a vicious man with", "You remember? What do you suppose your \n precious John Does will say when they \n find out that you never had any intention", "BEANY suddenly realizes he has gone—and \n chases after him.\n \n BEANY", "Dissolve to: Ext.: Clearing under the \n bridge. Close-up: Of JOHN. He sits on \n a rock, his head bent low, tears streaming", "lust, the hate, the fear, all of man's \n inhumanity to man.\n \n Arguments will start. Should he commit", "He bows again, and starts for the door. \n When he gets there, he is stopped by \n MRS. MITCHELL's voice.", "what does he do? He decides to commit \n suicide in protest against the state \n of civilization. He thinks of the river!", "with his proposal unfinished.\n \n Dissolve to: Int. airport lunchroom—night. \n Med. shot: Scene opens with BEANY entering" ] ]

[ "What day does John Doe threaten to commit suicide?", "What was John Willoughby's previous career?", "Who bribes Willoughby?", "How much was Willoughby bribed for?", "What slogan does the John Doe movement create?", "What is Norton's underlying plan?", "Who does Willoughby learn about Norton's plans from?", "What does Willoughby plan on doing after Doe is exposed as a fake?", "Who has fallen in love with Willoughby and desperately convinces him not to jump?", "What was John Willoughby's former occupation?", "What did John Willoughby need money for?", "What was Ann Mitchell given $100 a week to do?", "What is the slogan of the grassroots movement inspired by the John Doe philosophy?", "What secret ambition motivated D.B. Norton to carry on the John Doe ruse?", "What does Willoughby plan to do after being double crossed by D.B. Norton?", "Why does Ann Mitchell desperately try to talk Willoughby out of suicide?", "What holiday does Willoughby's suicide attempt have in common with the original John Doe letter? ", "What theme do the John Doe letters have in common?", "Why did Willoughby's plan to run away fail?", "Why does Ann Mitchell print the John Doe letter in the newspaper?", "What happens after the letter is printed?", "What idea does Mitchell have after she's rehired?", "Who do Mitchell and Henry Connell hire to play Dear John?", "What does Mitchell do to help sell John Doe to the newspaper audience?", "What does Willoughby get for his troubles as portraying John Doe?", "What is Mitchell paid $100 per week to do?", "What happens after Willoughby's first radio performance?", "What does Willoughby find out about John Doe in Millsville?", "What does Willoughb eventually plan to do?" ]

[ [ "Christmas Eve.", "Christmas Eve." ], [ "Baseball player.", "baseball player" ], [ "A rival newspaper", "A rival newspaper." ], [ "$5000.", "$5000" ], [ "Be a better neighbor", "Be a better neighbor." ], [ "To use John Doe for support for his political ambitions.", "to funnel support for the John Doe Movement into political support to get himself elected President" ], [ "A drunken Connell.", "Henry Connell" ], [ "Jumping off from the roof of city hall on Christmas Eve.", "jumping from the roof of City Hall on Christmas Eve to kill himself" ], [ "Mitchell.", "Ann Mitchell" ], [ "Baseball Player", "baseball player" ], [ "To repair his injured arm.", "He needed his arm fixed by a doctor." ], [ "Write speeches for Willoughby", "Write radio speeches for John Willoughby." ], [ "Be a better neighbor", "Be a better neighbor." ], [ "Becoming president", "D.B. Norton has national political ambitions." ], [ "Commit suicide", "He plans to kill himself by jumping off the roof of City Hall." ], [ "She fell in love with him.", "another John Doe has already died" ], [ "Christmas Eve", "Christmas Eve." ], [ "Society's disregard for people in need.", "society's lack of concern for people in need" ], [ "He was recognized as John Doe at a diner.", "He was recognized as John Doe." ], [ "She is being fired, and published the fictional letter in her final column.", "She was angry about losing her job. " ], [ "People are enamored and the newspaper's competitors start looking into it as a potential fake.", "It becomes a sensation." ], [ "That she will help boost newspaper sales by promoting a fake John Doe.", "Make the newspaper more popular through use of John Doe's story. " ], [ "They hire John Willoughby, a down on his luck baseball player, to play the part.", "John Willoughby" ], [ "She pens a number of letters written by John that are published.", "writes more letters and hires an actual down-and-out person to act as John Doe" ], [ "He gets a hotel suite, $50 and a new set of clothes.", "$50, some new clothes, and a fancy hotel suite." ], [ "She is paid $100 per week to write radio scripts for John to take this idea nationally.", "write Willoughby's radio speeches" ], [ "He flees by rail to the town of Millsville, where he is recognized as John Doe.", "He goes to Millsville." ], [ "There is a man named Bret Hanson who has started a John Doe Club pushing the idea to be better neighbors.", "He had inspired a John Doe club." ], [ "He plans to commit suicide by jumping off the roof of City Hall on Christmas Eve at midnight as the original letter said he would.", "To kill himself on Christmas Eve." ] ]